Canadian Film Weekly (Nov 10, 1943)

Page scan 0006 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Nov 10, 1943
Volume:
Canadian Film Weekly (Nov 10, 1943)
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

x IT'S ALWAYS FAIR WEATHER WHEN GOOD SHOWMEN AND GOOD SHOWS GET TOGETHER! "fgyount [UMUEC EXTRA PLAYING TIME [S THE ORDER OF THE DAY WITH PARAMOUNT PRODUCT! VOL. 2 (ADVT.) The Lowdown on the Production and Distribution of the Best Shows in Town! NO. 5 “True to Lite’ Proved Aisle-Roller « i : Dorothy Lamour as she appears in one of the colorful sequences in Paramount’s “Ridin’ Bigh,” with Dick Powell, Victor Moore, Gil Lamb, Cass Daley and Milt Britton and his Band. Hutton, Sullivan in "Incendiary Blonde" Barry Sullivan, stalwart young leading man from the New York stage, has won the coveted costarring assignment with Betty Hutton for “Incendiary Blonde.” He currently is playing the romantic lead opposite Dorothy Lamour in “Rainbow Island” and also played the highly important role of the psychiatrist in Paramount’s ‘‘Lady in the Dark.” In “Incendiary Blonde” Sullivan will portray a rough-and-ready gambler who loved Texas Guinan through the years of her brilliant rise from cowgirl star of the silent screen to Queen of Broadway in its gayest period. Barry Fitzgerald and Mary Phillips will play the father and mother of la Guinan. Films of laughs in “True to Life.” a great Paramount comedy. It is a hilarity wave that will inundate the Dominion. Already it has engulfed numerous previewers who have placed it on their lists of the ten funniest films of all time. This story of a family that goes on the air without knowing it is wacky but wise, ludicrous but shrewd. Audiences will laugh with father — Victor Moore—who can invent anything except a way to keep his daughter home nights. Patrons will start the proverbial aisle-rolling somewhere between his it’s-a11done with buttons kitchen and his one-man air raid alarm. Daughter Mary Martin is worth $1,000 a week—as story material for two radio serial writers. To get material without Mary’s know ing it, writer Dick Powell disguises himself as an indigent boarder. To get Mary without Dick’s knowing it, Franchot Tone disguises himself—very slightly— as a “wolf.” For an accomplishment so joyous and right, we salute Director George Marshall and Producer Paul Jones. They have given exhibitors a motion picture that is “True to Life’—and twice as funny. If you want the funniest picture of the year, Mr. Exhibitor, see the Paramount branch manager in your territory as soon as possible and arrange for your booking of “True to Life.” Paramount Prepares Two New Features Production of “A Medal for Benny,” Paramount's story of a war hero’s return to his home town, is being held up until Dorothy Lamour finishes work or “Rainbow Island.” B. G. De Sylva is trying to get Gregory La Cava to handle the directorial assignment. “Bring on the Girls,” a Navy musical formerly titled “True to the Navy,” will go before the cameras in early December. On Lists of Twelve Funniest @ oY All Time If, within a short time, you find people on buses and street corners suddenly breaking into uncontrollable guffaws, don’t start worrying about the mental state of the Dominion. These giddy citizens will merely be recalling their favorite ~ “Tyye to Life” is more than| "Caribbean Romance’ Comes Next The industry’s new sensation, Olga San Juan, is soon coming to Canada! Olga makes her CanaGian debut in the second of the Paramount Musical Parade pictures, “Caribbean Romance.” Photographed in lavish Technicolor, “Caribbean Romance” is Startlingly beautiful. Sixteen-yearold Olga San Juan adds her own inimitable color to an already more than colorful short subject. Mr. Exhibitor, check today with your nearest Paramount branch manager for a screening of “Caribbean Romance.’’ <& Rhapsody of Raves For ‘Hostages’ In the big republic to the south of us, Paramount’s “Hostages” continues to make the critics sit up and take notice. Consensus of press opinion seems to be that “Hostages” is “a film you will not forget quickly ... has all the elements of a real thriller... moves at a fast pace... it has a force and impact that cannot be denied .. . and it emerges in the end as one of the truly fine pictures of the day.” Seen for the first time in Canada will be Katinou Paxinou, “First Lady of the Greek Theatre.” Also making 2 great hit with the critics is Arturo de Cordova. Others in.the cast include William Bendix, who turns in a marvelous performance as Janoshik; Luise Rainer, twice an Academy Award winner; Paul Lukas, Oscar Homolka, Roland Varno and 2 host of others. The Gestapo tries to drive a wedge between the love of Luise Rainer and Arturo de Cordova in Paramount’s exciting drama, “Hostages.” Other leading actors include Katinou Paxinou, William Bendix, Paul Lukas, Oscar Homolka and Roland Varko.