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Banning Christmas Carols From Dundas Square in Toronto

While I agree 100% that banning Christians from singing carols at Dundas Square is the height of idiocy nonetheless the correct reaction to it is not anger and protest but rather joy as this is but another in the many signs that the moment of triumph is approaching.

In the 1970s a group of American scientists working with NASA put this image under a machine designed to render2D images taken by satellite of asteroids and planets in 3D. To their surprise something happened which should not have. The Shroud Image was rendered in 3D. "The child sees more clearly than the adult because the child has not decided what it will and will not see."--William S. Burroughs. Refusal to believe and belief that refuses to allow us to see are both blinding. This is why Jesus said, "Unless you be as a child you can not enter the Kingdom of God."

In the 1970s a group of American scientists working with NASA put this image under a machine designed to render2D images taken by satellite of asteroids and planets in 3D. To their surprise something happened which should not have. The Shroud Image was rendered in 3D. “The child sees more clearly than the adult because the child has not decided what it will and will not see.”–William S. Burroughs. Refusal to believe and belief that refuses to allow us to see are both blinding. This is why Jesus said, “Unless you be as a child you can not enter the Kingdom of God.”


Get a pair of red & blue 3D glasses to see this image in 3D. This is just one of the many unique properties of THE SHROUD OF TURIN, the burial cloth a Jesus and a silent witness to his resurrection.

Get a pair of red & blue 3D glasses to see this image in 3D. This is just one of the many unique properties of THE SHROUD OF TURIN, the burial cloth a Jesus and a silent witness to his resurrection.

Luke 18:8King James Version (KJV)
8 I tell you that he will avenge them speedily. Nevertheless when the Son of man cometh, shall he find faith on the earth?

When I first read that it was much stronger put: “Do you think when the Son of man returns he shall find so much as one person believing?

My answer then and my answer now is, “If in my time, me.”

That said, the correct answer is that when Jesus returns He will not find so much as one person believing.

C. S. Lewis: “God will invade. But I wonder whether people who ask God to interfere openly and directly in our world quite realize what it will be like when He does. When that happens, it is the end of the world. When the author walks on to the stage the play is over.

“God is going to invade, all right, but what is the good of saying you are on His side then, when you see the whole natural universe melting away like a dream and something else–something it never entered your head to conceive–comes crashing in; something so beautiful to some of us and so terrible to others that none of us will have any choices left? For this time it will be God without disguise; something so overwhelming that it will strike either irresistible love or irresistible horror into every creature. It will be too late then to choose your side… That will not be the time for choosing: it will be the time when we discover which side we really have chosen, whether we realized it before or not.

“Now, today, this moment, is our chance to choose the right side. God is holding back to give us that chance. It will not last forever. We must take it or leave it.”

Asked what makes a great surgeon the chief surgeon of England replied, “There is not much difference between what one man and another can do. What makes a great surgeon is what makes a great man. It is how much he knows.”

I know I don’t know enough so I am constantly learning.

I first heard about The Shroud of Turin (the burial cloth of Jesus) from the film, THE SILENT WITNESS ( ). This year after watching this BBC film ( ) and a very poor television show called JESUS: FAITH, FACT & FORGERY I decided to buy a replica of The Shroud from the Shroud Of Turin.

I could have bought a knock off for $300. Instead I spent close to $3,000 and get it from Barrie Schwortz, the official STURP photographer. The money was well spent. I have access to all their research ( ).

I bought this so that I could see it. I am happy to allow others to study it but, so far, interest has been zero.

Does that bother me? No. It is one of the signs that the Dawn is approaching.

I enjoy very much being able to study The Shroud of Turin in an atmosphere which is no where near as off putting as the one is in this picture.

As for who’s going to Hell, well, all of us are sinners that God may have mercy on all of us. It is said that the love of God passes all understanding. It most certainly does.

There is nothing more inspiring than living with this constant reminder that “Strait (enormously difficult, almost impossible) is the gate.”–Reg Hartt, 11/25/2015.

I enjoy greatly being able to study The Shroud of Turin in an atmosphere which is nowhere near as intimidating as that in this picture with the two old men sitting sternly on guard.

I enjoy greatly being able to study The Shroud of Turin in an atmosphere which is nowhere near as intimidating as that in this picture with the two old men sitting sternly on guard.

GREENBRIAR PICTURE SHOWS: The Art of Selling Movies.



THIS ISLAND EARTH (currently featured on GREENBRIAR PICTURE SHOWS) and FORBIDDEN PLANET remain among my favorites from my youth.

I just bought the Meta Luna Mutant Mask from MONSTERS IN MOTION ( It’s a lulu!

Bud Westmore and the Universal make-up department created two alien designs for consideration by the studio executives for the 1953 movie It Came from Outer Space.  Apparently the design that was rejected was saved and later used as the ‘Mutant’ in This Island Earth.

Thanks to GREENBRIAR for the FJA (Forrest J Ackerman) inclusion. Has any one person affected so many lives in recent times for the better?

I got FJA’s and James Warren’s FAMOUS MONSTERS # 12 at the drug store in Chipman, New Brunswick. In it was the first half of Don A. Stuart’s WHO GOES THERE? on which the movie THE THING is based. Issue # 13 did not materialize. # 14 did. To read the conclusion I had to order issue # 13 (plus remaining available issues) from Famous Monsters. That magazine introduced me to the world of fantasy, horror and science fiction. Reading THE YEAR’S BEST SF anthologies introduced me to Judith Merril, the mother of modern SF.

