Canadian Film Weekly (Feb 4, 1942)

Page scan 0003 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Feb 4, 1942
Volume:
Canadian Film Weekly (Feb 4, 1942)
Leaf #:
0003
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Canada, Hollywood Studio System, and Global Cinema
Format:
periodicals
Contributor:
Media History Digital Library, Canadian Picture Pioneers, Paul Moore and Jessica Whitehead
Coordinator:
Media History Digital Library
Description:

Canadian Film Weekly

  • Editor: Hye Bossin (1942-64)
  • Renamed Canadian Film & TV Bi-Weekly (1965-69, editor: Stan Helleur)
  • Renamed Candian Film Weekly(1970, editor: Ed Hocura)

Canadian Film Weekly (1942-70) was edited by Hye Bossin and published by Film Publications of Canada, Ltd., wholly owned by leading exhibitor, Nat Taylor. In the late 1930s, Taylor was head of the Independent Theatre Association and his Toronto-based chain, Twinex-Century (Twentieth Century), was the largest independent circuit in the country. In 1941, however, he negotiated for chain affiliation with upstart Canadian Odeon before leveraging a better deal and greater booking control with nationally-dominant Famous Players Canada, Ltd. No longer independent, he took ownership of the Independent Theatre Association’s semi-monthly magazine, The Canadian Motion Picture Exhibitor (1940-41), installed Hye Bossin as editor, and laid plans to relaunch in January 1942 under a new name, Canadian Film Weekly. This enduring key publication was no longer solely focused on independent exhibitors but instead covered the entire industry on a national scale–exhibition, distribution and production–with some attention given to studio news from New York and Hollywood.

Bossin was a vibrant writer with a canny way with words, admired in the industry in the United States as well as Canada. He was one of a large family who lived above their father’s secondhand shop in the Jewish “ward” downtown in Toronto. His older brother was a bookie with ties to the underground; his younger brother was a famous journalist, protégé of Walter Winchell, and Hollywood screenwriter. In contrast, Hye spent nearly two decades learning the publishing trade in a printers’ shop before trying a stint as a Hollywood publicist, then writing a column for the Toronto Star Weekly before taking Taylor’s offer to edit the Film Weekly. Bossin was central to the creation of the Canadian Film Archive, the Canadian Film Awards, and he wrote some of the first histories of early cinema in Canada, published in the first volumes of the annual Canadian Film Weekly Year Book (1951-70).

In 1957, the Film Weekly had incorporated the rival Canadian Moving Picture Digest (1917-57), and began dating its start to that paper’s earlier start as the Canadian Universal Bulletin (1915-18). Subsequent variants of the Canadian Film Weekly and its yearbooks always claimed their roots all the way back to 1915 and the origins of the film industry trade press in Canada. After Bossin died in 1964, the Weekly’s new editor, Stan Helleur, renamed the magazine Canadian Film & TV Bi-Weekly, scaling back the pace of publishing but adding a purview for television and broadcasting. The annual was renamed similarly, its subtitle amended to “Year Book of the Canadian Entertainment Industry.” An attempted renewal to weekly format in 1970, edited by Ed Hocura, was short-lived and Nat Taylor decided instead to relaunch under an entirely new title, Canadian Film Digest (1971-77) and Canadian Film Digest Yearbook (1971-86).

– Paul Moore, March 2024

Further Reading

  • Bossin, Hye. “Canada and the Film: The Story of the Canadian Motion Picture Industry.” In Canadian Film Weekly Year Book of the Canadian Motion Picture Industry, 21-41. Toronto: Film Publications of Canada, 1951.
  • Moore, Paul. “Chronicling a National History: Hye Bossin’s Canadian Film Weekly and Year Book.” In Eric Hoyt and Kelley Conway, eds., Global Movie Magazines. Berkeley: University of California Press, 2024.

