Film
Will Bell Lightbox kill indie cinemas in Toronto?
As the city gears up for the 35th annual Toronto International Film Festival and the grand opening of the Bell Lightbox this September, much attention has been focused on the changing face of local film exhibition.
With its impressive facilities and a mandate to screen first-run films, retrospectives and specialty programming, the Bell Lightbox has been positioned by the Festival Group as a much-needed locus for film culture within the city, as well as an opportunity to bridge the gap between commercial multiplexes and artist-run centres.
Still, there has been some cynicism as to whether the new facilities will ultimately shift attention away from some of the more venerable independent theatres in the city by offering up a state-of-the-art venue to house smaller festivals and screen non-blockbuster fare. While this obviously has yet to be seen, a look back at the history of film exhibition in Toronto reveals that the city has always had an ever-evolving and rather complicated relationship with the medium.
While Toronto had its first taste of "moving pictures" at the Industrial Exhibition of 1896 with the debut of Thomas Edison's Vitascope, the first permanent movie house built in the city was The Theatorium (later the Red Mill) at 183 Yonge Street. Opening in 1906 with a screening of Edison's own "The Train Wreckers" (1905), the theatre was a meager one hundred feet by seventeen feet, and cycled twenty-minute programs comprised of short melodramas, comedies, and travelogues.
A lecturer stood at the front of the theatre and entertained audiences with playful anecdotes that were designed to distract viewers as projectionists prepared the next reel. Spectators sat and stood in the gallery, and were encouraged to move up as each patron exited the theatre in order to ensure that there was an efficient turnaround.
The venue was popular enough to set off a wave of new theatres in the city, with other notable locations including the Auditorium (later the Mary Pickford Theatre) at the northwest corner of Spadina and Queen (now a McDonald's), the Comique Theatre at Yonge and Dundas, the Revue Cinema (1912) at 400 Roncesvalles, and the Fox Theatre (1914) at Queen Street East and Beech Avenue, the Eglinton Grand (1936) on Yonge and the Kingsway Theatre (1939) at Royal York and Bloor.
The current Bloor Cinema opened in 1905 as the Madison Theatre, and it held a Class A license, which permitted both theatrical performances and film screenings. The venue would go through a number of transformations over the course of the next one hundred years - in 1941 it would become a Class C establishment (showing vaudeville and movies) renamed the Midtown; in 1967 it would become the Capri Theatre; and in 1973 it reopened as an adult movie house known as the Eden. It was only in 1979 that the venue was christened the Bloor and transitioned into a repertory cinema. (A bit of trivia: the original Bloor Cinema was actually housed across the street in what is currently Lee's Palace.)
The current Elgin and Winter Garden Theatre started its life in 1913 as the Loew's Yonge Street Theatre, with the upper level Winter Garden Theatre opening up the following year. The shift away from vaudeville to motion pictures led to the closure of the upper level in 1928, and the downstairs became a movie-only venue from 1930 onward, with the Canadian premieres of /Gone With the Wind/ and /The Wizard of Oz/ taking place at
the facility.
With the introduction of Cinemascope, structural changes were made to the building that led to the removal of opera boxes, orchestra pit and proscenium arch, and the building was sold, re-branded the Elgin, and transformed into a second-run movie house during the 1970s. It closed its doors in 1981, only to be designated a National Historic Site and restored as the last remaining "stacked" theatrical venue later in that decade.
Like the Madison and the Elgin, many entertainment venues in the city evolved throughout the century to meet the changing demands of patrons. As mass film audiences became more rare with the rising popularity of television, many large single-screen theatres like the Uptown (at Yonge and Bloor) and the Imperial Six (at Yonge and Dundas, now the Canon Theatre) were converted into multi-screen venues, and were later either demolished or converted back into live theatre venues as an indirect result of the introduction the "Cineplex" concept by Canadian theatre mogul Nat Taylor.
On April 19th , 1979, Taylor opened the Eaton Centre Cineplex - the then-largest cinema house in the world, with over eighteen screens, staggered start times, and computerized ticket machines. Originally conceived to revitalize the second-run film industry, the concept soon spread to the United States and revolutionized first-run film exhibition.
The popularity of this format influenced to the closure of many small cinema houses, and eventually led to the development of corporate "mega-plex" cinemas like the AMC at Yonge and Dundas and The Queensway in Etobicoke.
Still, even as commercial interests have dictated the direction of cinema exhibition over the last century, conscious efforts by members of Toronto's film community and organizations like TIFF have ensured the survival of beloved cinema houses like the Bloor, the Revue, and the Fox by maintaining them as welcome alternatives to "mega-plex" model.
While the opening of Bell Lightbox does indeed signal a significant change for Toronto's cineastes, TIFF director and CEO Piers Handling has gone on record as saying he hopes that the new screening facilities will inspire and encourage Torontonians to seek out non-commercial cinematic fare all over the city. And with the creation of a complex dedicated to the preservation of film rather than one privy to the whims of an ever-fickle commercial audience, Toronto may finally have a permanent home for its film culture.
