Canadian Film Weekly (Jun 4, 1947)

Page scan 0008 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Jun 4, 1947
Volume:
Canadian Film Weekly (Jun 4, 1947)
Leaf #:
0008
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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THE PICK OF |) THE PICTURES | Vol. 12, No. 23 = Easy Come, Easy Go with Barry Fitzgerald, Dlana Lynn Paramount 7 Mins. SIMPLE, EARTHY, CATCHINGLY COMIC TALE OF THIRD AVE. BRANCH OF THE IRISH FREE STATE. IT'S ALL FITZGERALD AND GOOD ENTERTAINMENT. County Third Avenue is that part of transplanted Hire that lies between Lexington and Second Avenues. One can peregrinate the district and hearken to the ould sod. Therein is Himself, and Connie and Kevin; Tom, Mike Gilligan, Clancy and Nick, the Greek bookie. It’s in again, out again, Patrolwagon, that is, for these characters. So brazen they are they make bets in night court and pay off between lectures by the magistrate. Himself operates a hoarding house tenanted by a fine assortment of types. Connie, his daughter, is a spankingly charming colleen, courted by Kevin and the local cop. Himself does not see her taking up with either of them and he plays the two spalpeens against each other. Aye, ’tis a State. ' Himself does not hear voices, but the trumpet sound “At the Post.” His literature is the racing Sheet. His dream fortune deriving from bangtails. Himself is Barry. Fitzgerald and he has a lark in this story that never once departs simplicity in treatment or attempts tomfoolery in the higher ecoNomic brackets. The folk could very possibly be real and as they are based on John McNulty’s Sketches, very probably are real. It is a good entertainment and heartily recommended to give entire satisfaction all around. CAST: Barry Fitzgerald, Diana Lynn, Senny Tufts, Dick Foran, Frank McHugh, Allea Jenkins, John Litel, CREDITS: Producer, Kenneth Mackowan; Director, John Farrow; ScreenPlay by Francly Edward Faragoh, John MeNulty, Anne Froelick; Cameraman, Daniel L, Fapp, _DIRECTION, Foine, PHOTOGRAPHY, Verra Gud. 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It is in the nature of a confessional, for Bogart tells it all to the chaplain, from the beginning up to a certain point — that’s where he came in — and then the plot picks up from that point to its whirlwind finish, for he takes off without waiting for the padre’s advice. * En route to Washington with William Prince, Paratrooper Captain Bogart reads his sealed orders. They are to be decorated. Prince is to get the CMH. When Prince learns this he departs the train, but quickly. Later, Bogart finds his charred body in a Gulf ‘town. He liked the kid, jumped, fought and lived with him. So he tracks down the case. A would-be aide is done in before he can deliver an important letter from the deceased sergeant. Bogart meets Lizabeth Scott, ‘Prince’s past amour. They are both temporarily incapacitated via mickeys. On reviving they join forces and while Bogart is not for a minute fooled by surface appearances, he continues to seek the letter. To this end he takes a severe beating. Eventually he escapes and the tables are more or less turned. Before he can make his strike he develops a romance with Miss Scott and there is every indication that things are shortly to be put in order. However, such is not the case, and the audience is in for a bit of a shock when the final sequence comes around. CAST: Humphrey Bogart, Lizabeth Scott, Morris Carnovsky, Charles Cane, William Prince, Maryin Miller, Wallace Yord. CREDITS: Producer, Sidney Biddell; Director, Joha Cromwell; Screenplay by Olver H. P. Garrett from a story by Gerald Adams and Sidney Blddell; Camcrumun, Leo Toyer. DIRECTION, Very Good, NAPHY, Fine. PHOTOG REVIEWS FROM FILM DAILY, NEW YORK am o The Shocking Miss Pilgrim with Betty Grable, Dick Haymes 20th-Fox 85 Mins. DELIGHTFUL, BREEZY ENTERTAINMENT: HAS TUNES, COLOR AND SMART COMEDY, -PLUS. Here is a smart, gay romp in