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1917 – today

Going to the Movies in Fort Kent

There has been a screen on this lot since 1917.

A barn on the Stevens homestead

In 1904 the Fort Kent chapter of the Modern Woodmen of America, a fraternal benefit society, bought the Samuel Stevens homestead and opened up its refurbished barn as a community hall. Woodmen Hall, as everyone called it, did a bit of everything: club gatherings, town meetings, weddings, dances, basketball games, minstrel shows.

Around 1917 its owners installed projection equipment and added one more line to the roster — The Savoy Theatre. The first film shown was D. W. Griffith’s The Birth of a Nation. That barn stood where the cinema’s building and parking lot are today, which means Fort Kent has been watching movies on the same patch of ground for more than a century.

A dime, a folding chair, and a piano

The early Savoy was a make-do operation. For a dime, moviegoers sat on “rickety wooden folding chairs placed on the flat main floor or in the balcony,” as Ornstein has it, and watched silent pictures while a local pianist played beside the screen. She names three of them: Mrs. George Bradbury, Theresa Michaud and Burdina Wheelock.

Ownership churned. The Savoy changed hands in 1920 to Aroostook County Theaters Incorporated of Houlton; by 1928 it belonged to Publix Theatres, a national chain; a few years later to Julia M. Powers and Raymond R. Johnston, who ran houses in Caribou and Fort Fairfield, who in turn joined a Saint John, New Brunswick chain with more than fifty theaters either side of the border. A photograph survives of the building standing in the floodwater of 1923.

By the early 1930s it had stopped being a hall that showed films and become a cinema: 533 seats, a properly raked floor, a different picture six nights a week — and wired for sound. The Savoy’s first talkie was The Jazz Singer.

What was playing

Six of the Savoy’s weekly playbills survive, covering April to July 1931. They are set again here from the originals — the printer’s punctuation, his inconsistent quote marks, and the weeks he abandoned them altogether.

A different picture every night, six nights a week, changed every Monday. Warner Oland’s The Black Camel reached Fort Kent on June 23, two days after it opened nationally; Bela Lugosi’s Dracula played on a Saturday in June. This was not a town getting films late.

Two things are visible only because all six survive together. Every title in April carries the line ALL TALKING — and not one does from May onward. Somewhere between April 18 and May 18, 1931, sound stopped being worth advertising in Fort Kent. And on July 8 the Savoy ran L’Énigmatique Monsieur Parkes, a French-language production — eight years before the parish opened its own theater down the road.

Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of april 6, 1931
Mon. April 6 Marie Dressler & Polly Moran in “Reducing” All Talking
Tues. April 7 Richard Cromwell in “Tol'able David” All Talking
Wed. April 8 Edna Best in ‘The Escape’ All Talking
Thur. April 9 ‘Cohens & Kellys in Africa’ With Geo. Sidney & Chas. Murray All Talking
Fri. April 10 Lowell Sherman in “The Royal Bed” All Talking
Sat. April 11 Evelyn Brent in “The Silver Horde” All Talking
Week of April 6, 1931
Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of april 13, 1931
Mon. April 13 Wheeler & Woolsey in ‘Hook, Line & Sinker’ All Talking
Tues. April 14 Joan Crawford in ‘Dance Fools Dance’ All Talking
Wed. April 15 Norman Foster in ‘It Pays to Advertise’ All Talking
Thur. April 16 Lawrence Tibbett in ‘The Southerner’ All Talking
Fri. April 17 Ralph Forbes in ‘Beau Ideal’ All Talking
Sat. April 18 Leon Errol in ‘Finn and Hattie’ All Talking
Week of April 13, 1931
Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of may 18, 1931
Mon. May 18 Loretta Young in ‘Three Girls Lost’
Tues. May 19 Dorothy Mackaill in ‘Kept Husbands’
Wed. May 20 Constance Bennett in ‘The Easiest Way’
Thur. May 21 Charlotte Greenwood in ‘Stepping Out’
Fri. May 22 Spencer Tracy in ‘Six Cylinder Love’
Sat. May 23 Jack Holt in ‘Subway Express’
Week of May 18, 1931
Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of june 1, 1931
Mon. June 1 Wm. Powell in ‘Ladies Man’
Tues. June 2 Betty Compson in ‘The Lady Refuses’
Wed. June 3 Elissa Landi in ‘Always Goodbye’
Thur. June 4 Clive Brook in ‘Tarnished Lady’
Fri. June 5 Lois Moran in ‘Young Sinners’
Sat. June 6 Richard Arlen in ‘Gun Smoke’
Week of June 1, 1931
Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of june 22, 1931
Mon. June 22 Warwick Ward in ‘The Perfect Alibi’
Tues. June 23 Warner Oland in ‘The Black Camel’
Wed. June 24 Janet Gaynor in Daddy Long Legs
Thur. June 25 Ramon Novarro in ‘Daybreak’
Fri. June 26 Lowell Sherman in ‘Bachelor Apartment’
Sat. June 27 Bela Lugosi in ‘Dracula’
Week of June 22, 1931
Savoy Theatre

Ft. Kent, Me.