Knowing Judy’s name drew me to Rochdale College in Toronto where Judy was a resource person. Through Famous Monsters I had also discovered John Grigg’s who offered silent films on 8mm. I bought METROPOLIS and THE PHANTOM OF THE OPERA from him. Then, reading his catalog, I bought THE BATTLESHIP POTEMKIN, FOOLISH WIVES and more. When Judy found I had 8mm prints of important films (unlike so many in SF, Judy was culturally literate which is one of the things that gave her writing power) she sponsored me as a Resource Person at Rochdale. Your focus on the business side of film production is all too sadly lacking from film study programs. All too often the artsy becomes totally fartsy as the reality of the risks involved as well as the courage in undertaking these ventures in completely ignored while the aesthetic is given way too much prominence. Kids paid a dime to see a movie at my Chipman, New Brunswick cinema. When the man who ran it raised the price a nickel every mother in town raised Hell. That all came home to me years later when the caretaker at The Palmerston Library in Toronto (next door to Judith Merril’s SPACED OUT LIBRARY) where I ran my programs after Rochdale was shut down (Boy, am I glad I was part of that!) suggested I do a kids’ matinee at 25 cents a seat. The place sat 125 people. That meant total gross at 25 cents a seat would not remotely cover the cost. These are the things I find important and interesting. My home town cinema sat 300. That meant a kid’s matinee at 10 cents a seat could gross only $30 with a full house. So much work for so little!

D. W. Griffith with THE BIRTH OF A NATION at $2 a seat (which would be over $50 a seat today) singlehandedly raised the movies to a par with Legitimate Theater. By focusing on cheaper pricing as a means of attracting audiences the industry doomed the medium to being just that, an industry. I found that raising the price of admission raised not only the expectations but also the level of appreciation of my audiences. Griffith remains the most important single film maker in the history of motion pictures. He is the one from whom the most can still be learned. Thanks to these politically correct times, he is also the most ignored. A young man told me he was going to take the film study course offered by one of this country’s most reputable universities. “Don’t. It will kill your love of film,” I told him. “I’ll find that out myself,” he said. “Yes, but unfortunately you will find it out the hard way. Your love will be dead.” Which it remains. David Mamet, in his books TRUE AND FALSE and BAMBI VS. GODZILLA, warns students to stay out of school. Bertolucci said, “Film students should stay as far away as possible from film schools and film teachers. The only school for the cinema IS the cinema. The best cinema is The Paris Cinematheque. The best teacher is Henri Langlois.” My Toronto work was inspired by Langlois. Getting grants to fund it would have robbed me from learning how to sell shows. A few years ago I did a presentation in Montreal, Quebec at THE OUIMETOSCOPE THEATER which I found on arriving was the first motion picture theater built as a motion picture theater in both Canada and The United States. From a 1,000 seat house it has been split into a 500, 300 and 50 seat venue. Regular admission was $1.99. I wanted them to charge $10 for my program. I wanted the 500 seat room. They said I could have the 300 and the most we could charge was $7. Well, they played a new movie 12 times over the 3 days I was there to a total of under $120.00. My program played 4 sold out shows with hundreds turned away. We needed the bigger room. We grossed $8,400.00. I would have thought they would build on that. The show should have been booked for a return ASAP. They refused. That theater, the first ever motion picture theater in Canada and The United States, is now lost. This is an industry that demands vision. Today that vision is dark if it exists at all.

I gave a lecture series titled THE DEATH AND LIFE OF GREAT AMERICAN MOVIES. The title came from my friend Jane Jacobs’ book THE DEATH AND LIFE OF GREAT AMERICAN CITIES (with her permission). Film fans avoid my programs because they don’t want to hear what I have to say. Over a beer in her home Mrs. Jacobs said, “The best part of what you offer is what you have to say.” I love this medium. I made a personal study of it from its inception up to now. It is dying medium. The shame is there is no good reason for its death.

Movies are now being made for 13 year old Asian boys.

THIS ISLAND EARTH (and FORBIDDEN PLANET) should have been released first at premium prices as something special. The number one piece of advice given by advertising maven David Ogilvy in his books is, “RAISE YOUR PRICE.”

Please keep your kids out of film schools. Tell them to take the money and the years they would spend in a classroom at the end of which they create a three or five minute film no one sees and instead invest it in a feature film the world will see. And when they show it tell them to charge at least twice what it costs to see a regular movie.

When Chaplin fourwalled THE GEORGE M. COHAN THEATER in New York for CITY LIGHTS he charged more than everyone else. Asked why he was charging more for a silent film people did not want to see than for talkies people did want to see by the industry and the press Chaplin replied, “Because my picture is worth more.”

He began with theaters not wanting to show CITY LIGHTS because it was a silent film and, after five weeks, found theaters demanding that he stop showing his film and let them show it because Chaplin had the only picture in New York making money.

Now, where do I order the Blu-ray of THIS ISLAND EARTH? Thanks.

John McElwee’s SHOWMEN, SELL IT HOT! is must reading.

NOTE: If anyone reading this is running a motion picture theater get in touch. One independent theater in Ontario called my programs “a license to print money.” In show BUSINESS we can’t get a better accolade than that.



