Canadian Film Weekly (May 11, 1949)

Page 8 Odeon Welcomes Drama Entrants Kinship of the motion picture with the stage was the theme of the address of welcome by George Peters, vice-president of Odeon Theatres, to the concluding event of the Dominion Drama Festival, a prize-awarding luncheon held in the Odeon-Toronto on Sunday, May ist, the day after a week of plays at the Royal Alexandra Theatre. “We are here because of common interest in the promotion of the arts in Canada,” he told the several hundred guests and participants, and he felt that it was “none the less fitting because it is a motion picture theatre instead of a legitimate one.’ The screen, particularly in Britain, relied on the stage for actors. Much laughter followed his witty comment that “Shakespeare’s immortality is now assured by virtue of the fact that one of his plays has just won an Oscar,” Canadians who had received their first stage experience with festival groups, notably Paul Dupuis of Montreal Repertory Theatre, were doing well in British pictures, Peters said. “We are delighted to have you all here and to play even this small part in contributing to the success of the Dominion Drama Festival.” Peters then introduced D. Park Jamieson, chairman of the Festival, who presided after that. He thanked Peters and the Hon. J. Earl Lawson, KC, president of the J. Arthur Rank Organization of Canada, who was unable to be present. “Theatre groups across Canada are gratified for the co-operation and use of the facilities of the J. Arthur Rank company,” Jamieson said. “I must say how deeply indebted we are for the assistance of this great motion picture organization.” Then followed the awarding of the prizes according to the choices of Phillip Hope-Wallace, London critic of the Manchester Guardian. First of these was to the Players’ Guild of Hamilton for the best production, John Loves Mary, and the Rt. Hon. Vincent Massey, president of the Festival, made it. Madeleine Cicotte was chosen the best actress, while Robertson Davies, editor of the Peterborough Examiner, won $100 for the best play by a Canadian, Fortune My Foe. The Festival, Mlle. Cicotte said in her speech of thanks, was “a gathering of many classes and creeds to better our literary heritage.” It would, she added, “deepen our understanding and bind our friendship.” She spoke in both French and English. The prize won by Davies, Canadian FILM WEEKLY A Grand Old-Timer When Willis T. Dewees, a pioneer showman, sold his Rex Theatre, Vancouver, the Vancouver Province print ed the following story: NE of America’s “Grand O Old Men” of the movie theatres has just parted with his “baby.” At 74, Willis T. Dewees still has the look of youth about him. His eyes light up when he speaks of his first —and only —love in his business life . .. movie houses. And Vancouver’s Rex Theatre, which he built back in 1912 and WILLIS T. DEWEES has run continuously ever since, changed hands Monday. It was bought by George H. Brewerton and Associates who will operate it as an independent venture. Born in Kentucky, much of Dewees’ solid, practical judgment was nurtured in the cattle ranches of Kansas and Oklahoma where he spent his youth. In 1904 he moved to Oregon and decided he wanted “to make some easy money without having to work too hard.” He owned and operated movie theatres in that state until he which he donated to the Festival to help defray expenses of the Winning play at the Edinburgh Festival, was contributed by Gratien Gelinas, known as Fridolin in Quebec, where he is famed as an author and actor. Vincent Massey described it as “an expression to Canada’s leading playwright in the English language from her leading playwright in the French.” The event was concluded with the exhibition of short subjects in the March of Time and This Modern Age series, both of which pertained to the stage, During the Festival Week groups from Montreal, Ottawa, London, Peterborough, Hamilton, Calgary, Sackville, NB, and New Westminster, BC, competed after winning regional competitions in which 65 groups participated, moved to Vancouver in 1909. Here he bought the Princess and Royal Theatres. Oldtimers will remember these picture houses and that Hastings Street then was truly the city’s “Great White Way.” Today’s main theatre district was then considered suburban. ES 1912 he acquired the build ing then occupied by the Bank of Montreal that was to become the showpiece of world renown— the Rex. Building started in September, 1912, and was one of the fastest construction jobs ever done on an elaborate building of the kind. This was sheer necessity. The theatre had to be ready for business before Christmas. Dewees needed the money Christmas business would bring to pay off the first debts coming due at that time. The Rex opened Dec. 20th, 1913, 20 minutes after final construction work was completed. It was the most modern movie-house in the world at that time. Seating capacity was 999, well beyond that of any other house of the kind. The Rex has operated continuously — longer than any other theatre in western Canada. In 1920 Dewees was western representative of the Allen Theatre Co. He and his accociates built the Allen Theatre — now the Strand. . At one time he owned every movie theatre in the city. Today he owns interests in theatres in Vancouver, Victoria, Trail, Nanaimo, Rossland and Nelson. He paid big money to movie studios to let him have the best films of the day. BAéck in the early days of the industry he recalls “screen ing” in one of his theatres a promising young comedian. Yes, he told the studio, someday this youngster Charlie Chaplin would be as great as the idol of the day, Ford Sterling. Another time the old Biograph Studio sent him a film starring another bright youngster, Mary Pickford. Audiences here liked her. Although retired from much active business life now, Mr. Dewees still keeps his hand in. Far from “going to seed,” he has a consuming interest in anything “movie.” He divides his time between his office, building a home, golfing and boating. Koster To Direct Henry Koster will direct 20thFox’ Wabash Avenue. May 11, 1949 Suggest Canadian Film Festival Emergence of the Canadian Film Awards, instituted this year, has led to suggestions that a world film festival be held annually in Canada along the lines of the one which takes place each Fall in connection with the Edinburgh International Festival of Music and Drama. This year it will take place from August 21st to September 11th. With the strong support of the Central Office of Information of the United Kingdom and helpful support from the governments and film organizations of many countries, the Edinburgh Documentary Film Festival has in a few years became the focal point of world interest in realist film production. The films are selected for their merit, cither in the creative interpretation of reality or in factual exposition, by a representative committee of experts. For a film to be shown at the Edinburgh Festival before a great international audience is a signal honor esteemed by producers of all countries. For most of the films shown it will be their first screening in Scotland and, as on former occasions, it is expected that the Festival will include a number of world premieres. Daily for three weeks the Festival presents an unique opportunity of seeing the most outstanding documentaries from all over the world. Feature films are included in the seven major performances that are held on Sundays in one of the three theatres used by the Festival. One of the winners at the Festival last year was Crawley Films’ The Loon’s Necklace, which also won first place. in the Canadian Film Awards. Several National Film Board productions have also won international fame at the Festival. Gets Feminine Lead Gail Davis has been signed for the feminine lead in Monogram's Range Rogues. Paramount Borrows Fox" Gene Tierney Gene Tierney will star with Ray Milland in Paramount's Counter Intelligence, love story Set against a background of army rocket ship experimentation, as a@ result of negotiations completed with 20th Century-Fox which has Miss Tierney under contract. Counter Intelligence will be produced by Robert Fellows from a screen play written by William Wister Haines, author of Command Decision.