Canadian Film Weekly (Feb 7, 1945)

Page scan 00010 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Feb 7, 1945
Volume:
Canadian Film Weekly (Feb 7, 1945)
Leaf #:
00010
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 15, 2024
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THE PICK OF THE PICTURES rs VOICE of the CANADIAN MOTION PICTURE INDUSTRY REVIEWS INFORMATION RATINGS Vol. 10, No. #& REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum Hollywood Canteen with all-star cast 124 Mins. LAVISHLY PRODUCED MUSICAL CERTAIN TO GET THE BIG DOUGH. Prodigal in its entertainment values, “Hollywood Canteen” is one of the box office behemoths of the year. The exciting Alex Gottlieb production, which employs every device in its efforts to divert, is enjoyable every moment of its lengthy footage. The quality of the entertainment is as big-time as the names of those in the cast. The studio has scoured the lot and called in the services of a world of outside talent to make the film a gilt-edged investment. The cast roster is one of the most impressive ever assembled for a film. Every taste is catered to by the show put on by these topflight performers. Musical and specialty numbers abound, with comedy playing a big role in the film’s success. The film has a fetching story so utterly romantic that the women wil go for it in a big way. It’s about a soldier (Robert Hutton) who meets a movie. star (Joan Leslie) in the Hollywood Canteen and falls in love with her. The other important character in the story proper is a buddy of Hutton’s played to the hilt by Dane Clark. Delmer Daves has contributed fine direction and a sound screenplay. CAST: Andrew Sisters, Jack Benny, Joc E. Brown, Eddie Cantor, Kitty Carisle, Jack Carson, Dane Clark, Joan Crawford, Helmut Dantine, Bette Davis, Faye Emerson, Victor Francen, John Garfield, Sydney Greenstreet, Alan Hale, Paul Henreid, Robert Hutton, Andrea King, Joan Leslie, Peter Lorre, Ida Lupino, Irene Manning, Nora Martin, Joan McCracken, Dolores Moran, Dennis Morgan, Janis Page, Eleanor Parker, William Prince, Joyce Reynolds, John Ridgely, Roy Rogers and Trigger, S. Z. 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More than ordinary tenseness results from a combination of efforts that are definitely on the credit side. The film gains in force from the simplicity that has gone into the development of the plot. Those who cry for suspense in their films will not be disappointed in the least. The film offers a good vehicle for the exploitation of Charles Laughton’s dramatic talents. The actor creates a graphic picture of a man trying to foil detection for his wife’s murder in the commission of which the audience cannot but offer sympathy, considering that the woman is represented as a contemptible person who makes -existence miserable for him. Her treatment of him drives him to see happiness with Ella Raines, a lonely soul. His sense of decency is his undoing when he is led to believe that the wife of a blackmailer slain by him to safeguard his freedom has been arrested for her husband’s murder. Robert Siodmak, who has provided strong direction, has drawn fine performances from his entire cast. CAST: Charles Laughton, Ella Raines, Dean Harens, Stanley C. Ridges, Henry Daniell, Rosalind Ivan, Molly Lamont, Raymond Severn, Eve Amber, Maude Eburne, Clifford Brooke. CREDITS: Producer, Islin Auster; Director, Robert Siodmak; Screenplay, Bertram Millhauser; Adaptation, Arthur T. Homan; Based on novel by James Ronald; Cameraman, Paul Ivano; Musical Score, Frank Skinner; Musical Director, Frank Skinner; Art Directors, John B. Goodman, Martin Obzina; Sound Director, Bernard B. Brown; Set Decorators, Russell A. Gausman, E. R. Robinson; Film Editor, Arthur Hilton, DIRECTION, Good. PHOTOGRAPHY, Good. Universal “TEST FILM, 10,000 cycles 35 mm., with easy instructions, so that you can focus your Sound Lens in absolute precision and secure clear sound and the Maximum from your sound System. Just what many theatre owners have longed for! Bargain $6.60.” Three is a Family with Marjorie Reynolds, Charlie Ruggles UA-Lesser 81 Mins. RIPPING FARCE IS POTENT GLOOM CHASER WITH BIG B, O. 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PHOTOGRAPHY, G SAY ‘OF YOUR MONEY EE ELSE 8s lier PAGUCYCKS AKL CCli LEE HAIL: SUCCUES S na os LLCR & ERE ESKINE MAL * Js RRO RRO Cle: te DOMINION THEATRE EQUIPMENT CO 8937 DAVIE ST VANCOUVER BC \JE 20Z oR MORE Music in Manhattan with Anne Shirley, Dennis Day, Phillip Terry RKO 81 Mins. COMEDY, MUSIC AND ROMANCE MIXED TO THE TASTE OF THE AVERAGE FAN; GOOD DUAL BILL PROSPECT. There is enough stuff of popular flavor in this comedy with music to enable the film to give a good account of itself on dual bills. The plot is one that women particularly will relish since it deals heavily in romantics. For added palatability the story has a touch of spice which will not be lost on the men. The music is devised to make an impression on feminine hearts, having to do principally with matters of love. Considerable fun has gone into the telling of the story, which is developed with quite a bit of snap. Involved in the action are Anne Shirley, Dennis Day and Phillip Terry. Miss Shirley and Day are having a tough time trying to put on a musical show. Terry, Air Force hero, comes into the picture when, in order to get Miss Shirley air transportation to Washington, Raymond Walburn, musical director of the show, represents the girl as the bride of the AAF member. Circumstances compel Miss Shirley, an innocent party to the deception, and Terry to keep up the pretense of being husband and wife. Of course, Miss Shirley doesn’t escape accusation of trading on Terry’s fame to get publicity for her show. Finally the two have no choice but to get _married, with an understanding Miss Shirley can obtain an annulment later. The gal never goes through with annulment because she and Terry have fallen in love. That leaves Day out in the cold. Miss Shirley performs adequately. Pleasant is the word for Terry's work. Day is entrusted with much of the comedy. 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