7 user 1 critic

Inventing Grace, Touching Glory (2003)

An interesting document recording early filmmaking in British Columbia. The story is told by pioneer film workers who began their careers in the 1950s/60s, and it progresses until we see ... See full summary »





Credited cast:
Tom Adair ...
Stuart Aikins
Himself (archive footage)
Himself (archive footage)
John S. Bartley
Himself (archive footage)
Hagan Beggs
Alec Besky ...
Michael S. Bolton
Phillip Borsos ...
Himself (archive footage)
Bob Bowe
Dillard Brinson ...
Paul Bronfman ...
Himself (archive footage)
George H. Brown ...
Himself (archive footage)


An interesting document recording early filmmaking in British Columbia. The story is told by pioneer film workers who began their careers in the 1950s/60s, and it progresses until we see what the film industry is like in 2003. A worthwhile journey to witness how the business has changed over the decades. Original B/W footage of Oliver Reed and Rita Tushingham filming The Trap (1966) on Bowen Island. Written by Anonymous

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Release Date:

10 October 2003 (Canada)  »

Also Known As:

The History Film  »

Filming Locations:


Box Office


CAD 98,000 (estimated)

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Technical Specs

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Did You Know?


Savage Justice (1967) (Sweet and the Bitter 1967) is considered the first feature shot in British Columbia, however during the 1920s and 30s British productions would use the area to film what was called "The Quota Quickie". British Columbia would double for the United Kingdom.
  • (The Quota): A government enforced requirement for British cinemas to show a quota of British produced films for a duration of 10 years. The Act's supporters believed this would promote the emergence of a vertically-integrated film industry in which production, distribution and exhibition infrastructure were controlled by the same companies. The vertically-integrated American film industry of that era saw rapid growth in the years immediately following the end of the First World War. The idea, therefore, was to try and counter Hollywood's perceived economic and cultural dominance by promoting similar business practices among British studios, distributors and cinema chains. By creating an artificial market for British films, it was hoped the increased economic activity in the production sector would eventually lead to the growth of a self-sustaining industry. The quota was initially set at 7.5% for exhibitors, which was raised to 20% in 1935.
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Chris Carter: I was old enough to drive because I remember driving my girlfriend to see a sneak of American Graffiti in 1973 in Lakewood, California. And as we were leaving the showing I remember seeing who must have been George Lucas, Francis Coppola, Willard Huyck and Gloria Katz and all the people involved in the making of this amazing movie. And they were just standing there looking at us wondering what we thought, and if I knew then what I know now I would have stopped and had a conversation with those ...
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User Reviews

An unexpected surprise!
22 September 2003 | by (Vancouver) – See all my reviews

Being part of the film industry myself I had heard about this film long before its release and thought 'what a good idea' - an historical journey into British Columbia's film activity. What made this documentary so interesting when I finally did see it was, it didn't feel like a doc., the filmmaker gave it more likeness to a classic feature film. A few minutes in and you were instantly transported to a place and time and introduced to engaging people that made you want to watch and get into the story. The film put 50 years into perspective and delivered it with ease and a certain slickness that's rare in historical documentaries. It made yesterday exciting again.

I'd recommend this to anyone in the film industry, I'd even suggest it to people that are just interested in good storytelling even if some of the detail of the film business is not of interest. After watching this I'd also be curious to see what comes out of this particular filmmaker next.

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