Dave Cockrum - Metaluna Mutant Model Kit Illustration Original Art (Aurora, 1974). 2 Dave Cockrum - Metaluna Mutant Model Kit Illustration Original Art (Aurora, 1974). Raymond F. Jones Signed This Island Earth. (Chicago Shasta Publishers, 1952), first edition Raymond F. Jones. This Island Earth. Chicago Shasta Publishers, (1952) 2 Raymond F. Jones. This Island Earth. Chicago Shasta Publishers, (1952) This Island Earth (Mondo, R-2014). Autographed Limited Edition Screen Print Poster This Island Earth (Pilot, R-1974). German A1 This Island Earth (Universal International, 1955). Banner This Island Earth (Universal International, 1955). Belgian This Island Earth (Universal International, 1955). British Quad This Island Earth (Universal International, 1955). Italian 2 - Foglio This Island Earth (Universal International, 1955). Italian Locandina This Island Earth (Universal International, 1955). One Sheet This Island Earth (Universal International, 1955). Photos This Island Earth (Universal International, 1955). Poster 2 This Island Earth (Universal International, 1955). Poster This Island Earth (Universal International, 1955). Swedish One Sheet This Island Earth (Universal International, 1955). Three Sheet This Island Earth (Universal, 1955). Half Sheet 2 This Island Earth (Universal, 1955). Half Sheet This Island Earth (Universal, 1955). Insert This Island Earth (Universal, 1955). Lobby Card Set This Island Earth (Universal, 1955).... This Island Earth (Universal, 1955)....2 This Island Earth Lot (Universal International, 1955). Pressbook 1 WOODY WELCH (American, 20th Century). Metaluna Mutant, This Island Earth scene spotlighting Faith Demargue.

Now At The Cineforum in Toronto


Shroud LetterSee high quality copies of these videos plus many others in my Shroud Of Turin Presentation. This is the first time this object has been presented in a purely secular setting.

This is what Christmas is about.

Here are just a few of the documentary films related to The Shroud of Turin in my archive. One will be shown each night.

BARRIE SCHWORTZ: 35 YEARS OF SHROUD SCIENCE. Barrie Schwortz was the Official Documenting Photographer for the Shroud of Turin Research Project (STURP), the team that conducted the first in-depth scientific examination of the Shroud in 1978.

THE SILENT WITNESS (1978) This film broke box office records when it opened up in London in 1978. Kenneth More narrates what became the most successful film ever made on the subject, winning a British Academy Award and many other international prizes. This film greatly expanded interest in the Shroud worldwide.

Shroud of Turin
Commissioned by the BBC in 2008, twenty years after the C14 test that cast a shadow over Shroud research, this film looks at how that test stands up against the weight of other evidence from history, archaeology, forensic medicine, art, and 3D analysis. It is the first film production to have direct access to film the Shroud in high definition.
59 minutes. English.

The official film for the 2010 Exposition of the Shroud. Written by Ian Wilson, it tells the story of the Shroud for our modern age of high technology to show the image of the Man on the Shroud as never before seen. This film does not shrink from examining the religious significance of what has become the single most studied article in history.
48 minutes.
THE FABRIC OF TIME 3D (2007) Artist and Particle Physicist Dame Isabel Piczek reveals Quantum hologram information encoded on the Shroud. We live in a world where science and religion have often been on opposing sides. But is all that changing? For the first time, science and religion have come together to uncover an age-old mystery. Who was Jesus Christ? What did he actually look like? And can the story of his death and resurrection now be proven as true? Viewers around the world are in the jury box as newly found scientific discoveries are presented by scholars, scientists, and historians in an unflinching search for evidence — nothing has been held back. Could it be that actual documentation of this amazing story is still available today? Is it possible that a single fiber from an ancient artifact might hold the answers? And has science found a way to unlock the hidden information contained in the artifact that could provide a link to the past-one that might explain the universe in a whole new light and give hope to people around the world? Did Christ leave us physical evidence that only now with quantum leaps forward in science, are we able to understand? Have scientists actually been able to produce a full three dimensional image of Christ?

THE CASE FOR CHRIST’S RESURRECTION Based on the best-selling book by the same name, a seasoned journalist chases down the biggest story in history.
The Project: Determine if there’s credible evidence that Jesus of Nazareth really is the Son of God. The Reporter: Lee Strobel, educated at Yale Law School, award-winning former legal editor of the Chicago Tribune-with a background of atheism. The Experts: A dozen scholars, with doctorates from Cambridge, Princeton, Brandeis, and other top-flight institutions, who are recognized authorities on Jesus. The Story: Retracing his own spiritual journey, Strobel cross-examines the experts with tough, point-blank questions: How reliable is the New Testament? Does evidence exist for Jesus outside the Bible? Is there any reason to believe the resurrection was an actual historical event? This remarkable documentary is like reading a captivating, fast-paced novel. But it’s not fiction. It’s a riveting quest for the truth about history’s most compelling figure.

Additionally I have interviews with Mark Guscin on the Sudarium of Oviedo, Mechthild Flury-Lemberg, Alan Whanger on flowers and pollen samples on the Shroud that take it back to Jerusalem between March and April and more.

My friend Simon Waegemaekers, co-founder of Canada’s Museum Of Textiles, states, “We do not argue with Mechthild Flury-Lemberg.”

I also have the most important books on this subject.

Tempest In A Coffee Cup: When the Son Of Man returns do you think he will find faith?

Shroud Letter

When I first read Luke 18: 8, “When the Son Of Man returns do you think he will find faith?” my response was, “If in my time you will find me.”

13Faith is about not getting upset because things don’t appear to be the way we think they ought to be.

Speaking about conditions in the End Times Jesus said, “As it was in the days of Noah before the flood so shall it be at the coming of The Son Of Man,” “As it was in Sodom and Gomorrah so shall it be at the time of the coming of the Son of Man.”

We are also told that these times will be like the pain a mother feels before and during the act of giving birth but that pain will be forgotten and replaced with joy once the child is born.

Personally, I like the cup. It is a subtle, perhaps too subtle statement for some. Nonetheless, it reflects the season and does so wonderfully.

