Canadian Film Weekly (Jul 15, 1942)

Page scan 0006 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jul 15, 1942
Volume:
Canadian Film Weekly (Jul 15, 1942)
Leaf #:
0006
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Global Cinema, Canada, and Hollywood Studio System
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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July 15th, 1942 Army Bookings Still Grow The number of film situations in the armed forces in Canada has increased to 278 in April, as against 262 in February and 238 in December of last year, it was revealed in tne report of the Navy, Army, Air Force Films Committee. Lt.-Col. John A. Cooper, head of the CMPDA and honorary secretary of the committee, issued the report. The number of towns being serviced is now 139, as compared with 125 in December, 1941, and 135 in February of this year. The number of programs per week is now 447 as compared with 383 in December and 425 in February. The total number of days per week on which pictures are shown is now 796 as compared with 717 in December and 775 in February. These are divided as follows: Ontario 216, Quebec 112, Maritimes 216, and Western 252 days. This expansion is confirmed in a report received from Colonel Deacon of Auxiliary Services, showing that in the week ending May 16th, the number of individual showings given by the four Service Organizations was 1156 with a total attendance of 337,217. According to Colonel Deacon’s report, the committee is now running at the rate of 60,000 shows per year, with a yearly attendance of approximately 17,500,000 men in uniform. Colonel Deacon’s figures include Newfoundland. Three films each week have been arriving there, which are now staying four weeks each instead of three, and a request has been made for another film each week. "Calgary Stampede’ Paramount Musical Paramount will: produce ‘Calgary Stampede” as a musical film spectacle in Technicolor against the background of the world famous Calgary Rodeo, it was announced by B. G. DeSylva, executive producer. Victory Moore, Dick Powell, Mary Martin and Marjorie Reynolds will play the top roles. The picture will go into production late this Summer. Amateur Reels Cut The American government has ordered film manufacturers to cut sales to the public by 75 per cent. It amounts to cutting the entire yearly sale of film by more than half. There has been an increased demand on film for war purposes only, such as for X-ray use, since USA entered the war. Canadian FILM WEEKLY The New Movie (Continued from Page 2) same chemical compound as explosive? If Hollywood can’t do any better than it has done so far, hadn’t our film better be used in a gun instead of a camera? Our writers are wide awake, our producers are raring to go, Clark Gable insists upon getting into a uniform, Zanuck was with the Commandos. But somehow the old spirit of Hollywood still broods over this industry, paralyzes us with ancient cliches, the air-force is just the old marines. If any we could win the war in “B” picture style, with one Yank licking ten Japs, what a comfort that would be. But it’s not so easy. The other night a group of us met with our Washington-Hollywood liaison man, Nelson Poynter, and discussed some of our difficulties. Since it is easier to teach Americans to hate the Japs than the Germans, isn’t a “hate-the-enemy” theme a subtle use and reinforcement of existing racial hatreds? All right then, we won’t “hate-the-enemy,” we'll hate Nazi doctrines, in whatever race we find them. But can you aim a machine gun at a doctrine? Sure we love the four freedoms, but how about freedom for Java and India? Ticklish question, eh? Patriotism makes our American soldier boys go out and die, but patriotism alone won’t win this war. Only the united forces of an anti-Nazi world can do that. But is that a subject with audience pull? Those gemuetliche hkausfraus, those soldid, music-loving, beer-loving Germans—are they real Nazis? If we show such Germans in our pictures, will our audiences be confused? No, writing propaganda isn’t easy. It requires every bit of brains and talent we have. But Hollywood will have to do it. Hollywood can and will discover a new art: the art of instruction. Not a beautiful star, but a beautiful idea. Not bare legs, but bare facts. Not a chase finish, but a stirring message. Not Page 5 Revivals in New York Algiers—1938 romantic drama; C. Boyer, H. Lamarr, S. Gurie. Ambush — 1939 melodrama; G. Swarthout, L. Nolan, E. Truex. Cowboy and The Lady—1938 romantic comedy; G. Cooper & M. Oberon. Dark Command — 1940 romantic western melodrama; W. Pidgeon, Cc. Trevor. Duck Soup — 1933 farce; Marx Bros. Escape—1940 drama; N. Shearer, R. Taylor. Foreign Correspondent — 1940 melodrama; J. McCrea, A. Basserman. Girl in The News—1941 Britishmade Scotland Yard mystery melodrama. M. Lockwood, E. Williams. High, Wide and Handsome—1937 musical; I. Dunne & R. Scott. History Is Made At Night—1937 melodrama; C. Boyer, J. Arthur. Joy of Living—1938 comedy; I. Dunne & D. Fairbanks, Jr. Love Me Forever—1935 operatic film; G. Moore & L. Carrillo. Moonlight Sonata — 1938. Superb musical treat; Paderewski, M. free dishes, but the four freedoms. A couple hundred million people are waiting for the new movie, and the new world that goes with it. Everybody is in general agreement about what HollyCan it be done. wood ought to turn out. will the public go to see it? Notes From Hollywood Marlene Dietrich, Groucho Marx and Rosalind Russell slated for top roles in Paramount’s ““Men’s Wear” ... Margaret Lindsay to have feminine lead in Columbia’s “Shall I Tell ’Em”... Jim “Lefty” Brown, tennis star, borrowed by Warner Bros. from Paramount for important supporting role in “Air Force,” starring John Garfield. Ann Sheridan to be starred in Warner Bros.’ ‘Shine On, Harvest Moon,” life story of Nora Bayes, musical comedy star of “Yankee Doodle Dandy” era . .. Joan Davis to play herself in Columbia’s story of her life, titled ‘‘Back Stage”... “Quota Girl,” story of European refugee, Sonja Henie’s next at 20th Century-Fox ... Capt. Hewitt T. Wheless, Philippines air hero, to portray himself in Army Air Corps film, ‘‘Beyond the Line of Duty,” which Warner Bros. will make... Audrey Christie, New York stage actress, gets lead in MGM’s “Keeper of the Fame.” Tempest, C. Farrell. My Favorite Wife—1940 comedy; C. Grant, I. Dunne. Of Human Bondage—1934 drama; L. Howard & Bette Davis. Plainsman, The — 1937 historical drama; G. Cooper & J. Arthur. And if it can, SS SS R.C.A. “High Fidelity” Sound Systems Northern Electric “Mirrophonic” Sound Systems Motiograph Projectors Century Projectors Ashcraft Arc Lamp Equipment Imperial “Stedypower” Generators Forest Rectifiers R.C.A. Hurley Screens Celotex Acoustical Materials . .. Also Other Miscellaneous Booth Supplies. DOMINION SOUND EQUIPMENTS LIMITED Head Office: 1620 Notre Dame Street West, Montreal Buancnts ar, HALIFAX TORONTO WINNIPEG REGINA CALGARY VANCOUVER A NATIONAL THEATRE SERVICE