Canadian Film Weekly (Dec 3, 1947)

Page scan 0004 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Dec 3, 1947
Volume:
Canadian Film Weekly (Dec 3, 1947)
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE PICK OF THE PICTURES | Lost Honeymoon Tone, Ann Richards, Tom with Franchot © Conway tributors 71 Mins. Interna CONCOCTED COMEDY Cr IARRIAGE, FATHERHOOD, AMNESIA HAS PACE AND SPARKLE. Starting in London, this tale immediately skips to Rochester, NY, and at once the eyebrow-lifting comedy aspect of the number “1c to make itself known. Franchot Tone, an architect, is planning to wed Frances Rafferty when Ann Richards arrives on the scene with a pair of twins— Tone’s. Seems he was married in England whilst suffering from amnesia. and returned from military life disremembering any part of it. Bryan Foy’s production of this story utilizes first-grade ingredients and the laughter comes spontaneously. A sneak preview audience at a Times Square house responded ta every facet of the humor and fairly screamed at the concluding gag. Ann Richards brings the children over. She is not their mother, who was killed in the blitz. She fakes a passport to give the children over to their proper parent’s care. She poses as the missing wife. In Rochester there’s a comedy of errors, mistaken identities and the like which plays hob with Tone’s and Miss Rafferty’s marital plans, Tone warms up to the problem and even attempts to romance Miss Richards but she puts him off and Tone resorts to Tom Conway, a doctor, to straighten him out. It is brought out that Miss Richards is not Tone’s wife. ' A wedding with Miss Rafferty is arranged. By this time Tone feels disinclined to go through with it and he fakes an amnesia attack. i more the nuptials are called Ke oe locates Miss Richards, not eee to marry her so she will cludes pe cue a me yarn Bey merriment. e of high hospita CAST: F F + Franchot Tone, Ann Richards. Seven Rafferty, Una O'Connor, Winston CRE arence Kolb, Tom Conway. D eee DITS: Production by Bryan Foy; oer Leigh Jason; Screenplay, Joseph pe eaucers Lee Marcus; Music, O'Con eyman; Cameraman, L. W. nell, DIRECTION, Good. PHOTOGRAPHY, First Rate. Mono Buys Novel sto orf Hedges’ underworld wan Gun Girl,” has been acquired by Monogram, , y= c vol . CE of the C&NADIAN MOTION PICTURE INDUSTRY REVIEWS FRO Song Of Love with Katharine Hepburn, Paul Henreid MGM 119 Mins. HEPBURN AND HENREIDCLICK SOLIDLY IN CONVINCING HUMAN STORY OF THE SCHUMANNS; LOOKS HEADED FOR BIG MONEY. In fashioning “The Song of Love,” Clarence Brown has recreated with taste, fine production, sound direction the story of the passionate romance, marriage, parenthood and later lives of Clara Wieck and Robert Schumann. It is an intense story that unfolds. Attention to the period, its relevancies and atmosphere is handled well. It was a time which saw not only Schumann rise to musical heights hut also Brahms, Liszt and other great names. Miss Hepburn, against the wishes of her domineering father, who desires her to pursue her highly successful concert pianist career, marries Henreid. He has just written his ‘“Traumerie,” is quite poor. But via the courts and the influence of Liszt, she follows ‘the dictates of her heart. In the ensuing span of years Schumann struggles to give music lessons, support his brood and still write his music. He is sparked with the fire of genius. This brings Robert Walker to the domicile. He is Johannes Brahms coming to study with Henreid. Taken in, he soon becomes one of the family. It is a full life that the Schumann family lives at their Dresden home and a period of musical creation, cementing of friendships follows. Miss Hepburn attempts a concert in Cologne and is successful. She is urged to continue but she won't leave her husband and family. Meanwhile Henreid begins to take on the symptoms of approaching madness. He is ordered to rest. Walker one day announces his love for Miss Hepburn, and departs. Later, Henreid dies in an asylum. Miss Hepburn spends the ensuing years giving concerts of her husband’s works and bringing renown to his genius. She meets Walker again. and he proposes. She refuses him. She is still in love with her dead mate. CAST: Katharine Hepburn, Paul Hea i Walker, Henry Daniell, reid) RoterE ise Janssen, Gigi Reree CREDITS: Produced and Directed. y Clarence Brown; Screenplay by Ivor fe Von Cube, Allen Vincent, Rob ert Ardrey: Based on a play