Canadian Historian Revives Lost Films with Urgent Cultural Insights

UPDATE: Canadian historian David Sobel has launched a pivotal initiative to revive nearly forgotten films that reveal urgent cultural lessons about work and morality. His website, The Moving Past, now streams over 15 silent films from the Ontario Motion Picture Bureau and Canadian Government Motion Picture Bureau, shedding light on societal norms from the 1920s.

These films, made between 1918 and 1929, offer a snapshot of life in Ontario, with strong moral messages about productivity and hygiene. The collection begins with the 1922 film Her Own Fault, where the character Mamie suffers dire consequences—contracting tuberculosis—due to her irresponsible lifestyle choices. Sobel emphasizes the urgency of this project: “Canada was the first country in the world to have government-sponsored films made… it’s important for people to watch,” he stated in an interview with CBC Toronto.

The historical significance of these films is heightened by their near destruction in the 1930s, when they were almost lost forever. Saved by a priest who showed them to his congregation, these films spent decades in a barn near North Bay, Ontario before being rediscovered. Sobel’s drive to digitize and share these films involves extensive travel to Ottawa for screenings and personal funding for editing. “It’s a labor of love,” he said, highlighting the challenges in showcasing these cultural artifacts.

The urgency of Sobel’s work is underscored by the unique insights these films provide. They demonstrate very specific societal attitudes about class and hygiene, with many films promoting ideas of cleanliness and productivity. For instance, the 1925 film Someone at Home tells the story of an irresponsible electric utility lineman named Jim, who learns the hard way about workplace safety after an accident threatens his relationship.

University of Toronto professor Sarah Bay-Cheng, an expert on technology and theatre, underscores the rarity of such societal snapshots, stating, “We’ve lost significant film archives in Canada, particularly during World War II when many films were destroyed.” The availability of Sobel’s collection is critical for cultural historians and the general public alike.

Sobel aims to expand The Moving Past collection significantly, with plans to add six new digitized titles this fall. “I hope to grow this collection until it numbers in the hundreds,” he said, expressing his commitment to preserving these important narratives.

As these films become available for public viewing, their impact resonates beyond mere nostalgia. They provide a lens into the moral fabric of early 20th-century Canada, reflecting values that still shape societal expectations today. The urgency to engage with these historical artifacts is clear; as Sobel noted, “This is part of our culture that we cannot afford to forget.”

For those interested in exploring these films, visit The Moving Past website and immerse yourself in a significant chapter of Canadian history. The revival of these lost films not only serves as a cultural treasure but also reminds us of the lessons they impart about work, responsibility, and community values.