No male DNA in the blood on the Sudarium of Oviedo:

Shroud Of Turin:

One day I saw a dog get run over by a car on the street. Both the front and rear wheels of the car passed over its body.

To my surprise it was not killed. It got up. Then it ran back to where it had come from. I crossed the road. I went to where it was hiding behind some wood leaning against a house. I got down on all fours. I moved towards it with my hand palm down saying softly, “It’s okay,” over and over and over.

The closer I got to the dog the louder it barked.

Finally the dog’s jaws snapped shut on my hand.

I said, “It’s okay.”

At once the dog became calm. It let go of my hand. On the third finger was just the slightest dent in the flesh.

Its owner came out. I told her what had happened.

Often, in order to help someone we have to let them wound us.

That is what the Crucifixion is about.

Faith is about allowing this wounded world to do its worst to us in the confidence that the worst the world can do to us can not harm us.

–Reg Hartt, 11, 12, 2015.


Who killed Jesus?

John 19: 11 Jesus answered: Thou shouldst not have any power against me, unless it were given thee from above. Therefore, he that hath delivered me to thee, hath the greater sin.

Today if a carpenter’s son walked into any church in the world including The Vatican and spoke as Jesus spoke he would be as welcome today in that place as Jesus was yesterday which is to say he would not be at all welcome.

The word “church” literally means “community.”

On Sundays weekly many people gather in a Toronto movie theater to attend “a church for people who don’t like church.”

Those people feel pretty good about them selves.

There is a word for them. It is not a nice word. That word is snob.

A while back The Roman Catholic Church decreed that the Romans killed Jesus.

Yes, they did.

Rome, however, was the hammer.

The hand that held it, that insisted on its use, did not belong to Rome.

Pilate, the Roman Governor who sat in judgement on Jesus did everything he could to keep that hammer from nailing Jesus to the cross.

“He that has delivered me to thee has the greater sin.”

Nonetheless, Jesus’s own words state, “No man takes my life. I lay it down. I will pick it up.”

Those who say the resurrection is impossible seem not conscious of the fact that life itself is impossible.

Two hundred years ago everyone alive today did not exist.

In two hundred years everyone alive today will not exist.

Now, in this moment, we are.

We come from nothing. We go back to nothing.

Our microscopes are now able to look into the heart of what we call matter.

They have discovered that there is nothing there.

Yet out of nothing something has come. That something is us and the universe as we know it.

The truth is nothing is impossible.

We are much more than most of us dream we are.

As for the true church, when David and his son Solomon set out to build the temple they were told, “The heavens are the throne, the earth is the footstool. How can you build a house big enough for God?”

When asked where he wanted the church built Jesus replied, “Where two or three of you are gathered in my name there I AM.”

That’s good enough for me. If you need more the more you need will not do you any good.

As for the church you go to every Sunday, if Jesus walked in you would kick him out.




THE SHROUD OF TURIN bears witness to an event horizon, a moment in time when everything was made anew.

THE SHROUD OF TURIN bears witness to an event horizon, a moment in time when everything was made anew.

I have been told you are crazy

“A man who works in the industry told me you are crazy. He said you actually give people their money back and kick them out if they talk during your programs,” a journalist who had come by The Cineforum to interview me said.

What a way to start an interview!

I replied, “I do not think people go to see a play, the opera, dance, concert or any act of theater including a movie to listen to the audience.”

The journalist said, “I never thought of that.”

Though now and then I meet a few who do there is a lot journalists don’t think about.

One journalist, interviewed for a piece on me, said, “When I went to his presentations I took along a sandwich because I never knew if he would talk for two minutes or two hours.”

The movies are about a lot more than providing an opportunity to munch popcorn.

One rainy Saturday in September of 1968 I arrived at my then venue, THE PUBLIC ENEMY, to find the family of Robert and Jane Jacobs waiting to see the original 1923 film of THE HUNCHBACK OF NOTRE DAME starring Lon Chaney, Sr..

“This place is just like Cinema 16 in New York,” said Mrs. Jacobs.

Two years later when my program was at Toronto’s infamous Rochdale College Mrs. Jacobs was a regular. One day I saw her picture in a newspaper. I read the piece. It was about her book, THE DEATH AND LIFE OF GREAT AMERICAN CITIES. Then I bought her book. I have read it through with profit many times. I have all of her books. I have introduced many to them.

One day over a beer in her home towards the end of her life she out of the blue said, “The best part of what you have to offer is what you have to say.”

I thought at once of the many people who have told me they would come to my programs if only I did not speak before them.

I told her, “Hearing that from you is better than receiving an Academy Award.”

She said, “I would not say that.”

I replied, “I would. I know the caliber of the people who vote on those things.”

Mrs. Jacobs’ last book is titled DARK AGE AHEAD. She died in 2006. Much of what she warned about has come to pass. The general dumbing down of our culture has succeeded in creating a world where the many exist solely to provide revenue for a few.

Sundays at 5pm I run a film, URBAN WISDOM (2004) with and about Jane Jacobs.

This Sunday past an older woman who told me she had lived on the same street in Toronto as Mrs. Jacobs said, “I often went by her house and saw her speaking with people on her veranda and I thought, ‘Here is this important person speaking with unimportant people.”

I commented, “No one who has been truly important ever thought of them self as important.”

That this woman did think herself important was clear the moment she began to speak.

As I introduced the program to a pretty packed house one person after another said, “I did not come to hear you. When will the movie start?”

By the time I finished only four people were left.

I ended with, “When did the TRUTH ever find receptive ears?”

“My mother loved you,” one of Mrs. Jacobs’ sons said to me a while back on the street.

