Canadian Film Weekly (Jul 24, 1946)

Si chp amen ae ee ee Page 4 To Clear Toronto Booking Tie-Up (Continued from Page 1) dents in the sub sub runs, meant that films were in arrears more than a year. Every type of product got a chance and reissues occupied much screen time. Now both Famous Players and B&F have revised their policies according to the situation affected. Neighborhood houses will increase the number of program changes from two to three each week, at the same time double bills will become the rule. The circuits will also waive their rights to certain pictures and the Independent operator will play these first in his zone. Clearance between engagements will be shortened considerably and in some instances will approach that formerly in effect, although time will prove how well present remedies will work out. The circuits and distributors are entitled to the appreciation of the Independent exhibitors in Toronto for their efforts o relieve the booking situation. One of the major benefits of easonable clearance will be in publicity, for the Independent and sub run operator’s task of selling a film to the public will be easier if its promotion campaign is still remembered. "13 Rue Madeleine’ Filmed In Quebec Chateau Frontenac and the Legislative buildings in Quebec City will be the locale for many of the scenes in 20th CenturyFox’ “13 Rue Madeleine.” Outdoor shots will also be made of picturesque French buildings for atmosphere for the film. Henry Hathaway, director, and James Cagney and Annabella, stars, are included in the location unit at Quebec City. VOCALITE SCREENS Five times more sound permeability. One-third more light. Vocalite Sound Screen is the result of a series of intensive and costly experiments which have resulted in the production of the finest sound screen made. Flexible plastic coated, flameproof. PERIGINS COMPANY CATT ED ant 977 VICTORIA STREIT TORONTO Canadian FILM WEEKLY Ex-Toronto Man On Top In 1921 a young man who lived in a modest downtown block almost in the shadows of the Pantages Theatre (now the Imperial) and the buildings of the film industry in Toronto moved to Los Angeles. As it turned out, had he stayed and developed here as there, he would be a powerful man in the Canadian motion picture industry of today. His name is Harry M. Popkin. Instead of going a few hundred yards to the east to begin his career, he went 3,000 miles to do the same things they were doing that much nearer home. It was not a matter of personal judgment which brought him to Los Angeles, for he was 15 years old, but likely the desire of his parents to live there. But it led to Harry beginning a business life which to date has brought him a circuit of 39 theatres in California and made him a producer, first of Negro films for Negro theatres and now a million-dollar production through his Own company, Cardinal Films. Born in New York City in 1906, the son of Jacob and Sadie Popkin, Harry was brought to Toronto at the age of five. His Toronto education took place in McCaul Street Public School and Jarvis Collegiate Institute. He completed his share of education at Lincoln High, the University of Southern California and the University of California. In 1921 he got his first job in show business as an usher, sweeper, etc., rose to be manager, saved his money and bought a “shooting gallery” named the Olympus. He parlayed it to 39, which included the circuit run by Abe Gore, who gave him his first job. Popkin’s exhibition activities are carried on as the Popkin and Ringer circuit, although his first loop, of which the Olympus was the foundation, was known as the Eastland Theatres. For a long time he was a leading sports promoter on the West Coast, the Olympic Auditorium, Los Angeles having been under his direction. He also controlled burlesque houses. Popkin’s first film for general theatres was “And Then There Was None,” which was distributed by 20th-Fox. His next will be “Sheila” and after that will come “Impact.” Married in 1924 to Frances Seligman, he has a daughter, Betty Stone, and a new grand-daughter, Linda Minette. I know him to be a pretty nice fellow, although I have never met him. During the depression which stretched from 1929 to the second year of the war many a local lad strayed far afield in an endeavor to find a job. Several found a good living in those precarious times as managers for theatres owned by Popkin. Some still hold those jobs. He was up this way, they tell around the old neighborhood, a while back and may make the trip again soon to visit relatives. Ms nt * HARRY POPKIN Mervyn Thanks Them Mervyn Goldstone, Empire-Universal booker, has reason to be grateful to ‘the boys in the business—and he is in a big way. His wife recently presented him with a son. She became ill and blood donors were needed. Mervyn sent out a call and 13 who heard about it answered in one afternoon. Others kept calling up but too late. Blood from seven was used. The rest contributed theirs to the blood bank. Merv’s wife is well, the lads are happy and everything is fine. (iat souen Para’s California’ Barbara Stanwyck, Ray Milland and Barry Fitzgerald are starring together in Paramount's Technicolor drama of the gold rush era, “California.” Caesar In New Pic Sid Caesar, who scored a personal triumph in “Tars and Spars,’ has been given the top laugh role in Columbia’s “My Empty Heart.” July 24, 1946 UK Telev n Fight Casts Shadows? (Continued from Page 1) distributors and the British Broadcasting system. Exhibitor representatives on the Renters’, Exhibitors’ and Producers Joint Committee have been ordered to demand the right to cancel their contracts with distributors (renters) if movies scheduled for showing in their houses are used in the BBC television service. They will take this stand at the forthcoming discussion of the relationship of the film to television, to be carried on by their committte and BBC officials. The BBC is frank about its desire to use movies, having made an offer to all newsreel companies for the right to use their films. So far 12 cartoons and four documentary shorts have been shown through television. There is a likelihood that British producers may find themselves at odds with the BBC, which may enter the field of film production if present experiments turn out well. Entertainment films produced by the BBC for television use may later lessen the value of films produced for commercial theatres, the competition being strong. Future activities of the BBC may reduce the financial attractiveness of commercial film production and exhibition. Not only has Canada an equivalent of the BBC in the CBC, but there is the National Film Board, also a government agency. It is not impossible that, for the sake of economy in the future fields of federal radio, television and films, that the three may be brought together. At present the CBC, under its charter, controls television as well as private radio in this country, a fact which has led to bitter wrangling. The 81 independent stations, some 50 of which have CBC hookups, are asking the Parliamentary Committee on Radio Broadcasting, now sitting, to create a board of appeal with power to interpret, amend, or rescind CBC regulations. The stations are members of the Canadian Association of Broadcasters, whose president and spokesman, Harry Sedgwick, is the head of CF RB, Toronto. Many Canadian film men agree that the situation in Britain, which is far ahead of Canada in television development, will be paralleled in Canada when movies and television have reached the same relationship here as they have there. Bob Hope Picture Bob Hope’s next film at Paramount is “My Favorite Brunette.”