Canadian Film Weekly (Nov 3, 1943)

Page scan 0002 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Nov 3, 1943
Volume:
Canadian Film Weekly (Nov 3, 1943)
Leaf #:
0002
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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THE PICK OF THE PICTURES REVIEWS INFORMATION RATINGS Vol. 8, No. 45 REVIEWS FROM FILM DAILY, NEW YORK November 3, 1943 ‘Women Bondage | ‘Destroyer’ Exeiting (39 Writers Busy *Wintertime’ Solid Offered By Mono Perhaps the most genuine motion picture ever to come out of Hollywood on Nazi regimentation of women will. be the latest Monogram Pictures production, “Women in Bondage,” which stars Gail Patrick and Nancy Kelly. The picture’s authenticity is backed up by the fact that the film’s top production men were all prominent in the pre-Hitler motion picture industry in Germany, and have first-hand information on the topic they have filmed. The producer,’ Herman Millakowsky, was head of the Greenbaum Film_Company, formerly one of the major producing organizations in Germany. The Nazi regime forced him to leave Germany after he starred Eric Von Stroheim in “Rapelle Immediate.” A few of the other production workers are Steve Sekely, former executive of UFA, the leading German film company; Jeffrey Bernard, who produced pictures in Berlin; and Frank Wisbar, who made the famous “Meadchen in Uniform.” The production has been carefully handled and opens a new chapter of education in the war against men who make war against women. © so Lassa CONTRACT SALES OFFICE PHONE TR.1257 6™ FLOO'R 8 lye at ns “DESTROYER” with Edward G. Robinson, Glenn Ford, Marguerite Chapman Columbia 93 Mins. THRILLS AND THROBS, ROMANCE AND REALISM ARE PACKED INTO THIS FIRST-RATE. BOX OFFICE FILM. “Destroyer” works up plenty of steam, hitting the target squarely. It represents an ace contribution by Columbia to the list of warinspired films. The exhibitor who plays the picture can count on extensive grosses, for this entertainment with powerful appeal. Basically, the film is the story of the struggle between the old and the new brought up to date. It is told in terms of an oldtimer’s fanatical love for the destroyer on which he is serving. The story is given added audience pull by the inclusion of a romance that will carry great weight with the femmes, not to mention comedy touches in the right place. The conflict resolves itself into a feud between Edward G. Robinson and Glenn Ford. The two meet when Robinson, a former Navy man, returns to the service as chief boatswain’s mate so that he can be with the destroyer which he helped to build. Robinson insists on doing things the old way. His failure to take cognizance of new developments and his severity with the men turn the crew against him and threaten to disrupt life aboard the ship. The film contains many good performances. Robinson is excelIent whether he is being hard or sentimental. Ford gives a surprisingly fine account of himself. Marguerite Chapman shares the romantic burden acceptably. Edgar Buchanan and Leo Gorcey are good for many laughs. Regis Toomey is first-rate as the commander of the destroyer. Others who contribute good performances are Warren Ashe and Ed Brophy. Excitement and thrills pack the screenplay of Frank Wead, Lewis Meltzer and Borden Chase, which stems from a yarn by the firstnamed. William A. Seiter’s direction keeps the film moving at a sizzling pace. Franz F. Planer’s camera work is extremely effec tive. Louis F. Edelman produced in praiseworthy fashion. CAST: Edward G. Robinson, Glenn Ford, Marguerite Chapman, Edgar Buchanan, Leo Gorcey, Regis Toomey, Ed Brophy, Warren Ashe, Craig Woods, Curt | Bois, DIRECTION, Fine. PHOTOGRAPHY, Fine, “WINTERTIME” with Sonja Henfie, Jack Oakle 20th-Fox &2 Mins. LATEST HENIE PICTURE A FUNFEST; SEVERAL SPECTACULAR ICE ROUTINES CLINCH B.O. CLAIM. The rank-and-file of picture fans will have little