Canadian Moving Picture Digest (Jul 24, 1954)

Page scan 0002 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
Jul 24, 1954
Volume:
Canadian Moving Picture Digest (Jul 24, 1954)
Leaf #:
0002
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Canada, Hollywood Studio System, Early Cinema, and Global Cinema
Format:
periodicals
Contributor:
Media History Digital Library, Canadian Picture Pioneers, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Canadian Moving Picture Digest

Editors: Merrick R. Nutting (1917-18), Raymond S. Peck (1918), Ray Lewis (1918-19 and 1920-54), Walter Greene (1919-20), Jay Smith (1954-57)

Canadian Moving Picture Digest (1917-57) was initially a Montréal-based rival of the first film paper in Canada, Toronto-based Canadian Universal Bulletin (1915-18, edited by W.A. Bach 1915-17, J.W. Cambridge 1917-18, Raymond S. Peck 1918). The two periodicals were combined in 1918, keeping the Digest name, but moving production to Toronto with Peck as editor. Canadian Moving Picture Digest assumed The Bulletin’s volume numbering and always claimed 1915 as its year of origin. Ray Lewis (née Rae Levinsky) was a writer and playwright, who spent time in early Hollywood’s publicity departments. She briefly took the Digest helm in 1918, then long-term editor, later owner and publisher, from 1920 until her death in 1954. Under Lewis’s leadership, the trade paper claimed to serve as a voice for independent exhibitors and advocated for a Canadian cultural presence in cinema, particularly emphasizing British films as a way to keep a distance from Hollywood. Lewis's editorials were notable for their advocacy, wit, and critique of American dominance in the Canadian film market. While initially positioning herself as an outsider, she became integrated within the industry and a true insider. She even had an ongoing correspondence with Canadian Prime Minister R. B. Bennett, advocating for the industry as a whole and supporting British film imports. She was well-known at Toronto’s Dundas Square film row as well as in New York and Hollywood. Variety’s Sime Silverman called her “the Girl Friend in Canada,” and she delighted when U.S. writers not “in the know” presumed “Ray” was a man’s name. Lewis was later an inaugural member of the Canadian Picture Pioneers, eventually the group’s first female president and Pioneer of the Year. After she died in 1954, her son Jay Smith took over editorial duties until Canadian Moving Picture Digest was bought by Nat Taylor’s Film Publications of Canada in 1957. Taylor incorporated the legacy journal into a joint masthead for Canadian Film Weekly (1942-70), which subsequently dated its roots back to the 1915 origins of the film press in Canada.

– Jessica Whitehead and Paul Moore, March 2024

Further Reading

  • Whitehead, Jessica, Louis Pelletier and Paul Moore, “‘The Girl Friend in Canada’: Ray Lewis and Canadian Moving Picture Digest (1915–1957).” In Daniel Biltereyst and Lies Van de Vijver, eds., Mapping Movie Magazines: Digitization, Periodicals and Cinema History, 127-52. London: Pagrave-Macmillan, 2021.