“And I love your mother,” I said to him.

“Who is this person?” New York’s Robert Moses asked when she stood up to him.

He was told, “A crazy person.”

People in authority always think that citizens who oppose their grand schemes are crazy.

Mediocre people dream of doing extraordinary things.

Extraordinary people do ordinary things extraordinarily well.

–Reg Hartt, 11, 6, 2015.

Jane Jacobs On Reg Hartt:
On Writing:
Speak About What You Want:








REG HARTT TALK: “ABOUT THOSE SHEPHERDS” 2pm Sunday, Nov. 8, 15, 22, 29.

One of the many interesting things about THE SHROUD OF TURIN is that the image recorded on it is 3 Dimensional.

One of the many interesting things about THE SHROUD OF TURIN is that the image recorded on it is 3 Dimensional.

A REG HARTT TALK: ABOUT THOSE SHEPHERDS 2pm Sunday, Nov. 8, 15, 22, 29, THE CINEFORUM, 463 Bathurst below College Across From The Beer Store. Donation $20. 416-603-6643. “His first worshippers, the shepherds, despised by the orthodox because their occupation made them neglectful of religious observance.”–pg. 61, SAINT LUKE, G. B. Laird, THE PELICAN NEW TESTAMENT COMMENTARIES.

I have uploaded these pictures in 3D to better dramatically present them.

I have uploaded these pictures in 3D to better dramatically present them.

`SHROUD      2 `SHROUD      3 `SHROUD      4 `SHROUD      5 `SHROUD      6 `SHROUD      7 `SHROUD      8 `SHROUD      9 `SHROUD      9a `SHROUD      9b `SHROUD      9c `SHROUD      9d `SHROUD      9e `SHROUD      9f `SHROUD      9g `SHROUD      9h `SHROUD      9i `SHROUD      9j `SHROUD      9k `SHROUD      9l `SHROUD      9m `SHROUD      9n



11 Jesus answered, “You would have no power over me if it were not given to you from above. Therefore the one who handed me over to you is guilty of a greater sin.” (

The question, to my mind, is not who killed Jesus but rather, which of us can say that we would have done differently than either Caiphas, the High Priest who handed Jesus over to Pilate or Pilate who gave in to the will of the mob?

Paul writes that Faith is a gift from God. If we have Faith that Jesus is everything we are told he was that is because God decided we should have Faith.

Again, according to Paul, if we lack Faith it is because God chose that we should lack Faith.

What does Jesus say about judgement? He says, “Judge not lest you be judged.”

What does Jesus say about condemnation? He says, “Condemn not lest you be condemned.”

What does Jesus say about those who put him to death? He says, “Forgive them Father for they know not what they do.”

If Jesus from the Cross could ask for forgiveness towards those who hung him there who are we to deny it?

One thing we are not if we withhold forgiveness despite what we may call ourselves is followers of Christ.

Had people listened to Jesus instead of to those who preach hate the 2,000 years of persecuting the family from which Jesus sprung would not have happened.

We are called to do good unto those who do us evil. As someone who has had and is having a great deal of evil done to him by one person bent upon his destruction I know how hard that is to do.

Nonetheless, it is my VOCATION. It is what I am called to do. It is what we are all, including the one determined to destroy me, are called to do.

That others choose not to do this is not my problem.

Belief is not good enough. Knowledge is required.

The fruit of faith plus works is knowledge.

The knowledge that is the fruit of faith plus works is that we are stronger than the worst the world can throw at us.

Conventional Christians tell us that we must believe on Jesus to be loved by God.

Peter, in Acts, writes, “The Father is not a respecter of persons. In all lands those who love God and do good are loved by God.”

That means the Buddhist, the Hindu, the Jew, the Moslem, the Taoist, and all those whom conventional Christians tell us are outside the love of God.

The love of God comes without condition because love with conditions is not love.

The blood of Jesus is on us all.

Peter was shown in a vision all the foods of the world. He was told, “Take. Eat.” He replied, “No. My lips have never touched anything common or unclean.’

Peter was told, “How can you call anything the Father has made common or unclean.”

He could not. I can not. If you can, fine.

I, however, stand apart from you.

I see all, including you, as clean.

Because I have been slandered from telephone pole to telephone pole I know what is to suffer blasphemy. The word “blaspheme” is Greek for “slander.”

Because I have been slandered from telephone pole to telephone pole for nearly twenty years I have discovered a strength within myself I did not know I have.

For that I am grateful to he who is bent upon my destruction.

Jesus said, “He who hears my words and acts on them is like a man who builds his house on rock. The storm came and beat against that house and it stood. He who hears my words and does not act on them is like a man who builds his house on sand. The storm came and beat upon that house and it was swept away.”

The storm has beat and is beating upon my house. I am safe within and enjoying it.

They who say the Jews killed Christ are blaspheming the mother who have him birth, who gave us birth.

His blood is on their hands.

We live in an hour when far too many justify hatred by belief in what they read.

Whatever we read no matter what its source was written by wo/men and, thus, misses the mark. The word “sin” means literally “to miss the mark.”

I have learned one simple way to tell the lie from the truth.

The lie demands justification.

The truth does not demand anything.

The love of God, like the rain, falls upon all whether we believe or not.

As Browning said, “A man’s reach should exceed his grasp or what’s a Heaven for?”

We have more than enough hands grasping the trigger of their guns.

We need a few more reaching beyond their grasp.

A man who served as the minister of a church from which I was kicked out for quoting those lines said one day when we met by chance, “I have no idea why my life is so hard.”

I had learned much from this man but that moment I realized he did not know the essential thing.