Writing by JP Larocque. Additional material from the City of Toronto Archives and Peter Morris' "Embattled Shadows: A History of Canadian Cinema, 1895-1939" (McGill-Queen's University Press 1978), and the Archives of Ontario. Bell Lightbox photo by Canmark on Flickr.


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it's sad to see so many theatres have disappeared.
I don't think the reps will die out because of Lightbox. The neighbourhod locality of Kingsway, Revue, Fox has a good foundation of local support.
And it's good healthy competition if anything.
Errol Morris was such a tight wad that he gave her nothing--nothing that is except a crooked lawyer and a trainer who was responsible for the death of her beloved service dog, which as a handcapped person, she desparately needed. Here's how greedy producer
LIPSON blackmailed and forced her into sign a contract she had no desire to sign! What he did to her is SICK. Here's what happened: In November of last year, a street druggie and ex convict broke into the kennel where her service dog was being kept while she worked on the documentary and her writing. As Joyce went there to drop off his dog food, she saw street hoodlums breaking into his kennel cage, and they were hitting her beloved service dog Jazz Puppy (who'd taken over after Booger's death from cancer) on the head with a metal pipe. When the burglars realized they were caught, they called the pound, complaining that the dog went for them. With Joyce crying hysterically, the pound came and took Joyce's beloved service dog to the pound to be killed. Now Joyce was frantic, she tried everything for four months to save her old friend who had worked taken care of her for four years--opening her doors, taking off her socks, even pulling open the sliding glass doors with his harness. He seemed to sense it hurt her hands. She really loved that little service dog, and now he was in the pound on death row. Joyce made herself sick, sitting up all hours of the night with her crippled old hands trying to E mail rescue groups, animal rights groups, the governor--anybody who would try to save her old friend. One day--as Jazz Puppy had only days to live--she sat frantically trying to type E mails, which is hard for her since she doesn't have the use of al her fingers, when Morris producer LIPSON came trespassing onto her property. It was bad timing and she didn't feel like messing with him that sad day. She was exhausted--She'd been allowing herself only two hours for sleep per night for four months while her service dog was in the pound kill pen. She was near collapse. Suddenly MARK LIPSON appeared at her doors, vigorously and loudly pounding in a furor. "COME OUT JOYCE" he demanded in a loud voice "OR YOUR DAM DOG IS GONING TO DIE!" He was out there on her front porch bugging her, literally for hours, and refused to go away until she came out. For hours. She could not focus to write the E mails with him out there, so she finally went out hoping to get him to go away. He then assaulted her by grabbing her arm (the one which was amputated, and held together with pins and screws from many surgeries, and scarred) and he twisted it as she screamed out in pain. Then he literally STABBED her right hand with a pen screaming "SIGN OUR DAM CONTRACT OR YOUR DOG WILL DIE!" The poor woman, who is partially blind and could not even read the contract, begged him to let a lawyer to read and interpret it for her because she couldn't see, nor could she understand the legal words she was sure the contract had. But he continued to scream "There isn't time. Your dog dies next week (which was true) and Errol Morris will get you a lawyer and save his life if you sign this dam contract. Mark Lipson was unbelievably cruel and pushy, and had her in tears. As an elderly handicapped person, she needed the service dog to help get her in and out of the bath tub, open doors remove her socks, and guide her in the dark. Ignoring her frightened face and her tears, LIPSON gritted his teeth and grabbed her hands, forcing her under SEVERE DURESS to sign a contract she had bad vibes about signing, and had refused to sign before now. With shaking signs, unable to even read the contract he was forcing her to sign under duress, and to save her friends life as she had no money for a lawyer, she signed while crying hysterically "I don't want to sign. I don't want to sign!" but he forced her under duress to sign. And did LIPSON AND MORRIS kept up their side of the bargain? Oh no! instead of getting a DECENT COMPETENT lawyer to save her beloved Jazz Puppy's life, they instead got a crackpot who wouldn't even return her calls or prepare for the court case to save him! And LIPSON paid a corrupt trainer $2,000 and the trainer (who Joyce had told sternly NOT to go around her dog because she sensed he was a crook and inexperienced with Shultzhund trained dogs!) He went anyway...deliberately agitating the dog inside his cage where he had been starved for four months. Then he filmed it in collusion with the cruel pound killer who then took the video to a corrupt judge and said "This dog is vicious. Kill it! " and they did--after torturing the sweet noble boy as he fought for his life. The pound killers took a kill pole and choked him until his eyeballs popped out. (The autopsy said they were filled with blood.) His teeth were broken off and his jaws cut where he tried to grab the kill pole as he fought nobly for his life. The pound killer hit him with a tranquilizer gun to immobilize him while she stabbed his lungs to deflate them WHILE HE WAS STILL ALIVE. He fought so hard to live, because he knew that his beloved Joyce needed him, and as they killed him on a holiday so no one would hear his cries of pain. In the meantime, the crooked "lawyer" creep Morris and Lipson had hired, did not show up for a stay of execution. Seeing they were going to kill her beloved boy, Joyce painfully stood clutching a walker in line for hours at the