Canadian Film Weekly (Jun 13, 1945)

Page scan 0002 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jun 13, 1945
Volume:
Canadian Film Weekly (Jun 13, 1945)
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 15, 2024
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THE PICK OF THE PICTURES | REVIEWS INFORMATION RATINGS Vol. 10, No. 24 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum The Three Cabelleros RKO-Disney 70 Mins. LIVE ACTION |AND ANIMATION COMBINED IN PIC THAT IS RIOT OF FUN AND COLOR. Once more Walt Disney has worked his magic to make the exhibitor the gift of a delightful piece of entertainment. From a popular point of view his latest feature easily outranks his others, being a potpourri of fun and frolic. The film, which combines live action and animation with remarkable results, allows’ the imagination to run riot, attaining flights of fancy that are amazing and fantastic. It moves at a dizzy pace in relating the adventures of three happy-go-lucky souls, Donald Duck, and two finefeathered friends from Latin America, Joe Carioca and Panchito, a cowboy. Disney employs colors with a profusion and a madness that leaves one breathless. Some of the effects achieved in Technicolor are out of this world. The production has no formal structure. This results in many surprises and mjny unexpected moments of hilarity. Not knowing what is coming next is what makes the film so intriguing and holds the attention so closely. Disney’s combinations of live action and animation are often startling. They rate the picture as a remarkable _ technical achievement. In these sequences Disney and his staff outdo themselves. “The Three Caballeros,” a worthy contribution to the goodneighbor policy, takes Donald on a visit to Mexico and Brazil, offering many interesting glimpses of the two countries, with beautiful girls galore appearing in some of the scenes. Donald picks up Joe Carioca and Panchito on the way and the three have a rollicking time. CREDITS: Producer, Walt Disney; Production Supervision and _ Direction, Norman Ferguson; Production Manacer, Dan Keefe; Sequence Direction, Clyde Geronimi, Jack Kinney, Bill Roberts: Story, Ernest Terrazzas, Ted Sears, Bill Peed, Ralph Wright, Elmer Plummer, Homer Brightman, Roy Williams, William Cottrell, Del Connel, James Bodrero: Musical Direction, Charles Wolcott, Paul J. Smith, Edward Plumb; Lyrics, Ray Gilbert; Art Supervision, Mary Blair, Ken Anderson, Robert Cormack; Process Effects, UB Iwerks; Film Editor, Don Halliday; Sound, C. O. Slyfield; Live Action Sequences Photographed by Ray Rennahan; Art Direction, Richard F. Irvine; Choreography, Bill Daneils, Aloysio Oliveira, Carmelita Maracci. DIRECTION, Excellent. PHOTOGRAPHY, the best. Practically Yours with Claudette Colbert, Fred MacMurray Paramount 90 Mins. NOVEL STORY OF AIR HERO TRUMPED WITH COMEDY SITUATIONS; DEFINITELY BOX OFFICE. Primed with sufficient production value and artful direction to give Colbert and MacMurray another topnotch starring vehicle, Norman, Krasna’s story will hereafter be identified, however, by the ‘‘kiss’” scene stolen by one Mikhail Rasumny in the role of an artistic photographer. The story contains several novel switches and gets under way after MacMurray, proclaimed an air hero, reveals to Peggy (Claudette Colbert), a former co-worker, that the name he uttered before he made a death plunge at a Jap carrier in the Pacific was “Piggy,” the name of his dog, not Peggy. They agreed to pretend at a romance since the entire nation’s sympathies were at stake. To defend her pride, Colbert ‘tells MacMurray that she is go ing to marry Gil Lamb,—obviously a lie. Fred teases her by taking Lamb along‘ on most of their dates. In spite of himself, however, Fred falls for Colbert and is tricked into a marriage before winding up his furlough. CAST: Claudette Colbert, Fred MacMurray, Gil Lamb, Cecil Kellaway, Robert Benchley, Tom Powers, Jane Frazee, Rose mary De Camp, Isabel Randolph, Mikhail Rasumny. CREDITS: Producer and Director, Mitchell Leisen; Story, Norman Krasna; Cameraman, Carles Lang, Jr.; Editor, Doane Harrison; Art Directors, Hans Dreier, Robert Usher; Set Decorator, Stephen Seymour; Musical Score, Victor Young; Songs, Sam Coslow; Sound, Donald McKay, Don Johnson; Associate Producer, Harry Tugend. DIRECTION, Fine. Swell. Theatre Supplies Short in USA Critical shortages of seating equipment, textiles, projection and sound equipment will prevent the construction, of additional new motion picture theatres in the USA in the immediate WEE PHOTOGRAPHY, future. = Mr. Emmanuel with Felix Aylmer