Date Added:
August 08, 2024
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Page 4 Canadian FILM WEEKLY oamemme?, Pet Warners CAPTAINS OF THE CLOUDS Here is, so far, the great picture of Canada. It is a picture to make every Canadian walk out of the theatre with head up and a proud look. It is a technicolor festival for the eye, a powerful stimulant for the spirit, and rare entertainment of every brand rolled into one. It’s deep-down genuine Johnny Canuck in content. In that alone Warners accomplished something, since so many pictures with Dominion backgrounds draw snickers for their lack of credibility. ‘To begin with, its characters are drawn out of a field that was exclusively Canadian for years, the bush pilot. And it never lets go of its native realism. The story starts with the cut-throat competition of Jimmy Cagney, stealing jobs from the others, Dennis Morgan, Alan Hale, Reginald Gardiner and George Tobias, by cutting prices. They eventually become friends, with Cagney making several sacrifices for Morgan, first his rival, later a partner and pal. The picture goes military when the boys, after listening to a Churchill broadcast, join the RCAF. Brenda Marshall plays the fickle backwoods girl who causes trouble. There are many fine actors on hand to make “Captains of the Clouds” the finest aviation story so far from a studio famed for flying films. It will wear out ticket wickets everywhere. DANGEROUSLY THEY LIVE A lively drama on a current subject with appeal for all classes. John Garfield is the doctor being used by a Nazi mob without being aware of it to extract secrets from a patient, Nancy Coleman. It has plane vs. sub scenes to give it scope and broad action. Raymond Massey, Moroni Olsen and Lee Patrick help it keep its punch. Fox REMEMBER THE DAY A wholesome and human treat for anyone. It’s Claudette Colbert’s picture all the way and she really does well for it. Miss Colbert is a teacher robbed of the fruition of her own love by the death overseas of her sweetheart, John Payne. One boy commands her special interest and he eventually becomes a presidential choice. The story is presented with flashback technique. The film is never dreary in its pathos and thus should interest the masculine custom also, while being a sure shot for the ladies. The boy’s role, an important one, is played nicely by Douglas Croft. Ann Todd, as his smitten pursuer, provides another capable juvenile performance. Among those in support are Frieda Inescort, Thurston Hall, John Sheppard and Harry Hnay den. Republic TUXEDO JUNCTION A straight-forward picture in its appeal to a certain class and tops for them. The old homespun hokum is strong here and more ably done than in any of the series to date. The Weaver Brothers and Elviry are in their stride and are ably helped by Thurston Hall, as the tough businessman, Frankie Darro, Sally Payne, Lorna Gray and Clayton Moore. Story is about the winning of the Pasadena Tournament of Roses by a group migrant youngsters against the opposition of Hall. Lombard Starrer Comics in Comics Slated Bud Abbott and Lou Costello, Carole Lombard’s last picture, box-office whirlwinds, will cast for which she made for United Artists |nmewspaper custom. They'll be ofwith Jack Benny, is being cut and | fered as a comic-strip tease by the is slated for release some time in |North American Newspaper Allilate February, ance and the Bell Syndicate. February 4th, 1942 SP ote eevee a atoms Columbia 49th PARALLEL This should be a powerful puller of patronage in Canada, not only for its native character but for its star names also. The picture features Leslie Howard, Raymond Massey, Laurence Olivier and Anton Walbrook. It gives some idea of the immensity of Canada through its panoramic scope. Main story development is a chase of Nazi fugitives, subwrecked on Canada’s shores, through varied locales. And how Nazi thinking, as voiced by the leader of the group, sounds to Canadians of different racial origin. It is frankly propaganda but that’s neither here nor there. The film is a thrilling adventure story taking the watcher from woods to cities and back again. BEDTIME STORY This isn’t boudoir stuff, as the title might indicate, but a good and funny comedy about a playwright who won’t let his wife quit the stage. She stars in his work. Frederic March, somewhat fatter now, doesn’t try to give the role the matinee idol presentation, which is fortunate. Instead he presents a wacky scripter to match Loretta Young’s home-loving actress role. The story is minor but the series of gags that pass for it are really funny. Robert Benchley, Allyn Joslyn, Eve Arden and Helen Westley are good, particularly Joslyn. His performance as a stuffy wooer of Miss Young is the best acting job in the picture. MOVING! As the building we are now occupying has been sold, we are obliged to move. Therefore, on and after February 9th, we will be located at 114 Bond Street immediately behind our present location and still close to the Film Exchange. We move on Saturday, February 7th, but on Monday the 9th we will be open for business as' usual with the — Same Personnel Same ‘phone WA. 6131 Same Prompt Reliable Service & Dominion Sound Equipments © Limited TORONTO A National Theatre and Acoustical Service