Canadian Film Weekly (Aug 14, 1946)

Page scan 0006 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Aug 14, 1946
Volume:
Canadian Film Weekly (Aug 14, 1946)
Leaf #:
0006
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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1 THE PICK OF ] THE PICTURES REVIEWS INFORMATION RATINGS Vel. 11, No. 33 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum The Dark Corner with Mark Stevens, Lucille Ball, William Bendix, Clifton (Webb, Kurt Kreuger 20th-Fox 99 Mins. THRILLING, EXPERTLY-FASHIONED MELODRAMA THAT WILL KEEP PATRONS ON EDGE OF CHAIRS. To call “The Dark Corner” a meller is like calling a diamond mere carbon. While the film falls in the chiller category of entertainment, it is so expertly directed and photographed, and its story so pulsating, it belongs among the rare attractions of its type. There is power and pace from the outset, and even though its salient situations are not new to the audience-eye, there is fresh impact to the footage. Henry Hathaway has more than concentrated on the main ingredients, for the incidental details frequently stand out to please and excite the onlooker. The photography by Joe MacDonald and the special photographic effects by Fred Sersen are admirably in key with the story, thus furnishing an atmosphere of stark reality. The cast is headed by a number of expert players, including Lucille Ball, William Bendix, Clifton Webb, Mark Stevens, Kurt Kreuger and Cathy Downs. Stevens the screenplay recounts, has had to “do time” in California, and the sinister forces which engineered his imprisonment follow him to New York when he sets up an office there with Miss Ball as his stenographer. While Kurt Kreuger is the immediate villain in the case, there is a far more powerful antagonist who employs a brutal-like detective to slay Kreuger and plant the blame on Stevens. The antagonist is an art dealer, Clifton Webb, who plans the murder of Kreuger because the latter and Webb’s wife are involved in an affair. The film has a rousing climax, which is quite a feat considering the tremendous tempo it maintains from start to finish. CAST: Lucille Ball, Clifton Webb, William Bendix, Mark Stevens, Kurt Kreuger, Cathy Downs, Reed Hadley, Constance Collier, Eddie Heywood and His Orchestra. CREDITS: Director, Henry Hathaway; Producer, Fred Kohlmar; Screenplay, Jay Dratler, Bernard Schoenfeld; Based on story by Leo Rosten; Cameraman, Joe MacDonald. DIRECTION, Excellent. PHOTOGRAPHY, Skilled, It Shouldn’t Happen To a Dog with Carole Landis, Allyn Joslyn 20th-Fox 70 Mins. MILDLY DIVERTING OFFERING WHICH COUPLES COMEDY AND MELODRAMATICS WITH FAIR RESULTS. It is difficult to decide whether this is a gangster film spiked with comedy or a comedy spiked with the doings of gangland. At any rate, it is alternately light and heavy stuff which should do well enough as _ entertainment for not-too-discriminating audiences. Allyn Joslyn plays the backfrom-war crime reporter who doesn’t like his assignment of writing yarns on atomic energy, and goes back to running down underworld stories. In the process of solving a _ perplexing mystery, he meets the comely Carole Landis, policewoman, who is on the same mission. At this point, the footage takes on the hue of a full blown dog story, for the blonde lady of the law owns an exceedingly astute Doberman who steps right up to steal the picture, even if the scenarist didn’t make sure it would be thus. The dog makes such a good centre of attraction that his ownership changes with at least every reel. At the finale, Journalist Joslyn and Policewoman Landis triumph over an evil gang leader, With the Doberman and a Brooklyn cop arriving in time to consolidate the victory. There are a number of laughs in the film, and some mild excitement, —but not enough of either to warrant tagging it as a really solid offering. CAST: Carole Landis, Allyn Joslyn, Margo Woode, Henry Morgan, Reed Hadley, Jean Wallace, Roy Roberts, John Ireland, John Alexander, Charles Tannen, Katheryn Card. CREDITS: Director, Herbert I. Leeds; Producer, ‘William Girard; Screenplay, Eugene Ling, Frank Gabrielson; Based on story by Edwin