Jane Marsh Beveridge

[Note 1] The family had a summer house, which they named "The Barge", on Kingsmere Lake located next door to the future Prime Minister of Canada, William Lyon Mackenzie King.

As a result, the children socialized with many members of Ottawa's political class who were or would become important figures in Canadian history, including acquaintances such as Graham Spry, Charles Ritchie, Lester B. Pearson and William Lyon Mackenzie King.

[7] During her formative years, Jane wrote (and published) poetry, drew and painted as well as playing the flute, and while in England, would study art.

[10] In her films, Smart used both a docudrama approach that relied heavily on staging events, as well as elements of a compilation documentary with newsreel footage edited to form the background to the dialogue.

With her blonde hair flying, her big expressive face, her turtleneck sweaters and corduroy pants, she soon became as grimy and effective as any producer: soon entered and excelled at the ruthlessly competitive film screenings where we all showed our work and mercilessly scarified each other on an ascetic diet of coffee and doughnuts.

"[9] With the successful completion of her first film, Smart would serve as the "de facto" executive producer for the Canada Carries On documentary series, helming six productions in two years.

Marsh commented that during the years that Grierson was the NFB's commissioner, women "... were so grateful to be working in interesting jobs that they didn’t realize they were slaves".

[11] The subjects included the British Second Army’s activities in Europe, such as their participation in the Battle for Caen featured in the "Act and Fact #3: The Road to Paris".

[22] A curious incident that had Norman Bethune receiving a round-trip ticket to sail to England, that may have originated with either Jane or her sister, allowed the Canadian doctor to travel to Europe in wartime.

[23] While working on the NFB documentary film, Inside Fighting Canada (1942), Marsh met fellow filmmaker James Beveridge who later became a war correspondent in the Royal Canadian Air Force, serving in Europe from 1944–1945.

"[25] Produced by James Beveridge and directed, edited, and scripted by Marsh, this 11-minute 1942 documentary is an account of how "Canada was transformed into a fighting machine"during World War II.

[27] Marsh directed this nine-minute 1943 documentary, which is an account of how the 9,000 members of the Woman's Division of the Royal Canadian Air Force operated during World War II and prepared for their post-war role.

Judith Crawley was the cinematographer and Marsh served as director, editor and script writer for the film, which depicted the everyday life of a Québec farmer, Alexis Tremblay, and his family.

[30][10] This 15-minute 1944 documentary, directed, edited, and scripted by Marsh, documented how Canada's "young flying enthusiasts" came from all over the nation to congregate at a Royal Canadian Air Force station and experience how the "spiritual and material value of their training" came to fruition.