Canadian Film Weekly (Nov 29, 1944)

Page scan 0008 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Nov 29, 1944
Volume:
Canadian Film Weekly (Nov 29, 1944)
Leaf #:
0008
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 os OP -_ REVIEWS INFORMATION RATINGS Vol 9, No. 48 oe Irish Eyes Are oe oe Smiling with June Haver, .Dick Haymes, Monty Woolley 20th-Fox 90 Mins. LAVISH MUSICAL SHOW ABOUNDS IN POPULAR ENTERTAINMENT; HAYMES CLICKS HEAVILY. Twentieth-Fox has applied its sure-fire musical formula once more with huge success. In “Irish Eyes Are Smiling” it has contrived a show that bulges with popular entertainment. None of the company’s musicals has stirred a stronger sense of nostalgia than the current exhibit. In telling the highly romanticized story of Ernest R. Ball, the composer of popular ditties who was all the rage in the era preceding the first World War, the film brings back to life a whole world of sentimental songs, including the one inspiring the title of the film. The story details Ball’s romantic and financial ups and downs in the pattern made familiar by 20th-Fox. Dick Haymes makes a charming fellow of Ball, with June Haver appearing extremely fetching as the love of his life. Monty Woolley is his usual vitriolic self as a theatrical impresario. Leonard Warren and Blanche Thebom of the Met contribute several distinguished musical interludes. Damon Runyon gave the film a lavisch Technicolor production. Gregory Ratoff directed ably. CAST: June Haver, Dick Haymes, Monty Woolley, Anthony Quinn, Beverly Whitney, Maxie Rosenbloom, Veda Anna Borg, Clarence Kolb, Leonard Warren, Blanche Thebom, Chick Chandler, Kenny Williams, Michael Dalmatoff, Marion Martin. CREDITS: Producer, Damon Runyon; Director, Gregory Ratoff; Screenplay, Earl Baldwin, John Tucker Battle; Based on story by E. ,A. Ellington; Cameraman, Harry Jackson; Dance Director, Hermes Pan; Art Directors, Lyle Wheeler, Joseph C. Wright; Set Decorators, Thomas Little, Al Orenbach; Film Editor, Harmon Jones; Special Eects, Fred Sersen; Sound George Leverett, Roger Heman; Musical Directors, Alfred Newman, Charles Henderson. DIRECTION, Good. PHOTOGRAPHY, Fine. New Tenders Called For WB Exchange Plans are being revised for the construction of the new Warner Brothers $85,000 film exchange building to be located at the corner of Church and Carlton streets, Toronto. New tenders were called last week by ’ architect H. G. Duerr, ~ REVIEWS FROM FILM DAILY, NEW YORK eo Mademoiselle oe oe Fifi with Simone Simon RKO 69 Mins. DE MAUPASSANT IS SOURCE OF PATRIOTIC TALE OF FRANCE THAT IS CLASSED AS GOOD DRAMATIC FARE. RKO has gone to Guy de Maupassant, that giant of French literature, for material for a story that provides a parallel for the situation that obtains in France today. The picture shows that the problem that faced the French people in 1871 was not dissimilar to that facing them during the recent German occupation of the country. Audiences should respond favorably to what it has to say. The film, employing drama effectively, deals with French resistance to the German conquerors, following the end of the Franco-Prussian war. Drawing upon several of de Maupassant’s patriotic tales, principally ‘Mademoiselle Fifi,’ the film weaves a simple yet interest-sustaining story around a group representing a cross-section of the France of the day. The spirit of French resistance to the Prussians is personified by a little laundress who refuses to have anything whatever to do with the invaders of her country. The girl’s attitude proves an inconvenience to a group of fellowpassengers traveling by coach when a Prussian officer interrupts their journey and refuses to let them go on until the little patriot consents to indulge in a bit of private conviviality with him. The girl finally gives in for the sake of the others. The Prussian officer later meets his death at her hand during a party in which she is forced to participate. She escapes with the help of a fellow