Canadian Film Weekly (Aug 25, 1948)

Page scan 0006 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Aug 25, 1948
Volume:
Canadian Film Weekly (Aug 25, 1948)
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 21, 2025
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THE PICK OF THE PICTURES VOICE of the CANA a SS O1AN MOTION PICTURE INDUSTRY REVIEWS INFORMATION . RATINGS Vol. 13, No. 32 REVIEWS FROM FILM DAILY, NEW YORK $2.00 Per Annum Abbott and Costello Meet Frankenstein with Bud Abbott, Lou Costello, Lon Chaney, Bela Lugosi, Lenore Aubert, : . Glenn Strange. Empire-Universal 92 Mins. GENERAL AUDIENCE IS IN FOR SOME ZANY, EERIE ESCAPADES THAT WILL EMIT A SERIES OF CHUCKLES, HOWLS AND 0O-0O-OHS; BOXOFFICE SHOULD DO WELL. There is an intermingling of amusing, ridiculous. situations when Abbott and Costello meet up with Lugosi, Chaney and Strange. A desperate phone call from Chaney, in London, to Abbott and Costello, baggage clerks, not to deliver two crates containing the remains of Bela Lugosi (Dracula) and Glenn Strange (Frankenstein Monster) to Frank Ferguson’s (McDougal) House of Horrors. Ferguson demands safe delivery. Once in the House of Horrors, Costello becomes involved in a series of incidents with Lugosi and Strange. Complains they are alive but Abbott disbelieves. Crates’ contents disappear when the owner arrives and has Abbott and Costello arrested. Lugosi takes the Monster to Lenore Aubert’s (Sandra Mornay) laboratory. Charles Bradstreet (Dr. Stevens), her assistant, is unaware of her reSearch. Miss Aubert, who has been courting Costello, tells Lugosi all is ready for the operation of substituting Costello’s brain for that of the Monster’s. Jane Randolph (Joan Raymond), an insurance agent, in order to trace the insured crates, has the boys released from jail. Chaney meets up with the boys, warns them Dracula and the Monster are in the Aubert house. As they go in search, Miss Aubert finds out that Miss Randolph is an investigator and refuses to go through with her plans. Under Lugosi’s spell she is forced to continue. Chaney transforms into the Wolfman creating great confusion. Lugosi has Costello in his power. 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Though it’s the off-season for vacationists, there are five men and a woman who have rented Barrymore’s Largo Hotel for one week. Bogart recognizes Edward G. Robinson, leader of the group, as a notorious racketeer who has sneaked back to the States after having been deported several years before. Another who recognizes the mobster is deputy ‘John Rodney while searching for two Indians who broke jail. The cop is beaten to unconsciousness by Robinson’s henchman. To prevent the police from being notified, Robinson orders Barrymore, Bacall and Bogart held prisoner until a fellow gangster arrives to pick up a bagful of counterfeit money. Bogart is angered when Robinson insults aged, invalided Barrymore. Tempers get hotter when the imprisoned trio sneer at Robinson for beating the deputy as he regains consciousness. The mobster challenges Bogart to a pistol duel. He rejects the offer. Barrymore and Bacall are chagrined at Bogart’s defection. The deputy, conscious, challenges Robinson. 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Miss Fitzgerald’s husband, Raymond Huntley, believes she is incapable of bearing children and is desirous of maintaining the family name. He has a bad heart. Milland convinces Miss Todd she should try and blackmail Huntley. Arrangements are made. Miss Todd has Huntley over the barrel. He however gets a dossier on Milland’s criminal career which includes murder. Miss Todd at this point angers Huntley into a heart attack and in the few moments of excitement that follow she conceives the perfect murder which results in the arrest of Miss Fitzgerald. Milland returns from Paris and it is evident he really loves Miss Todd. But fate leads her to find a locket she had given him on another woman, Moira Lester. Enraged at the deception she meets Milland in a cab near Westminster and while he declares his love she slips a knife into his ribs. She surrenders to the police and so saves Miss Fitzgerald from the noose. CAST: Ray Milland, Ann Todd, Geraldine Fitzgerald, Leo G. Carroll, Raymond Huntley, Martha Hunt. CREDITS: Producer, Hal Wallis; Director, Lewis Allen; Screenplay, Leonard Spigelgass, Ronald Millar, Based on a novel by Joseph Shearing; Photography, Max ec. DIRECTION, Suitable, PHOTOGRAPHY, Very Good. The Street With No Name with Mark Stevens, Lloyd Nolan, Barbara Lawrence. 20th-Fox 91 Mins, WITH TENSION AT A PEAK CONSTANTLY, THIS DOCUMENTARY JOB STANDS TO KEEP AUDIENCES ON THE EDGES OF THEIR SEATS; SOCK DRAMATIC FARE VERY WELL HANDLED. In a tense, polished, straightforward manner, this documentary job easily equals or surpasses the recent collection of that type of production offered by this company. Played straight and pointedly, the story quality is purveyed with mounting tension and gripping suspense of a calibre to cause the viewer to sit on the edge of his seat as he expectantly observes the unfolding of an FBI investigation into a couple of murders. Scenario at the outset calls attention to the fact that the juvenile delinquents of yesterday are the gangsters of today and the criminal street with no name runs the breadth of the country. As this case is related, the FBI goes into action after a Federal Statute has been violated and Mark Stevens is assigned to get the lowdown on a pair of murders done with a Luger. He goes to “Centre City” with an aide and the pair set about their task of getting evidence, building a case. It is ticklish business for Stevens who must join Widmark’s mob and pretend Richard Widmark, ‘to go off on a caper, meanwhile keeping FBI Inspector Lloyd Nolan informed of what’s up. There is also a threat of lethal reprisal for Stevens by Widmark and it is revealed there is police corruption afoot to such an extent that Widmark, working through a local official, can use the FBI’s facilities to investigate his henchmen, even to the extent of checking Washington files and utilizing fingerprint lifting technique. 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