Canadian Film Weekly (Sep 1, 1943)

Page scan 0007 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Sep 1, 1943
Volume:
Canadian Film Weekly (Sep 1, 1943)
Leaf #:
0007
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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September 1, 1943 Page 8 Canadian FILM WEEKLY “MY KINGDOM FOR A COOK”, COLUMBIA COMEDY, TO HAVE AUG. 31 RELEASE Attraction in Studio’s Laugh Hit Tradition to Star Coburn A new comedy from Columbia is always interesting screen news, but when the studio that has turned out so many laugh hits claims a new one belongs up there with the memorable big ones, it?s worthwhile to sit up and take notice. “My Kingdom For A Cook,” according to Columbia officials, is such a comedy. It will be released Aug. 81. The talk at Columbia’s home office is that this Charles Coburn starrer has that certain laugh-provoking something that meant great success for “The More The Merrier,” “Mr. Deeds,” “You Can’t Take It With You,” “Here Comes Mr. Jordan,” ‘The Awful Truth,” “My Sister Eileen,” “It Happened One Night,” “Mr. Smith aN Goes is Wes inate eng many other . Ce DI NGLE ye Columbia hits in a light vein. as y » < Exhibitors will be glad to know, say Se = & D-I-N-G-L E Columens that ener beer = ’ > . Coburn has even a bigger chance to 4 j strut his inimitable ene ae pad — an DID YOU SAY in “Merrier,” with the result that “My Mage Kingdom For A Cook” is another ~ TINGLE Wy picture guaranteed to give audiences y WHO THE DEVIL IS IN go to America to do his bit. But bit or no bit, the biggest thing in Morley’s life is his stom| ach. His lovely daughter, Pam, runs it a bad second in his thoughts. b His adventures in a small New England i town, where he makes his presence thoroughly | felt, and ends up by stealing his hostess’ cook, even though Pam meanwhile has fallen in love with his hostess’ son, make for some | of the gayest, giddiest farce in years, accord a Dingle. Supporting Coburn are Marguerite Chapman, Bill Carter (of stagefame), tae aha ope can Dies DO YOU torial honors go to Richar allace, while P. J. Wolfson produced. The MEAN THE ; oe play is by Herold Colman e GUY FROM ndrew Solt; and Joseph Hoffman u | Jack Henley sy mudyan on Hig asall | tor t j E Jey, | wouldcfatinia ‘British wrehon who deca M R Ms H | ing to executives who have seen the picture. “My Kingdom For A Cook,” in short, does for the servant problem what “The More The Merrier” did for the housing problem, and . that, you may recall, is plenty! : ’ “Kingdom” is Coburn’s first starring job since Columbia upped him to stellar roles. This followed the character comic’s amazing success in “The More The Merrier.” | So unusual was the Dingle role in ‘“‘Meré rier” that Columbia used the character idea as a “teaser” element throughout its extensive radio campaign on the picture. Literally millions of radio listeners became Dingle/ conscious even before the picture’s release 4 date, and tens of millions more joined them after “Merrier” began its phenomenally successful career at the boxoffice. Fan mail, ever-reliable gauge to players’ pypularity, arose to unprecedented proportions, and Coburn’s new starring contract followed as a matter of course, é