The path we walk is strait and narrow. The word “strait” means enormously difficult, almost impossible.

We know we are on the right path when the life we are living is enormously difficult, almost impossible to navigate.

As for those who do not believe in Jesus when the time arrives that the Father has chosen for them they will.

As Jesus said, “Father, not my will but thy will be done.

Then he picked up his cross, walked up the hill where according to legend David had buried the skull of Adam (thus its name “Calvary,” “Golgotha” which means “the hill of the skull) to become the Crossroad of Time, the place where Destiny and Fate unite to become something new just as the seed dies when buried in the earth to sprout from the ground into something yet to be seen. In that moment the world was made anew, all things were cleansed by the blood of the lamb.

We look around ourselves and we see everywhere darkness.

Coming down from the Black Hills after his vision quest Crazy Horse said, “The world is a ball.”

To a man on the prairies the world is flat.

“In a little over a hundred years there will be fires all over it. Men will be brutal to women everywhere,” continued Crazy Horse.

Today there are fires burning all over the world. Men are brutal to women everywhere.

Crazy Horse ended, “God is coming to judge the world.”

Moment by moment that hour draws near.

Look to the parable of the tares and the wheat. Tares can not become wheat.

It would be foolish to expect it to.

The world did its worst to Jesus.

The world will do its worst to us.

The world’s worst is not good enough.

Proof that there is something greater than the world is written on The Shroud of Turin. On it we find the record of an event horizon, a moment when everything was made anew. .

THE SHROUD OF TURIN bears witness to an event horizon, a moment in time when everything was made anew.

THE SHROUD OF TURIN bears witness to an event horizon, a moment in time when everything was made anew.

–Reg Hartt, 10, 30, 2015.

“So long as (man) cannot operate as a savage or less than a savage, and think as a god, or better than god, he will suffer…A man who is full of God is outside of faith…When a man is truly creative he works single-handed and he wants no help. A man acting alone, on faith, can accomplish what trained armies are incapable of doing. To believe in one’s self, in one’s own powers, is apparently the most difficult thing in the world…Whenever an English artist of any value has arisen he has been marked as Public Enemy No. 1.”–Henry Miller, AN OPEN LETTER TO SURREALISTS EVERYWHERE.

Norman Wilner misses the beat on THE MASK 3D

12065590_1053757624668467_7374140732782717918_n“Let’s be honest: if The Mask hadn’t been made in Canada, no one would ever give it a second thought.

“Julian Roffman’s supernatural B-movie, released in the U.S. as Eyes Of Hell, holds a place in Canadian history as our first horror feature and our first 3D release. But after half a century – even in a new digital restoration produced by TIFF and the 3-D Film Archive – it’s of strictly historical interest.” –Norman wilner, NOW

Well, Norman, a lot of people are showing excitement at having seen THE MASK in 3D FILM ARCHIVE’s restoration.

They are not expressing their enthusiasm because the film was made in Canada. They are expressing it because THE MASK delivers.

Here is what Mike Ballew, posted on the Home Theater Forum: “I realize anaglyphic 3-D has its inherent shortcomings and its vocal detractors, but I happen to like anaglyphs. I happen to think The Mask is the finest example of anaglyphic 3-D ever presented, and I also happen to think it has never looked better than what I saw last night. To my eyes, it was gorgeous.

Bob Furmanek and Greg Kintz work miracles with modest budgets and on tight schedules, but one might never realize it from what we saw at Cinefamily/Spectrefest. The 2-D segments, restored from a fine grain element by the folks at TIFF, looked clean and sharp to these eyes. The 3-D segments, brought back to their full visual splendor by the masterful Greg Kintz, looked even better. The stereographer on The Mask, Charles W. Smith, was one of the all-time greats, and his original technical choices, along with Greg’s fine-tuning of alignment and other variables, make for some very comfortable-to-view 3-D. But this is exuberant 3-D, generous with positive parallax depth but also playfully enthusiastic in its use of “transgressive,” off-the-screen pop-out moments. The Mask does more with 3-D in its three hallucinatory segments (running a total of just under 15 minutes) than most present-day 3-D movies do in 90 or 120 minutes. Without giving too much away in terms of plot (for the sake of those who have never seen The Mask), these sequences manage to create a very eerie and mysterious feel. As anecdotal evidence of their power, Maria could not stop talking about them. They really got under her skin.

I hope to share more when time and circumstances permit, but I want Greg and Bob and all the world to know that seeing The Mask in this restored state has enhanced my appreciation for this ambitious thriller with its audacious 3-D sequences. If you’re looking forward to the Blu-Ray, as I am, then believe me, you’re in for a real treat.”

I can not speak too highly of the restoration work being done by THE 3D FILM ARCHIVE ( I have all of their restorations in my archive. It is a pleasure to be able to enjoy them. In my 3D presentations I use wireless shutter glasses. These were created by Lenny Lipton who put the royalties from his hit song, PUFF THE MAGIC DRAGON, into advancing 3D. These things sell for around $50 a pair. I have about 100 sets of them. Pennies are not pinched here. I also use a BenQ SP920 projector ( that puts twice the light on screen as does a normal projector.

Meanwhile THE MASK is currently at THE BELL LIGHTBOX ( Treat yourself to it. Then come here to see state of the art 3D.–Reg Hartt, 10/24/2015.

Note: These books are on my shelf. You are welcome to read them here. Also pictured are my first 3D cameras and original ad art for THE MASK. It is much more than just a film made in Canada.


I have the majority of these titles in the collection. Got one you’d like to see, just ask.

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Above: Bob Furmanek of 3D Film Archive. That role of film is heavy. Look at that face. This is clearly the picture of a man who loves the medium.