Technicolor. It should do very well for itself. Miss Grable is her pert, beautiful self. Dick Haymes sings and emotes to good advantage. The story is a novel treatment of the boy-meets-girl routine. Backgrounding these is the Boston of the 1870’s which comes in for satirical story handling that results in much laughter. Add these all up and you have something to keep the boxoffice busy. And, additionally, there’s the musical content by ‘the late George Gershwin, lyrics by brother Ira. Maybe in Boston they won’t like it. Then again maybe they will. It kids the pants off the people, city, institutions, but good-naturedly, without distorting the truth. Technicolor lends enhancement to the proceedings and gives the story a good deal of optical appeal. The casting was shrewd. ‘Lhe people in the supporting roles render their parts to fine effect. Miss Grable graduates from a New York business school and goes to Boston to take up a job in the office of Haymes’ shipping firm as a female “typewriter.” It is a man’s world. The period was noted for the budding of suffragettes. Anne Revere sees to it that Miss Grable holds her job against the wishes of Haymes, her brother. In good time romance ripens between the two principals and then there is a falling out due to differing opinions on woman’s place in the world. After a good deal of light to medium furor the lovers are together and see each other's points of view. It is all told neatly, humorously. It warms to the matters at hand, dismisses them charmingly. CAST: Betty Grable, Dick Haymes, Anne Reverc, Allyn Joslyn, Gene Lock hart, Elizabeth Patterson, Elisabeth Risdon, CREDITS: Producer, William Perlberg; Director, George Seaton; Story by Ernest ant Frederica Mans; Musle, George aad Ira Gershwin; Cameraman, Leon Shamroy, DIRECTION, Good, PHOTOGRAPHY, Facellent, REVIEWS INFORMATION RATINGS $2.00 Per Annun\ NE ES Nora Prentiss with Ann Sheridan, Kent Smith Warners 111 Mins. FiNE BET FOR THE FEMME TRADE. HAS EARMARKS OF EFFORT, APPLICATION AND SKILL IN HANDLING DELICATELY SHADED STORY. Something of “The Way of All Flesh,’ this one is a _ potent story, building to intense denouement. The basic triangle leads to a dead end and the moral tone of the play strikes a profound note. Ann Sheridan, Kent Smith, Bruce Bennett and Robert Alda play the lead roles with ease. Kent Smith, family man and doctor, is held in check by the domestic severity of his wife. Miss Sheridan comes into his life after a traffic accident. She makes a telling impression with her cynicism, gaiety, and introduces him to night life. This leads to an affair which is threatened with termination when Miss Sheridan is offered a singing job in New York. Smith has every intent of accompanying her but there is no chance until a patient dies in his office. The man physically resembles Smith. He changes identity and arranges an accident. He leaves San Francisco and ac companies Miss Sheridan to New York under an assumed name. Miss Sheridan is in ignorance of his move. She believes that he made a clean break with his family. It soon comes about that Bruce Bennett believes Smith was murdered. Police investigation follows. Smith and Miss Sheridan are soon leading the life of the hunted. J ealousy flares up between Smith and Alda, the latter a nitery operator. Following a brawl, Smith is arrested following a drunken escapade with Alda’s car in which he is disfigured by burns when he smashed the vehicle. The police arrest him. He is returned to the coast to stand trial for murder — of himself. He is found guilty, sentenced to death, Throughout the trial he never utters a word in defense. CAST: Ann Sheridan, Keat Smith, Robert Alda, Bruce Bennett, Rosemary DeCamp, John Ridgely, Robert Arthur. CREDITs: Producer, Wiliam Jacobs; Director, Vincent Shermaa; Screenplay by N. Richard Nash from a story by Paul Webster and Jack Sohell; Cameraman, James Wong Howe, DIRECTION, Very Good, PHOTOGRAPHY, Excellent,