United Artists 92 Mins. RANK SENDS GOOD DRAMATIC FILM TO OUR SHORES; AYLMER IMPRESSIVE IN TOP ROLE. This Two Cities Film production will bid for favor principally on the basis of its appeal to our sense of decency and fair play and its ability to arouse the indignation of all right-minded persons. The picture, produced with distinction by William Sistrom and directed with understanding by Harold French, is worthy dramatic entertainment somewhat handicapped by a theme that has lost its timeliness. Set in 1938, “Mr. Emmanuel” is the highly humanized story of an old English Jew’s search for the adored mother of a boy refugee, whose Jewish father died in 2 Nazi concentration camp. The Jew experiences the brutality of the Nazis before he is successful in accomplishing his mission. To spare the boy disillusionméent, he reports that his mother, who married a Nazi official and embraced Hitlerism, renouncing all ties with the past, is dead. Felix Aylmer is impressive as Mr. Emmanuel, bringing warmth and tenderness to the role. CAST: Felix Aylmer, Greta Gynt, Walter Rilla, Peter Mullins, Ursula Jeans, Elspeth March, Frederick Richter, Frederick Schiller, Maria Berger, Irene Mandl, David Baxter, Yvan DeLey, Norman Pierce, Myer Tzelnicker, Arnold Marie, Nell Ballantyne, Guy Deghy, Oscar Ebel schacher, Eric Freund, Milo Sperber, Lyonel Watts, Margaret Vyner. CREDITS: Producer, William Sistorm: Associate Producer, Herbert Smith; Director, Harold French; Screenplay, Louis Golding, Gordon Wellesley; Based on novel by Louis Golding; Cameraman, Otto Heller; Musical Score, Mischa Spoliansky; Film Editor, Alan Jaggs; Art Director, Norman Arnold; Sound Supervisor, Ernest Royls. DIRECTION, Good. PHOTOGRAPHY, Good. Plan Toronto House Twentieth Century Theatres have acquired a site near the corner of Dufferin Street and Wilson Avenue, Toronto, for the post-war erection of a 1200-seat theatre. Tol. 10, No. 24, June 13, 1945 HYE BOSSIN, Managing Editor Address all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. Published by Film Publications of Canada Ltd., 25 Dundas Square, Toronto, Ontario, Canada. Phone ADelaide 4317. Price 5 cents each or $2.00 per year. Entered as Second Class Matter. Printed by Eveready Printers Limited, 78 Wellington Street West, Toronto, Ontario. Salome, Where She Danced with Yvonne de Carlo Universal $0 Mins. TECHNICOLOR PIC HAS SOMETHING FOR EVERYONE; PRESENTS EYE-FILLING NEWCOMER. “Salome, Where She Danced” is an odd film that defies any attempt to catalogue it. Impressing with its Technicolor opulence, it is a hybrid that offers a little of everything. All the tried-and-true elements of enter tainment that have caught the fancy of audiences over the years are in evidence. The production has something to appeal to every taste, sacrificing a consistent story line in favor of being an entertainment catch-all. It seems only natural under the circumstances that the film should go off on many tangents. Audiences will not be able to resist responding enthusiastically to the physical production, a costly one. Settings and costumes, the latest word in lavishness, are important to the box office success of the film, which can be taken for granted in view of the nature of the diversion, often on the hot side. The film follows the colorful career of a dancer named Salome from Berlin to San Francisco in the years following the close of the Civil War. Her romantic doings play a vital part in making the picture a box office certainty. The one who finally gets her for keeps is a bandit oozing charm. In Yvonne de Carlo the film brings to the fore a newcomer who is definitely something for the boys. The girl carries the leading role ably. “Salome, Where She Danced” is the first film in an ambitious program planned for her by Universal. The young lady demonstrates she has the stuff to make a strong box office attraction. CAST: Yvonne de Carlo, Rod Cameron, David Bruce, Walter Slezak, Albert Dekker, Marjorie Rambeau, J. Edward Bromberg, Abner Biberman, John Litel, Kurt Katch, Arthur Hohl, Nestor Paiva, Gavin Muir, Will Wright, Joseph Haworth, Matt McHugh. CREDITS: Associate Producer, Alexander Golitzen; Director, Charles Lamont; Screennlay. Laurence Stallings; Based on story by Michael J. Phillips; Cameramen, Hal Mokr, W. Howard Greene; Musical Score, Edward Ward; Musical Director, Edward Ward; Art Directors, John B. Goodman, Alexander Golitzen; Sound Director, Bernard B. Brown; Set Decorators, Russell A. Gausman, Victor A, Gangeln; Film Editor, Russell Schoengarth; Dance Directer, Lester Horton. DIRECTION, Okay. PHOTOGRAPHIY, Fine,