Above: Bob Furmanek of 3D Film Archive. That role of film is heavy. Look at that face. This is clearly the picture of a man who loves the medium.

foundationsbook3a Amazing 3D Lenny Lipton 3D 002 51hEFlhezHL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA240_SH20_OU15_ 3-D Movies SDC 820 3d-pocket-camera 3DInlife

There is a reason we do not see this technology in theaters. It is expensive. We get what we pay for. Experience this film at its absolute best.

There is a reason we do not see this technology in theaters. It is expensive. We get what we pay for. Experience this film at its absolute best.

11953504_1029602443750652_7435196329800414206_o The Mask (Warner Brothers, 1961). Argentinean Poster The Mask (Warner Brothers, 1961). Half Sheet - Copy The Mask (Warner Brothers, 1961). Half Sheet The Mask (Warner Brothers, 1961). Insert The Mask (Warner Brothers, 1961). Japanese B2 The Mask (Warner Brothers, 1961). Lobby Card Set of 8 The Mask (Warner Brothers, 1961). One Sheet 1 The Mask (Warner Brothers, R-1971). One Sheet 1 The Mask (Warner Brothers, R-1971). One Sheet 2 The Mask (Warner Brothers, R-1971). One Sheet


See and hear LON CHANEY in THE PHANTOM OF THE OPERA (1925) as only Reg Hartt Presents it.

The Phantom of the Opera (Universal, 1925). Window Card9pm Saturday, Sunday, Monday, Tuesday, Wednesday & Thursday (October 24 thru 29) @ THE CINEFORUM, 463 Bathurst, Toronto, Ontario, M5T 2S9 (416-603-6643).

I grew up in a small one horse town in New Brunswick where the horse died and its wagon burnt. The town had only one working woman. On Saturday nights men drove up and down the main street waiting for their turn so they would have something to confess in church on Sunday.

One day on the magazine rack of the town drugstore appeared a magazine which was to change my life for the better in the most wonderful way. That magazine was FAMOUS MONSTERS OF FILMLAND. It was published by James Warren. It was edited by Forrest J (no period after the “J”) Ackerman.

Mr. Ackerman had grown up in Hollywood with two other lads who would become important in the worlds of literature, fantasy, horror and science fiction. Their names were Ray Bradbury and Ray Harryhausen.

The pages of FAMOUS MONSTERS were filled with mouth watering pictures from movies I had never heard of but which having heard of I wanted to see.

I asked the local cinema to show pictures like THE CABINET OF DR. CALIGARI, METROPOLIS, THE PHANTOM OF THE OPERA. The man who ran it looked at me like I was a one kid communist plot to put him out of business.

Then one day in the pages of FAMOUS MONSTERS I saw an ad from a man named John Griggs offering 8mm copies of Fritz Lang’s METROPOLIS, THE PHANTOM OF THE OPERA and more.

I got a job cutting chickens for Kentucky Fried Chicken. By this time my father had moved us to Sault Ste. Marie, Ontario. I got three cents a bird.

Naturally my family and friends thought I was wasting my money on these films no one but me it seemed wanted to see.

The first film I bought was METROPOLIS. The second was THE PHANTOM OF THE OPERA (1925). The moment I saw THE PHANTOM the first time I became aware of how great movies too seldom can be.

When I arrived in Toronto in the mid 1960s the film scene in this city was dead. Finding out I had copies of films most could only read about people asked me to show them. It was then I discovered the great joy that comes from sharing things I know are great with strangers instead of friends.

Through my screening I met and continue to meet interesting people.

In this interview Shirley Hughes, of THE TORONTO SILENT FILM FESTIVAL, speaks about my work:

Q: Did growing up in Toronto influence your obsession?

A: My knowledge of silent films, German and French cinema, came an awful lot from Reg Hartt’s Cineforum. At first he showed films at Innis College, then he had a place on Mercer St. for a while. Reg showed some really incredible silent films, from Phantom of the Opera to D.W. Griffith’s films. His strength was putting incredibly good soundtracks on the films. He has a really good ear for movie music and back in the good old days when it was all analog, he would splice them together himself. (

My approach to THE PHANTOM OF THE OPERA is completely different from that of every one else.

How so?

Everyone scores this film with THE PHANTOM as a monster.

Is he disfigured? Yes. Is he a monster? To me, no.

I had found Gaston Le Roux’s novel of THE PHANTOM OF THE OPERA in a used book store. In it Erik, The Phantom, is born with a face so ugly his mother made him wear a mask. I thought about the intense shame such a child would bear. I also thought about that child’s desolate loneliness.

To save himself the anguish of being rejected constantly by those who think themselves normal The Phantom has made his home deep beneath the Pris Opera House.

He is an enormously gifted and intelligent being this phantom (as is so often the case with people society turns its back on).

One day he discovers a quality in the voice of a girl singing in the chorus of the Paris Opera which reveals that she has a very great musical gift. No one else has heard this. No one else cares about it.

He introduces himself to her while remaining in the shadows. He becomes her teacher. Through him she rises to astound Paris when she replaces the star singer of the Opera.

The Phantom brings her down to his world. He tells her she will be safe so long as she does not remove his mask.

Which, of course, she does.

Seeing his true face the girl, Christine is repulsed. She runs from him. She betrays his secrets.

One of my favorite poems is Anna Akhmatova’s TWENTY-FIRST. NIGHT. MONDAY.

Twenty-first. Night. Monday.
Silhouette of the capitol in darkness.
Some good-for-nothing — who knows why–
made up the tale that love exists on earth.

