Canadian Film Weekly Year Book of the Canadian Motion Picture Industry (1952)

that went with it and $50,000 to construct a new Ouimetoscope. Why a new Ouimetoscope? Gauvreau, undiscouraged, had acquired the lease on some property three blocks distant and erected a hall, which he used for a theatre. This, seating 750, opened May 1, 1907. So that month Ouimet demolished his building and put a motion picture theatre in its place. It was the first building in Canada designed and erected solely for that purpose. "THREE months later—on August 14, 1907—the new Ouimetoscope opened. It was possibly the largest movie theatre on the continent and one of the first constructed to be just that. It was certainly the first de luxe movie house in America—and perhaps the world. The Strand, New York is commonly identified in historical accounts as having this distinction. That house, now the Warner, was the first big movie theatre to invade Broadway when it opened in 1914 with about 1,800 seats and a 20-piece orchestra. But in 1905 the screen film, a decade after its birth, was emerging from tents and carnivals and moving into vacant stores, which used bedsheets for screens and kitchen chairs for seating. In 1906 these were being altered into permanent places of exhibition approximating in a small way regular theatres. By 1906-7 the more progressive showmen, such as Sigmund Lubin, were erecting large nickelodeons — but nickelodeons they were, grinding away day and night for Se and 10c. The Ouimetoscope was the first de luxe movie house in North America, the father of all the cinema cathedrals and lavish auditoriums that dot this continent today. It was the first to challenge the stage and offer movies in first-class surroundings and comfort at prices which enabled the average person to attend. It was a forthright declaration of faith in the future of the motion picture. But there were no public ceremonies for its opening. ““There was no ballyhoo,” Ernest said. “I did not know much except to get some good reading matter in the theatre pages. The moving picture was not yet recognized as a grownup amusement, so no one could interest the mayor or any high civic representative— and anyway, opening Saturday, I was sure to fill up the place with no extra expense.” 37 The Ouimetoscope seated 1,000, charged the high price of 35c for reserved seats, gave two shows a day and had a seven-piece orchestra which keyed its music to the six-reel screen program. The orchestra accompanied the singers who appeared with illustrated slides or during the two ten-minute entr’actes which divided the program. The tiled lobby had a checking service and candy could be purchased from the attendant. The house lights were so controlled that they gave the effect of what are now known as dimmers when they went on or off. During the entr’actes the gentlemen, having purchased a 25c box of candy or a 15c bag for their ladies, would walk to the corner bar for a drink. Those who remained seated could read house organ with ads which featured L. E. Ouimet on its cover, identifying the handsome, moustachio’d enterprising him as ‘“Fondateur des vues animees a Montreal” — “the first exploiter of moving picture shows in Montreal,” according to Ernest’s own translation. At that time movies were being used as “chasers” in vaudeville houses. Had not Louis Lumiere himself but two years before the new Ouimetoscope mourned the passing of movies as public entertainment? And so Ernest’s venture was more than daring. It was astounding. There were things done in connection with it that later became part of standard theatre operations. But the Ouimetoscope, which operated under that name until 1915, became a grind house in 1910. It had to drop its two-a-day policy in order to compete with the 5c shows which were many by that time. Now the Theatre Canadien, there is little left of its youthful glory except the initials, “L.E.O.” which may still be seen in the centre of the proscenium arch. Before we consign the Ouimetoscope to history and use it merely for reference, let it be observed here that it played a leading part in winning Montreal exhibitors the right to remain open on Sunday. It was Ernest Ouimet who led the fight, making the point—and winning it—that the Sunday closing law as it stood applied to legitimate theatres only. And that is how it still stands. Not until many years had passed did Ouimet return to exhibition. In 1935 he became manager of the Imperial, Montreal under arrangement with RKO,