by Bernard ION, Excellent. f PIRES PHOTOGRAPHY, Fine. M FILM D Pe AILY, NEW YORK Body And Soul with Lilli Palmer, John Garfield United Artists 104 Mins. FINE PERFORMANCES, TOP DRAWER PRODUCTION AND SOME OF THE BEST PRIZE RING FOOTAGE EVER PHOTOGRAPHED MAKE THIS OUTSTANDING. It’s all in the way a story of a prize-fighter and the women in his life is handled that makes the boxoffice difference. ‘Body and Soul” has multiple benefits of fine performances, top drawer production and some of the best prize-ring brawl photography to commend it to the general audience category. To dissect the story fundamentals the narrative delineates the passion for the dollar that pervades the chief character through all of his pugilistic career, how he got ’em and how he got rid of ’em. By virtue of forearm and fist and not averse to following the dictates of big dough, Garfield gets to the top were we find him in the beginning. Canada Lee has just died of a blood clot on the brain. Garfield feels guilty since he defeated Lee for the title when Lee was a sick man. His life unreels before him and it is a sordid past he re-lives. Miss Palmer is his girl who loves him but not the way Hazel Brooks does. Former is a designer. Latter a nitery canary. When the dough comes pouring in, always in large denomination cash, delivered by Lloyd Goff, Garfield is the good time Charley. He has his fair weather friends. There is continuing conflict between Garfield, Miss Revere, his mother and the friends, real and imagined, of his forte. It is slow building to the ring climax that this structure frames and Garfield, his title at stake, slops around the ring for 14 rounds of a title match which he was to have thrown. He decides against the tactic and knocks his opponent flat although he stands to be knocked off himself. At peace with himself after much emotional turmoil, Garfield returns to the family fold and Miss Palmer. : John Garfield, Lilli Palmer, HazBeno pee Revere, William Conrad, Joseph Pevney, Canada Lee. ae : An Enterprise ction; Poe e ITS sb Roberts; Director, Robert Rossen; Screenpay, Abraham Polonsky; Photography, James Wong Howe. DIRECTION: Excellent, PHOTOGRAPHY, Fine. REVIEWS INFORMATION RATINGS $2.00 Per Annum The Unsuspected with Joan Caufield, Claude Rains, Audrey Totter Warmers 103 Mins. QUALITY WHODUNIT ENTERTAINMENT WORTH THE MONEY: FINE PERFORMANCES LEND EMBELLISHMENT. Trio of top flight names will sell this one to the general adult audience easily, not that it needs any selling for it is a good thing capably handled all the way. Cleverly fashioned in the whodunit sense, it has bankroll evidence in production; in his directorial capacity Michael Curtiz obtained moot results from cast, story and crew. The treatment, wherein the audience is quite aware of the identity of the killer, is not terribly new. But here the backgrounds and characterizations supply elements of difference. To properly whoop things up Curtiz has included, for a thrill finish, a wild auto chase to save the hero, locked up in a trunk, from being deposited on a flaming pyre. The pyre being a trash pile ablaze out in Queens somewhere. Here we have Rains, teller of radio crime stories, doing in his family by easy turns. First victim, inadvertenlty his secretary, is responsible for Michael North coming on the scene. He poses as husband to Miss Caulfield, presumed dead in a shipwreck. He plants doubts in Rains’ mind and a little later Miss Caulfield shows up, alive and whole. Here it might be said Miss Caulfield is the heiress, Rains stands to get her moola at her demise. So he neatly disposes of Audrey Totter, his niece and her husband, Hurd Hatfield. This is what comes of being in radio, having a recording machine handy. Rains is not fooling North, however, who soon has the police looking into some unusual angles of the case. Rains last misfiring attempt is on the life of Miss Caulfield. Poison—an overdose of sleeping pills. His disposal of North also misfires. He is finally confronted at the broadcasting studio by the cops—but on all sides. He makes & program of it. CAST: Claude Rains, Joan Caulfield, Audrey Totter, Constance Bennett, Hurd Hatfield, Michael North, Fred Clark. CREDITS: Producer. Charles Hoffman; Director, Michael Curtiz; Screenplay, Ronald MacDonald; Adaption, Bess Meredyth; Based on a story by Charlotte Armstrong; Photography, Woody Bredell. DIRECTION, Fine. PHOTOGRAPHY, Tops.