difficulty warming up to “Wintertime.” The film is a storehouse of fun jampacked with all the ingredients that make for popular entertainment. That the story is cut from familiar material and that its developments are not always plausible are of no moment in this case. There is too much on the credit side of the production to worry about short‘comings such as these. All that matters is that the film is a joyous and tasty melange of comedy, music, romance and spectacle. The cast should prove @ powerful magnet. It offers such potent drawing cards as Sonja Henie, Jack Oakie, Cesar Romero, Carole Landis, Woody Herman and his orchestra. Miss Henie makes her latest screen appearance a positive delight, flashing in her ice routines all the brilliance of which she is capable. Her work on the blades provides one of the production’s greatest assets. In Oakie, Romero and Miss Landis she has support of the first quality. Oakie and Romero handle the comedy with a strong assist from S. Z. Sakall, who, as Miss Henie’s rich uncle, claims practically every scene in which he appears. Cornel Wilde is the romantic foil for Miss Henie. Miss Henie and Sakall are visiting Norwegians. Sakall is inveigled by Oakie into taking off his hands a Canadian winter resort that is a fiop. Sakall turns the place into a success with the help of the spectacular ice show put on by Oakie with Miss Henie eas the star. William LeBaron has given the picture a fine production highlighted by several stunningly staged ice numbers. The direction of John Brahm milks the story for all its entertainment value, pointing up the comedy with signal success. CAST: Sonja Henie, Jack Oakie, Cesar Romero, Carole Landis, S. Z. Sakall, Cornel Wilde, Woody Herman and orchestra, Helene Reynolds, Matt Briggs, Don Doug. | Trowbridge, | Walker, Georges Renavent, Jean Del | las, Geary Steffen, Nella Val, Arthur Loft, Jean De Briac, De Soto, Charles Irwin, Dick Ellectt. DIRECTION, Good. PHOTOGRAPHY, "ine. Charles Henri | GED | Week, At Fox Studios With the signing of playwrights Laurence Stallings and Erskine Caldwell, 20th Century-Fox Films Corporation now has 29 writers working on 30 stories. At least half of this total are either complete or in final stages of completion, and include such important productions as “Rickenbacker —The Story of An American,” “The Sullivans,” and ‘Torpedo Squadron &.” Writers and the stories they are working on follow: Laurence Stallings, an untitled m-clodrama for producer Robert T. Kane; Paul Green and Howard Emmett Rogers on “Rickenbacker—-The Story of An American”; Walter Bullock on “Greenwich Village’; Muriel G. Herman and Philip Lewis on “Hlome In Indiana”; Arthur Kober on “Army Wife’; Mary McCall, Jr, on “The Sullivans’; . Ring Lardner, Jr., on “Ambassador Dodd’s Dairy”; Melvin Lavy on “Convoy to Murmansk”; Norman Reilly Raine on revert Squad ron 8"; Tess Slesinger and Frank Davis on “A ‘Tree Grows in Brooklyn”; Robert Tallman on “Angel of Broadway’; Robert Metzler on untitled drama; Ketti Frings on “Stars and Stripes Forever’; Jay Dratler on “Laura”; Eugene Ling and Webster M. Coastes on untitled drama. Other writers assigned to scripts are Earl Baldwin, working on script of “Two-Faced Quilligan’”; Robert Ellis and Helen Logan on “Four Jills and a Jeep”; Richard English on ‘Moment for Music”; Henry and Phoebe Ephron on “All-Out Arlene”; Dorothy Yost and Dwight Cummings on “Son of Flicka’; Frank Gabrielson on “All Points West”; Michael Simkovitch on “Stranger on the Highway”; Kenneth Gamet on untitled comedy; John Larkin and Marian Spitzer on “Dolly Sisters’; Herbert Clyde Lewis on untitled comedy; Albert Mannheimer on “Bloodhounds of Broadway”; Sylvia Regan on “Bowery After Dark”; Richard Rodgers and Osear Hammerstein II on “State Fair.” Miley Too Frank Miley's wife presented him with a baby girl the other For which congratulations. Frank manages the Granada, Naj panee, Ontario.