Date Added:
May 18, 2024
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JULY 24, 1954 CANADIAN MOVING PICTURE DIGEST PAGE THREE Jay Presents OR close to forty years, the late Editor-in-Chief of The Digest gave her life, and her life’s blood to the Motion Picture Industry, not only in Canada, but in the United States, Britain, and throughout the world. During that time, Ray Lewis fought for the exhibitors when she felt they were being oppressed, she fought for the producer-distributors when she felt they were being persecuted, and she fought for every individual or group within the Industry, whose cause she felt was just. Each battle was waged strictly on the grounds involved, with never a thought of personal gain, or personal loss; and when such a battle was finished, it was over and done with; there were no bitter recriminations, no chips carried on the shoulder. Her fiercest antagonist one day, was her best friend the next. As a result, her list of opponents over a 40-year span was impressive, but her list of enemies was a complete blank. The tributes paid to Ray Lewis on her passing included many from those with whom she had battled the hardest on various occasions, yet their messages of condolence are, | am certain, as sincere and genuine as those from her closest friends. 1 am very proud of Ray Lewis; I am proud of the heritage she has passed on to me. I am proud of the esteem and respect in which she was held by the entire Industry, and I am counting on the support of the Industry, all branches of it, to help make The Digest an even greater medium of service to the Industry, than it has been for the past 40 years. For the future, there are a number of changes scheduled for The Digest. The entire format of the paper will be changed very shortly. Many of the changes contemplated were already agreed to by Ray Lewis several weeks ago, but were delayed because of her illness. Now they will be put into effect at the earliest possible moment, | Pate WEEK was a busy one in Trade circles locally, with 20th Century-Fox’s CinemaScope demonstration at the University Theatre Tuesday morning, and Warner Bros.’ screening of “Ring of Fear” in CinemaScope at the Eglinton on Friday morning. Over 500 exhibitors, distributors, bookers, and other interested parties attended the CinemaScope demonstration in Toronto. Proceedings were under the personal supervision of Arthur Silverstone, Eastern General Manager for 20th Century-Fox, who spoke briefly prior to the demonstration reel. Reaction to the reel was unanimously excellent, with everyone loud in their acclaim of the improved projection and better sound. Typical of the impression the reel made on those who saw it, are the following quotes: Sam Fingold, National Theatres: “Excellent! I enjoyed it very much.” L. E. Rice, Dominion Sound: “Very much impressed. A great improvement.” Ben Okun, Biltmore Theatres: “Fox deserves a lot of credit. Clear screen, good detail, no blurring.” Ben Freedman, Allied Theatres: “Very good.” Ben Geldsaler, Famous Players: “Terrifically impressive.” Haskell Masters, Warner Bros.: “New era in Motion Pictures has arrived. Wonderful.’ Dave Griesdorf, Odeon Theatres: “Wonderful subject." Harold Pfaff, Independent Theatres: “Wonderful demonstration.” Mrs. Yvonne Taylor, International Cinema end Towne Theatres: “Panoramic scenes simply magnficent. Abe Cass, Columbia: “Terrific! An excellent presentation.” Lionel Lester, National Booking: “Thrilling.” UR OWN REACTION was that there was a tremendous improvement in the projection and sound. Biggest notable change was in the clarity of the background objects, and the elimination of the fuzziness at the sides. Of course the pictures from which 20th-Fox chose excerpts for the demonstration reel would probably be box-office winners in any medium, but certainly the new, improved CinemaScope enhances their value immeasurably. On Thursday, a similar demonstration was held at the Palace Theatre, Montreal, before an audience of over 300, and the reception there was equally impressive. At the Montreal demonstration, opening remarks were made by 20th-Fox’s Canadian General Manager, Peter Myers, who welcomed the audience to the showing. Typical of the reaction of the Montreal audience are the following quotes: George Arpin, France Films: “Very nice. Promises very bright future for CinemaScope.” Bill Lester, United Amusements: “Very, very interesting.” H. Choquette, Rio Theatre, Longueuil: “Exceptionally good.”” C. A. Magnan, Laurier Theatre, Victoriaville, Que.: Outstanding.” E. N. Tabash, Montrose Theatres, Montreal: “Very beautiful.” Mort Prevost, Quebec Cinema Booking: “Very good.” George Champagne, Shawinigan Falls, Que.: “Superior to previous CinemaScope — definitely more depth in background — sound improved.” R. Lavelle, Perkins Electric: ““Will be a big boost to business.” N THE MEANTIME, seven Famous Players Toronto suburban theatres opened up with CinemaScope last week, showing “The Robe,” and B & F's Vaughan, Century and Prince of Wales are ready to go, with the balance of the B & F houses scheduled to have CinemaScope installations by the end of August. In addition, Odeon’s Danforth, Humber and Fairlawn are also scheduled for their installations in the immediate future. The screening by Warner Bros. at the Eglinton Theatre Friday morning was like old home week for me, for the feature, “Ring of Fear,” was filmed in its entirety in Phoenix, Arizona, while I was living there last December, and I had the pleasure of meeting a number of the players and crew during its filming. In addition, the special short subject which was screened with the feature, “Valley of the Sun,” was of course also filmed in Phonix, and its environs, and not only were all the scenes familiar, but a number of those appearing in the subject were personal friends. “Ring of Fear” has some of the most exciting circus sequences ever shown on the screen. Clyde ; Beatty, playing himself, will have your patrons glued to their Seats with excitement as he puts the big cats through their paces. The high-wire trapeze acts are breath-taking in their daring, and the suspense-packed Story, as enacted by a fine cast headed by Mickey Spillane, Pat O'Brien and Sean McClory, should prove smash box-office from coast to coast. “Ring of Fear,” a Wayne-Fellows production, was produced by Robert M. Fellows and directed by James Edward Grant. Film is in WarnerColor, with CinemaScope and Stereophonic Seund