courthouse, trying herself to get a stay of execution. When she could to the counter the woman said a "lawyer had to do it", and Lipson's crummy lawyer had not showed up! Meanwhile Joyce had such a bond with the dog, she sensed when the pound was killing him...She began to sway and got dizzy. She began to scream "They are killing my dog! Help me!" but the counter woman would not hel,. and so her dog was tragically killed. All because of liars MARK LIPSON and ERROL MORRIS who had promised to help her--deceiving her to get her to sign a contract to help cover up the September burglary. When Joyce called Mark Lipson to tell him his actions had cost her beloved service dog his life, he was totally unaffected. He behaved like a psychopath, feeling nothing and not even reacting. Why? Because he had again tricked her into signing a contract and that was all he wanted. He had had a crooked lawyer word it so he would get out of the burglary into her suitcase, to make it appear she had given him"permission" to use her photos in his and Morris' sick pornographic documentary! And she had NOT given them permission to rummage through her suitcase or to take her materials, pictures, or film treatments. And the trashy libelous documentary TABLOID that you see at the TORONTO Film festival is sick, pornographic, defamatory and libelous. Friends and family of Joyce are worried that this will cause her to have a heart attack as she is a heart patient and the stress from what LIPSON and MORRIS have done to her has since weakened her heart and sent her to the hospital. although her spirit is strong, her body is frail, but she does not want to dies without telling HER story, as Morris certainly didn't do that! He was so dishonest, he even edited and ALTERED the interview he did with her--leaving out a key element--a taped recorded conversation between her and her fiance that proves her innocence and as well as the Mormon cult's guilt in orchestrating a worldwide press hoax to discredit her! Some "documentarian" ERROL MORRIS turned out to be! In reality, his work on this picture is a big joke! If Errol Morris is an "Oscar winning" director and the best Hollywood has to offer then Hollywood is in trouble. These "filmmakers" are no better than the tabloid hoodlums they claimed to be criticizing in order to deceive Joyce and get her co-operation for an interview, which again, has been deluted and edited, and does not represent what she actually said--Morris actually protects the guilty parties (the Mormons) by intentionally leaving out the key telephone conversation (taped) wherein Kirk says he wasn't kidnapped or raped but that the Mormons made the story up and gave it to the press to save their image. MORRIS and LIPSON had this on tape, which PROVED HER INNOCENCE but did not include it in their sick film. Instead, they wasted time with had a porno photographer WHO HAD NEVER EVEN MET JOYCE AND DID NOT KNOW HER STORY ONLY WHAT HE HIMSELF HAD READ IN THE TABLOIDS, plus another sleazy man who had once made sexual advance to Joyce who rejected him, and didn't like her. Both jerks who knew NOTHING ABOUT HER STORY OR THE EVENTS IN ENGLAND--as well as a TABLOID REPORTER who knew nothing about her and who in fact had only been with her once at a film premiere in London which they both attended. MORRIS did not interview any of her friends who actually knew her or anyone who was present in England. Their research was non existent. They even lied to Joyce when they told her they would go to England to get court records. In fact, THEY DECEIVED HER ALL ALONG, knowing that such filth would reopen all the pain for her and start her psychological trauma all over agin. (Morris was such a low life that he and the corrupt Lipson had the audicity to offer to pay for counseling after he destroyed her life.) These people are scum, and they do NOT have the true JOyce McKinney story in their porno film TABLOID. Errol Morris' pornographic film TABLOID is NOT The Joyce McKinney Story!!! And the "review" THOM POWERS wrote for the film festival is libelous and defamatory. Miss McKinney can now sue, not only ERROL MORRIS and LIPSON for millions of dollars, but the TORONTO FILM FESTIVAL as well for even having the nerve to show such pornography, as well as to print pictures stolen out of her suitcase by Lipson. Lipson's fingerprints are all over her luggage handles--providing proof that can have him prosecuted for theft. Why did they not do the TRUE version if her story? It was out there--a story about a brave woman's ordeal with a cult that has destroyed the lives of thousands of people around the world, and her courage in fighting them and their tabloid allies. Instead, Morris chose sensationalism and filth. He took tabloid trash and turned it into film. He is disgusting. No wonder RANDALL ADAMS, the subject of his previous film ("Thin Blue Line") SUED him. Joyce McKinney will sue him too. If you readers out there see this, and if you have compassion for this woman and the pain she had suffered, please help by E mailing the Toronto FIlm festival that you WANT THIS TRASHY LIBELOUS FILM REMOVED from this week's showings as it will CAUSE IRREPAIRABLE HARM to a little old handicapped lady who never did anything wrong but love someone, and try to rescue him from a well known non-Christian CULT. It is about a fine gentle lady who has BATTLED FOR 33 YEARS TO CLEAR HER NAME. If any press people are willing to sign in WRITING that they will print the truth, Joyce will talk to them. Her press line number where they may leave a message for her is 718-406-1089. ERROL MORRIS and MARK LIPSON need to be exposed for what they have done to this gentle lady for the sake of their own GREED and quest for fame.
And Ms. McKinney is NOT a Mormon. Your comment would insults her as she is totally opposed to the Mormon cult because of its false doctrine, its human rights abuses, and the way they used their corruption and media power to slander her good name.