Canadian Film Weekly (Aug 23, 1944)

Page scan 0002 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Aug 23, 1944
Volume:
Canadian Film Weekly (Aug 23, 1944)
Leaf #:
0002
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Hollywood Studio System, Global Cinema, and Canada
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 01, 2024
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THE PICK OF |} | THE PICTURES Vol. 9, No. 34 Are These Our Parents? with Helen Vinson Monogram 73 Mins. MELODRAMA WITH EXCELLENT EXPLOITATION POSSIBILITIES PACKS BOX OFFICE APPEAL. Here is an offering with excellent exploitation possibilities and boxoffice appeal. It deals with thrill-seeking parents who neglect their children and then wonder why their offspring get into difficulties. William Night turned in a good job of directing, while Producer Jeffrey Bernerd’s showmanship makes itself felt. Noel Neill, who has been under contract tq Paramount, does splendid work_as the daughter, who has been neglected by her twice-married mother, Helen Vinson. Richard Byron, recruited from the New York stage, gives a convincing performance as the son of Anthony Warde, an important defense plant man, who neglects Richard. Helen Vinson, Lyle Talbot, Addison Richards, Ivan Lebedeff, Emma Dunn, Robin Raymond, Emmett Vogan, Claire McDowell and Ian Wolfe furnish their usual reliable performances, while John Calvert, the magician, makes a good impression. Bored with her finishing school routine and neglected by her mother, Helen Vinson, a career woman, Noel Neill goes to a roadhouse, which is raided by the police. She escapes, but Addison Richards, juvenile officer, learns of it and informs Miss Vinson of the escapade. Starved for affection Noel meets Ivan Lebedeff, violinist and night club owner, who has been making love to her mother. Ivan had promised to marry Jean Carlin, but when Jean’s father, John Calvert, learns Lebedeff had been toying with his daughter, he murders him. Suspicion is placed on Noel and Richard Byron, who had fallen in love with her, but Richards reports the real murderer has been found. Hilary Lynn wrote the story and Michel Jacoby the screenplay. 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One of her sisters, Dorothy Lamour, who is also in a romantic lather over MacMurray, advocates that they follow the “borrowing” bandleader to Brooklyn and collect the $190. From this point the footage rains comedy and complications, what with the girls on the same nightclub program with the ork-leading wolf who finally marries Dorothy Lamour and his manager weds Betty Hutton. CAST: Derethy Lamour, Fred MacMurray, Betty Hutton, Diana Lynn, Mimi Chandler, Raymond Walburn, Eddie Foy, Je., Frank Albertson, Mikhail Rasumny, Frank Faylen, George McKay, Harry Harris, Donald Keer, Perc Launders, Tom Kennedy. DIRECTION, Splendid. PHOTOGRA PHY, Excellent, The Eve of St. Mark with Anna Baxter, William Eythe 20th-Fox 96 Mins. MAXWELL ANDERSON PLAY REACHES SCREEN AS MOVING AND STIRRING WAR DRAMA WITH A MESSAGE. As a sincere and earnest attempt to give expression to the American spirit and to encourage faith in the justness of our cause in the struggle against tyranny the film version of the Maxwell Anderson play definitely deserves the attention of every American able to think. “The Eve of St. Mark” is a human, moving film shot through with warm comedy and vivid drama. For a film possessing a war background it has a peculiarly strong appeal to feminine hearts, due chiefly to powerful emotions engendered by much of the footage. That the picture is able to hold the interest so well so long after the events of which it teats speaks eloquently for the way in which the story has been told, produced, directed and performed. The Philippines campaign, with which the film deals in its closing chapters, may be dead news by now but the ideals which were involved are true and eternal. 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CAST: Anne Baxter, William Eythe, Michael O’Shea, Vincent Price, Ruth Nelsen, Ray Collins, Stanley Prager, Henry Morgan, Robert Bailey, Joann Dolan, Toni Favor, George Mathews, John Archer, Murray Alper, Dickie Moore, Joven E. Rola, Harry Shannon, David Essex, Arthur Hohl, Roger Clark, Jimmy Clark. DIRECTION, Fine. PHOTOGRAPHY, REVIEWS IMFORMATION FP RATINGS ' $2.00 Per Annum Ladies of Washington with Sheila Ryan, Trudy Marshall, Ronald Graham 20th-Fox 61 Mins. MODEST DRAMA OF WASHINGTON SCENE NEVER RATES BETIER THAN FAIR ENTERTAINMENT. Definitely one of 20thFox’s lesser accomplishments, “Ladies of Washington” is a run-of-themine drama that stirs no more than mild interest. The film offers signs of having been turned out in a jiffy without much regard for plot development or for logic. The Washington background and the allurement of the title are the production’s prime assets for drawing trade. 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One of them is a doctor (Robert Bailey) who is in love with her; another is a medico (Ronald Graham) who is engaged to a Spar friend of hers (Trudy Marshall). The end finds Miss Ryan in an institution. Louis King has given the film spiritless direction. William Girard accorded the subject a no better production than the Wanda Tuchock screenplay merited. At no time does the yarn place too much strain on the acting talents of its cast. CAST: Trudy Marshall, Ronald Graham, Anthony Quinn, Sheila Ryan, Robert Bailey, Beverly Whitney, Jackie Paley, Carleton Young, John Philliber, Robin Raymend, Doris Merrick, Barbara Booth, Jo-Carroll Dennison, Lillian Porter, Harry Shannon, Ruby Dandridge, Charles D. Brown, Pierre Watkin, Nella Walker, | ne: Gest, Rosalind Keith, Edna Mae es. hentai Fair. PHOTOGRAPHY, ——<—. l ee