Canadian Film Weekly (Nov 4, 1942)

Address all communications—The Managing Editor, Canadian Film Weekly, 21 Dundas Square, Toronto, Canada. Published by Film Publications of Canada, Ltd., Sth Floor, 21 Dundas Square, Toronto, Ont., Canada. Phone ADelaide 4310, Price 5 cents each or $2.00 per year. Stay in There! The boys and girls of the film business are still banging away at Hitler. the curse of the Universe; Goering, the mad monster, and Goebbels, the jack-of-all-tirades. Keep whacking away at them. Let's not be just fast starters. Sell people bonds. Keep lining them up and signing them up. Through modem industrial magic each bond becomes a bomb overnight—a personal message to Hitler delivered by hand. That magic will take the habits out of the rat as surely as a magician takes the rabbits out of a hat. The ability to go one round more than the other fellow is all we need to win. So keep slugging. And remember, not all of us are blessed with patience. Every new edict that bears on our accustomed way of living stirs the short-sighted, the grumblers and those who give mere lip service. They are annoyed. They are irked. They ought to be told what one unsung sage said to a grumbler at the income tax. “What are you beefing about?” was his retort. “The government takes it from what you make, not what you have!” The perfect answer. The government takes it from what you make to guard you and the machinery of life from those who would destroy you and it. What could be fairer? And part of the part they take is returnable, just as Victory Bonds are. Forced saving, some call it. Well, forced saving is a danged sight better than forced labor! The question for those who are slow in catching on to the issues of the day and the needs of the moment is “Are you a fellow-worker or a fellow-irker?” Part of our year-round task as members of the film industry is to use our medium to make the people realize what war is and what it takes. Now we've been asked to do personally what the screen has done before and is still doing—to boost the war effort. But through the buying and selling of Victory Bonds. The Victory Loan is one of our major supports against Hitler. For motion picture people it isn’t enough that we buy. We must keep the importance of the Loan before the public every minute so that someone else may sell those who don’t buy through us. Guard against « letup or a letdown. Stay in there punching. Remember, the ability to go one more round than the other fellow is all we need to win. A second— which is what civiliams over here are—is spared the pain and bloodshed. So the least he can do is his best. Are you doing yours? Get Together! (Continued from Page 1) province of the Dominion, to establish a link in a nationwide chain of men and organizations with the same problems. The same problems—which have increased in number beyond what anyone was able to foresee a few years ago. Let not the exhibitors of Ontario add to the dangerous sectionalism that is so often met with in so large land with so comparatively few people. It’s more than a need. It’s a duty. The answer is a single organization. Get together. Canadian FILM WEEKLY Nov. 4, 19427 Vy 0 Victory Loan -|solicited advertising, Rolls Along (Continued from Pago 1) provided information at hand to all, regardless of group. The fever of inter-industry buying has affected every type of theatre worker, from executives to sweepers. At the Capitol, Ottawa, five cleaners, all women, bought a $50 bond each, which is a considerable sacrifice on their part. At the Park, Windsor, 10 employees subscribed $1.150. Most theatres have registered 100 per cent scores from their staffs and where this hasn’t occurred the figures usually fall one or two short. This has been aided greatly by the owners financing employees’ subscriptions. Most important of the industry’s work, however, is the wide-scaled move to direct public interest to the Victory Loan by all theatre workers. For instance, the Projectionists Union is doing great work in applying its craft, operators being provided for private meetings where 16mm. films are iused. In Ottawa alone 30 such meetings took place during the first week. Managers and executives have not only boosted the inter-industry drive but are serving on local committees everywhere. Bob Roddick, Capitol, Halifax, is the local press liaison officer—just one example. Glenn Ireton, Vitagraph publicist, moved over to the Ontario special stage shows while the drive is on. Managers are using their own channels and supervising others to see that publicity reaches all in their areas. Throughout the country the appearance of famed stars, special shows with returned soldier speakers, Sunday night meetingsand presentations, all without charge, is the order of things. Those executives who found time, such as Herb Allen, held meetings in their homes, to which the neighbors and others were invited, to boost civic pride in the showing of their home districts. Another interesting aspect of Victory Loan publicity is the unbased on motion pictures such as “Mrs. Miniver” and “This is the Enemy,” issued by local and district committees and merchants. Particularly in the case of “This is the Enemy,” a Russian picture which is being used more frequently for Victory Loan expression than “Mrs. Miniver” because it is newer. ‘As yet there is no letup. The industry is doing everything possible to help the loan go over the top after the tremendous start its own effort got from distribution and exhibition subscriptions of several millions. November 4, 1942 Theatre Cleared In Coal Gas Probe (Continued from Page 1) Branch. The report of the preliminary investigation has been presented to Premier and Attorney-General Conant. The findings, it is under-. stood, do not attach blame to the manager, although fuel combustion experts maintain there was a combustion fault in the furnace room, in that it was not supplied with an air duct directly from the outside. In an ordinary house installation, experts hold, there is sufficient air capacity in a cellar to afford adequate combustion — a factor which does not hold true in a sealed furnace room of an air capacity that is relatively small in relation to the size of the heating plant. In the Pape Theatre case, the lack of a duct is said to be laid to the construction man rather than to Stern, who in that connection is presumed to be a layman rather than an expert. In the incident, which threatened the lives of the 400 in the theatre and rendered unconscious or made sick at least fifty children, investigators, it is stated, presume that an explosion of fumes in the furnace parted the smoke pipe. They believe that the blower pushd carbon monoxide through the vent into the furnace room and, in turn shoved it back into the furnace. Because of the absence of a fresh air duct, the density of gas in the furnace room was built up progressively until it finally seeped out and into the air conditioning system. Following the coal-gas poisoning case at the Doric Theatre, Toronto, in January, 1941, Fire Marshal W. J. Scott, sitting as an inquiry commissioner, recommended that in all theatres the furnace room should be separated from the air conditioning system by fire-proof walls. | Manager Stern said that the Pape was rebuilt in 1940 and was opened in September of that year and that preceding this recommendation in construction, his furnace room was separated according to the terms of the 1941 regulation and that the furnaceroom daor was packed to make it air tight. The theatre was ordered closed during the investigation by O. J. Silverthorne, chairman of the Ontario Motion Picture Bureau, and W. D. McPhee, Chief Inspector of Theatres. The accident proves again that the utmost vigilance is required constantly in the care of theatres.