Lanham; Cameraman, Glen MacWilliams. : DIRECTION, Okay. PHOTOGRAPHY, Ditto. One More Tomorrow with Ann Sheridan, Dennis Morgan, Alexis Smith, Jack Carson Warner Brothers 88 Mins. PHILIP BARRY PLAY TURNED INTO FILM WITH SOCIAL CONSCIOUSNESS ASSURED OF SUCCESS BY CAST POWER. This new screen version of Philip Barry’s play “The Animal Kingdom,” which was first filmed by RKO Radio in 1932 under its original title, leans heavily on its cast. With such bright names as those of Ann Sheridan, Dennis Morgan, Alexis Smith, and Jack Carson to place patrons in a receptive mood, it’s no small wonder that the production can be depended upon to give a successful account of itself. The combined efforts of the players carry the film expertly over the bumps. “One More Tomorrow” is the story of a wealthy playboy who acquires social consciousness when he falls in love with a member of the staff of a tottering liberal magazine, which he immediately proceeds to place on a sound financial basis. When the gal turns him down, the guy allows himself to be hooked by a socialite interested solely in his money. The marriage proves a fiasco, matters being made worse by the liberal chick’s discovery that she’s been in love with the chump all along. A divorce is in the offing at the finale and happiness awaits the two liberals. The two liberal hearts beating as one belong to Ann Sheridan and Dennis Morgan. Alexis Smith as the wife and Jack Carson as Morgan’s comedy butler capture the acting honors, the latter stealing the film time and again. CAST: Ann Sheridan, Dennis Morgan, Alexis Smith, Jack Carson, John Loder, Jane ‘Wyman, Thurston Hall, Reginald Gardiner. CREDITS: Producer, Henry Blanke; Director, Peter Godfrey; Screenplay, Charles Hoffman, Catherine Turney; Based on play by Philip Barry; Cameraman, Bert Glennon. DIRECTION, ~ Good. PHOTOGRAPHY, Good. Vol. 11, No. 33 ag OLB / August 14, 1946 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 S cents each or $2.00 per year. Entered as Second Class Matter. Devotion with Ida Lupino, Olivia DeHavilland, Paul Henreid Warner Brothers 107 Mins. EMOTION -STIRRING DRAMATIC ENTERTAINMENT ABOUT BRONTE SISTERS IS RED MEAT FOR FEMME PATRONS. Around the literary Bronte sisters Warner Brothers has built a dramatic film strongly marked by sensitiveness and emotional feeling. Carrying much heart appeal, the production represents the sort of entertainment that makes a profound impression on feminine minds. The relationship that binds the sisters into a devoted writing triumvirate has been handled with a gentleness and an understanding that cannot but touch a woman’s heart and be capitaiized upon to the boxoffice advantage of the picture. The story of the three sisters —Charlotte, Emily and Anne—is a recital of genius trying to assert itself. ‘Devotion’ focuses the spotlight on two of the three Brontes — Charlotte, she who wrote “Jane Eyre,” and Emily, who authored “Wuthering Heights.” Anne is held in the background while the story recounts the race of Charlotte and Emily to keep their dates with destiny. There is an air of tragedy about Emily that lends a note of sadness to the proceedings. This should make the femmes hug the film closer to their hearts. Inserted in the story is a romance involving the two sisters and the new curate of their father’s parish. Emily’s love for the curate is consuming but in vain, for it is Charlotte to whom he loses his heart. Death eliminates Emily from the romantic triangle. The situation is one to add to the delicious sadness in which the women patrons will revel. The acting is all to the good. Ida Lupino and Olivia DeHavilland are Emily and Charlotte, respectively, the third Bronte sister being enacted by Nancy Coleman. Paul Henreid appears as the curate and Sydney Greenstreet as the author William Makepeace Thackeray. CAST: Olivia DeHavilland, Ida Lupino, Nancy Coleman, Paul Henreid, Sydney Greenstreet, Arthur Kennedy, Dame May Whitty, Victor Francen, Montagu Love. CREDITS: Producer, Robert Buckner; Director, Curtis Bernhardt; Screenplay, Keith Winter; Based on story by Theodore Reeves; Cameraman, Ernie Haller. DIRECTION, Good. PHOTOGRAPHY, i ; ' i { ' , { ; | ’ > oni