People believe it, maybe from laziness
or boredom, and live accordingly:
they wait eagerly for meetings, fear parting,
and when they sing, they sing about love.

But the secret reveals itself to some,
and on them silence settles down…
I found this out by accident
and now it seems I’m sick all the time.

It was a cold night in Moscow when she wrote that.

I have always seen THE PHANTOM OF THE OPERA with Lon Chaney not as a horror film but as the story of a man who, like so many of us, has given his love to someone completely unworthy of it.

That is how I scored it. In my version the girl not The Phantom is the monster.

Seeing his true face she says, “It’s good-bye, honey and I am keeping the money.”

Lon Chaney was uniquely suited for this role. Many think that is because he had a rare talent with make-up that led him to be known as “The Man With A Thousand Faces.”

In part that is true. There is also, however, a deeper reason.

Both his parents were deaf mutes. He learned the art of pantomime so that he could communicate with them. As well, at that time if we were born different (as, in truth, all of us are) we were viewed as a monster, a child of Satan.

Lon Chaney grew up knowing how it is to be viewed as a monster.

He brought that to his roles.

In a piece in THE TORNTO STAR published in 1980 David Beard (who ran the best cinema book store Toronto has ever had) said, “Reg Hartt is over worked, under financed and snubbed. We should be paying tribute to him.”

I, too, know what it is to be treated monstrously by those who are our inferiors in every way imaginable.

Rob Salem, an entertainment writer for THE TORONTO STAR, said, “Reg Hartt has had an amazing impact given the size of the venue and the esoteric nature of the programming. He’s had an incredible impact on the city. No one else is doing it. No one else has ever done it.”

I arrived in this city with just enough money to buy a beer. Drinking age was then 21. I was 18. I did not let that stop me.

In 1968 I discovered THE I CHING. That is an ancient Chinese oracle. It teaches that the superior man does not accept help from the government. I accepted that. I turned my back completely on grants.

“(REG) Hartt is acknowledged as a phenomenon in the film community. He is someone who does not rely on government grants, subsidies or institutional protection to generate his film activities. He depends entirely on his intelligence, talent and resourcefulness. His events are produced with care and good sense, in a clean and friendly atmosphere and with an almost avuncular consideration for his fans, As a film officer for the National Film Board of Canada for 30 years, I have seldom seen anyone who added so much substance and passion to the cultural fabric of our society as he has done with his lectures and presentations.” –DOUGLAS ELIUK, education officer NATIONAL FILM BOARD OF CANADA, formerly Canada’s Cultural Attaché to America.

“REG HARTT is what living in a metropolis is all about. He personifies the city as a meeting place of ideas, as a feast of experience and discussion and debate, as a triumph of the original and provoking over the banal and soporific.”–MICHAEL VALPY, GLOBE AND MAIL.

For nearly twenty years I have watched one man do his best to bring me down. He has wall papered and is wall papering the city with posters meant to destroy me.

I have stood up for others he has attacked. I have listened as those I stood up for gave me their excuses why they can not do for me what I did for them.

That does not bring me down.

I learned long ago that we are called to be stronger than we can dream we are.

Like THE PHANTOM I, too, have given my love to people completely unworthy of it. So too have many, many others.

A young man at one of my presentations asked, “Have you ever had your heart broken?” I replied, “There is nothing left but glue. What do you think hearts are for?”

I never saw a wild thing feel sorry for itself.
The small bird will drop frozen dead from the bough of the trees
without ever once having felt sorry for itself.
–D. H. Lawrence.

It is only when we can risk having our heart broken that we can do something worth doing. It is only when we pick our selves up and continue after all we have cared for has been turned to ashes that we can leave behind in this world a gift worth leaving.

My presentation of Lon Chaney in THE PHANTOM OF THE OPERA is for those the world condemns as monsters.

Said Jean Cocteau, “Whatever the world condemns you for, make it your own. It is yourself.”

That takes courage and strength. Those are two qualities that have always been in short supply.

Those who have those qualities are often seen as monsters.

Join me, my fellow monsters, for THE PHANTOM OF THE OPERA.–Reg Hartt, 1-/21/2015.

Here is a gallery of rare pictures and posters from the film. Enjoy them.“Phantom of the Opera”, Lon Chaney, Original Photo, 1925 Lon Chaney in The Phantom of the Opera (Universal, R-1929). Portrait Photo The Phantom of the Opera (Filmways, R-1980s). Australian Daybill The Phantom of the Opera (Universal, 1925). Glass Slide The Phantom of the Opera (Universal, 1925). Herald 1 - Copy - Copy The Phantom of the Opera (Universal, 1925). Herald 2 The Phantom of the Opera (Universal, 1925). Herald 3 The Phantom of the Opera (Universal, 1925). Insert  1 The Phantom of the Opera (Universal, 1925). Lobby Card   1 The Phantom of the Opera (Universal, 1925). Lobby Card   2 The Phantom of the Opera (Universal, 1925). Lobby Card   3 The Phantom of the Opera (Universal, 1925). One Sheet 1 The Phantom of the Opera (Universal, 1925). Photo 1 The Phantom of the Opera (Universal, 1925). Photo 2 The Phantom of the Opera (Universal, 1925). Photo 3 The Phantom of the Opera (Universal, 1925). Program 1 The Phantom of the Opera (Universal, 1925). Title Lobby Card Universal Exhibitor Book Lot (Universal, 1925-1926 & 1926-1927). Exhibitor Books Universal Exhibitor's Book (Universal, 1925-1926). Soft Cover Book Universal Weekly (Universal, 6 June 1925). Magazine (Multiple Pages) 2