Canadian Film Weekly (Jun 26, 1946)

Page scan 0004 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jun 26, 1946
Volume:
Canadian Film Weekly (Jun 26, 1946)
Leaf #:
0004
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 14, 2025
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Canadian FILM WEEKLY Page 5 Canada’s Bi-lingual Biz Booms as the amount of product increases. But French language films do not get the playing time in Montreal they would seem to warrant. While the Odeon suburban circuit has been highly successful with dubbed films, United Amusements uses few, if any. Hollywood films dubbed in French have proved more popular with the public than made-inFrance features, largely due to superior technique and stars of established appeal. A peculiarity of that type of exhibition is that films excessively talky and for that reason unenjoyable to English-speaking patrons, acquire superior earning power when their French prints are. played. People of Quebec who patronize English language features learn through word-of-mouth that a superfiuity of dialogue will tax their understanding of the tongue and stay away, biding their time until the arrival of the French version. While the public prefers the dubbed product, the exhibitor does not, since the other kind usually costs him less. American companies have found that the dubbed films not only help them regain lost revenue but make it possible to date English language features by doubling them with French. Dubbed films, although produced in Hollywood, are imported to Canada from France, in which country the native words have been put in the mouths of the characters. Originally dubbing was done in Hollywood but French law, in an endeavor to help domestic artists, now requires that it be done in France. Also, because import duty on prints from France is cheaper than on those from the USA, it is more profitable to bring them across the ocean. Leading Canadian source of French-produced films is FranceFilm, which operates a number of theatres in Quebec and books many others. During the war, when films stopped arriving from Nancy Guild Stars In Screen Debut Nancy Guild, whose name rhymes with wild, stars opposite John Hodiak in her first appearance on the screen in 20th Century-Fox’s “Somewhere in the Night.” Voted the newcomer of the month by a national fan magazine, Miss Guild was given an exceptional publicity buildup after Darryl F. Zanuck saw her first screen test several months ago and became convinced that she has the looks and ability to become a star. Companies Increasing Releasing Programs as Films Become Available for Market (Continued from Page 1) I'rance, the company drew an estimated backlog of almost 1,000 features for repeat showings. Shortage of new films opened the way for competition in the form of Hollywood product dubbed in preparation for the post-liberation French market. One of these films, brought in by the man who is credited with first recognizing the potentialities of the market, is said to have hurried participation of the other companies. The film, “All This And Heaven Too,” released in English in 1940 and first played in French in Quebec during 1943, was brought in as an experiment by Wolfe Cohen, at that time Canadian manager for Warner Brothers and now one of its top international executives. It has earned more revenue than any film which followed, al SERVICE. Te mn er meemepe es: Ads pent ven Ae : though it will likely be outgrossed by “Always in My Heart.” “All This’ was not the first dubbed film to play Quebec, nor was it the first from Warner Brothers. Regal distributed a dubbed film more than 10 years ago, while the first WB film to be offered was “Dodge City.” Exhibitors liked it but hesitated to make deals with a company which did not guarantee a flow _of product so distribution rights were transferred to France-Film. When it became apparent to Cohen that his company, because of the post-war French market, would have a program of such films he arranged to make it available to Quebec theatre operators. The leadoff film, “All This,” in which the French star, Charles Boyer, appeared opposite Bette Davis, did business large LOST BOX OFFICE RECEIPTS By keeping your equipment in good running order you are keeping up your Box Office Receipts. Safeguard them with DOMINION SOUND Dominion Sound Equipments LiIMIiTEeo Head Office: 1620 Notre Dame Street West, Montreal Baancutsar MALIFAR TORONTO WinniPecoe A National Theatre Service, such as maintained by Dominion Sound Equipments Limited, means — an organization with a specially trained personnel to provide regular and emergency technical service, equipment and supplies for theatres. REGINA caircary vVancouvee enough to provoke general trade interest. Warner Erothers is the only company which distributes French short subjects, although the Quebec market is now being eyed by others in the brevities business. Of the 270 films made in France during the war, 120 will come to France-Film, according to an earlier announcement, and 50 more are being negotiated for now. France has produced 50 films since the war ended. Newest Canadian Company to enter the French-Canadian market is Distribution Enregistree, Montreal, formed by J. A. DeSeve, former general manager of France-Films. DeSeve, whose offices are in the Transportation Building, was recently in France seeking product. He also heads Renaissance Film, Incorporated. Eagle-Lion of Canada will also make French-produced films available to Quebec exhibitors, this company having a schedule of 20 acquired from French Gaumont by J. Arthur Rank. Some of the others will offer dubbed versions exclusively and some both. Metro has released 15 dubbe:l or originally voiced in French and will bring in 12 more; Columbia has 12 in release and more coming; Fox released 10 during 1945-46; Empire-Universal has 15 in circulation or ready for release; RKO will have about 20; Warner Brothers has 29 in circulation and plans on offering about 12 more; Paramount has six and more on the way; Monogram has one; and Alliance Films several. United Artists and PRC expect to compete shortly. During 1944 Quebec contained 225 of Canada’s 1,298 theatres, total admissions to which reached $10,983,139. The province was second to Ontario, which held 409 theatres grossing $22,542,943. Canada’s grand gross during 1944 was $53,173,325. Charles Butterworth Dies Of Injuries Charles Butterworth, noted film comedian, died recently as a result of injuries received when his car skidded and hit an electric light standard in Los Angeles. Born in South Bend, Indiana, he graduated from Notre Dame College with an LL.D., and pre: vious to making his screen debut in 1930 in “The Life Party,” he was a newspaper reporter and stage actor, Among the last of his many films were “Dixie Showboat,” “Follow the Boys" and “This Is The Army.” of the. °F a TTT ee zz = ——————— enn