Savoy Theatre, Ft. Kent, Me. — programme for the week of july 6, 1931
Mon. July 6 Joan Bennett in ‘Hush Money’
Tues. July 7 Lupe Velez in ‘Resurrection’
Wed. July 8 Adolphe Menjou in “L'Enigmatique Monsieur Parkes”
Thur. July 9 Lew Ayres ‘Iron Man’
Fri. July 10 Victor McLaglen, Edmund Lowe in ‘Women of All Nations’
Sat. July 11 Jack Oakie in ‘The Dude Ranch’
Week of July 6, 1931

None of the sheets carries a year. The published caption on one of them estimates 1936. But all six run Monday to Saturday on dates that fit 1931, every one of the thirty-six films was released in 1930 or 1931, and several arrived within days of opening nationally — so these are first-run weeks in 1931, not a revival.

The theater under the convent

Fort Kent’s second cinema opened around 1939, and it was a parish project. Led by St. Louis Parish priest Rev. Aimé Giguère, volunteers converted the parish hall in the basement of the convent into a full 325-seat theater — ticket booth, raked seating, concession stand and all — to raise money for building the People’s Benevolent Hospital, known today as Northern Maine Medical Center.

The Petites sœurs franciscaines lived upstairs, with their chapel sitting directly above the theater. Sister Gloria Ouellette found evening prayer the hardest hour of the day: the soundtrack came up through the floor distinctly enough to tell one actor’s voice from another. For a decade or so, Ingrid Bergman, Jimmy Stewart and Lash La Rue were part of convent life.

Doors opened every night of the week, with a matinee on Saturdays. Admission was a dime, and a penny more once the war was on. The bill was mostly Hollywood, with French-language pictures worked in. Delsie Charette remembered French-Canadian classics bringing whole families in from the country. It closed in the early 1950s.

The two houses were rivals, and not politely: by the early 1940s the Savoy’s owners were working to squeeze the Community out. It ended in 1945, when Ashland native Charles A. H. Brooks bought the Savoy and went into partnership with the hospital corporation instead — handing it half the Savoy’s receipts and taking over management of both theaters.

Three hundred and fifty cars

In the summer of 1951 Brooks opened the 240-speaker Fort Kent Drive-In on the Caribou Road, again splitting the takings with the hospital fund. Between the Savoy and the drive-in, ticket receipts raised roughly $206,000 toward the People’s Benevolent Hospital, which opened in 1952. A hospital paid for, a dime at a time, by people going to the pictures.

The drive-in outlasted the Community Theatre by decades, run by Brooks, Dick Harvey, Clarence Levesque and Paul Dubois until 1989. Levesque remembered the All-Nighters best — dusk-to-dawn screenings on summer holiday weekends, 350 to 400 cars in the field.

The Century, and after

The Savoy found its last owners in 1969 — a local group incorporated as Century Theater, Inc., with W. J. Ouellette at its head. They put up a modern building next door, and the old one came down on December 9, 1969. The new house opened a week later as the Century, named for the town’s centennial.

Jeffrey Plourde bought it in 1988 and ran it as Plourde’s Century Theater. It later passed to the Paradis family, who kept it going until 2024, when it changed hands again and took its current name: Fort Kent Cinema.

The two screens are called the Century and the Savoy.

One name we are not sure about

The Fort Kent Historical Society’s centennial exhibit records that before it was the Savoy, the house was called the Gem, from about 1917 until 1920 — and that we only know this because a 1918 poster turned up inside a wall.

We have not been able to corroborate that anywhere else. Ornstein, writing in 2000, calls the Savoy Fort Kent’s first theater and never mentions the Gem — though she does date the building’s first change of ownership to exactly 1920, which fits. If that poster surfaced after she wrote, both accounts can be true. We would rather show you the loose thread than tie it off neatly.

If you know something about the Gem — or about any of this — we would genuinely like to hear from you.

The Society’s own telling

A Fort Kent Historical Society docent walks through the Society’s 2017 centennial exhibit — the photographs, playbills and artifacts this page is built from. It runs 26:44, and it is the source for several things on this page that exist nowhere else.

Watch on YouTube

Sources & thanks

  • Lisa Ornstein, “Going to the Movies in Fort Kent,” Echoes: The Northern Maine Journal, No. 48, April/June 2000, pp. 39–41 — the backbone of this page.
  • “History of Fort Kent Movie Theaters,” WFKT TV 4, 2019 — the Fort Kent Historical Society’s 2017 centennial exhibit.
  • The six playbills were transcribed from our own photographs of the sheets held by the Fort Kent Historical Society museum; the week of April 13 also appears in Ornstein, courtesy of Chad Pelletier. Community Theatre programme courtesy of Laurette Vaillancourt; photographs courtesy of Rose Nadeau and Jeffrey Plourde — as credited by Ornstein.
  • Named in these accounts, and worth naming again: Mrs. George Bradbury, Theresa Michaud, Burdina Wheelock, Rev. Aimé Giguère, Sister Gloria Ouellette, Delsie Charette, Charles A. H. Brooks, Clarence Levesque, W. J. Ouellette, Jeffrey Plourde.

Corrections are welcome and will be made. If you spot something wrong here, it matters more that it is right than that it is ours.