patriot, becoming the first in her village to strike a blow for France. The film was produced acceptably by Val Lewton, with Robert Wise directing. The screenplay is the work of Josef Mischel and Peter Ruric. Atmospherically the production has considerable in its favor. CAST: Simone Simon, John Emery, Kurt Kreuger, Alan Napier, Helen Freeman, Jason Robards, Norma Varden, Remaine Callendar, Fay Helm, Ermund Glover, Charles Waldron, Mayo Newhall, Lillian Bronson, Alan Ward, Daun Kennedy, William Von Wymetal, Max Willenz, Marc Cramer, John Good. DIRECTION, Okay. PHOTOGRAPHY, Greed, . Babes on Swing Street with Ann Blyth, Peggy Ryan, Leon Errol | Universal 70 Mins. YOUNG TALENT HAS FIELD DAY IN MUSICAL THAT IS KID STUFF. Here is another of those modest Universal musicals in which youthful talent is allowed to romp to its heart’s content. The footage is lavishly stocked with the sort of material that meets with the favor of the young folk. The story follows the pattern to a “t.” It’s the old one about a bunch of young moderns struggling to put on a show, with an unsympathetic old fuddy-duddy offering the main obstacle to their ambition. The film boasts a highly spirited cast. 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Gregg, V.C., president of the University of New Brunswick, who was in the film and theatre business for several years after the Great War, recently received an honorary doctorate in civil laws from Acadia University. Acadia is his alma mater. H. Hitchinson Resigns From Strand, Ham't'n Harold Hitchinson recently resigned as manager of the Strand Theatre, Hamilton, Ontario, a Famous Players house, because of ill health. Long associated with FPCC, he started with the company as treasurer of the old Strand Theatre, Toronto and later managed several Famous houses before going to the Hamjlton position. _ $2.00 Per Annum The Impatient Years with Lee Bowman, Jean Arthur, Charles Coburn Columbia 91 Mins. A TIMELY FILM MESSAGE OF SOCIAL SIGNIFICANCE EXPERTLY HANDLED TO ADD THOUGHT TO ENTERTAINMENT. What appears to be the forerunner of film editorials that will be fashioned to cope with and exploit current and post-war problems should indeed be credited to the producers of “The Impatient Years.” Here is an “entertaining” treatment of what might appear to be an unusual case. Although the similarity of situations that may arise is unpredictable, however probable, it serves as a thought-bearer of problems which will have to be met. This is the story of a soldier who returns to the girl he married, having met and known her for only four days of a whirlwind courtship, and the baby he has only seen in photographs. A strained strangeness leads them into a divorce court which is remedied at the suggestion of the girl’s father, who prevails upon the judge to withhold decision until the couple have tried to relive those four days to capture the spark which brought them together. CAST: Jean Artuhr, Lee Bowman, Charles Coburn, Edgar Buchanan, Charley Grapewin, Phil Brown, Harry Davenport, Jane Darwell, Grant Mitchell, Frank Jenks, Frank Orth, Charles Arnt, Robert Emmett Keane. CREDITS: Produced cand Directed by Irving Cummings; Original Screenplay and Associate Producer, Virginia Van Upp; Cameraman, Joseph Walker; Film Editor, Al Clark; Art Director, Lionel Banks and Cary Odell; Set Decorator, Rose Dowd; Assistant Director, Abby Berlin; Musical Score, Martin Skiles; Musical Director, M. W. Stoloff; Sound, Ed Bernds. DIRECTION, Fine. Good. Altman Prexy of Warners HO Club The Toronto branch of the Warner Club recently elected the following new officers for the 1944-45 season: George Altman, president; Joseph Plottel, vicepresident; Eva Cohen, vice-president, membership; Theresa Mancino, secretary; Charlotte Batcher, treasurer; Joseph Plottel, chairman, contributions and loans. The following are on the entertainment committee: Joseph Plottel, William McGuire, Jack Sherwin, George Altman, Christine Grant and Sam Shapero. PHOTOGRAPHY,