Canadian Film Weekly (Aug 25, 1954)

Page scan 00012 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Aug 25, 1954
Volume:
Canadian Film Weekly (Aug 25, 1954)
Leaf #:
00012
Language:
English
Collection:
Global Cinema, Canada, and Hollywood Studio System
Format:
periodicals
Contributor:
Media History Digital Library, Greig Dymond in memory of David Dymond, 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:
May 23, 2024
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Nee BS as: THE PICK OF REVIEWS THE PICTURES ha INFORMATION : AAAS F he RATINGS 7 . i VOICE of the CANADIAN MOTION PITTURE INDUSTRY ¢. 19, No. 72 REVIEWS FROM THE FILM DAILY, NEW YORK Page 13 ACHE 7 BRIDES FOR 7 BROTHERS GARDEN OF EVIL ster, Jean) Peters with Gary Cooper, Susan Hayward, UA OR) 91 Mins. Richard Widmark with Howard Keel, Jane Powell MGM (Ansco-CinemaScope) 103 Mins. . . FIRST , (CinemaScope-Technicolor Bite" PE a fab tt DELIGHTFUL, INGRATIATING ENTERTAINMENT. THAT THE AUDIENCE WILL 5044 Foy . ce wie ie BE PLEASED IS AN EASY PREDICTION. WELL TURNED OUT PRODUCTION. 8s : : FINE WESTERN FAR WILL GI x In the realm of lightweight romance, music, the dance and ysuaL_ stTorY fees bog 0 merai application of the knowing and resourceful hand, this snappy CINEMASCOPE DOES GOOD THINGS ber produced by Jack Cummings stands apart. It furnishes a TO THE PRODUCTION. PLENTY SATIS"delightful narrative performed with obvious relish by a lot of accomPASTE plished young people. Exuding warmth and plenty of visual moveIn the advanced CinemaScope ment, the script by Albert Hackett, Frances Goodrich and Dorothy technique, Garden of Evil evolves Kingsley is an expert, glibly contrived affair that does very well by % brilliantly filmed Western the short story, The Sobbin’ Women, by Stephen Vincent Benet. drama of considerable potency Michael Kidd’s contribution in the choreography department "4 Pictorial appeal. gives strong values. The proceedings are simple and somewhat Produced for vivid impact by eminently earthly. The manner in which they are presented makes for an inCharles Brackett on Mexican losorts of gYatiating quality that will hold the audience in rapt and pleased cations, Frank Fenton’s screens proat €ition. play was developed from an unthe show Smartly guided in the direction of Staney Donen the story moves USual yarn by Fred Freiberger plenty of subs@e™—aBurt. Lanalong its course with gusto and charm, plus high comedy and moand William Tunberg. caster again applies himself with ments of bright action.that are handsomely dealt with in CinemaEn route to the California gold vigor and acrobatic prowess as Scope projection.: fields in 1850, Cooper, Widmark “Massai,’ the last of the Yarn is set in the Oregon of 1850 and details the problem that and Mitchell are compelled to Apaches to bow before white suconfronts Howard Keel. Eldest brother in a collection of seven, he hang around a sleepy Mexican premacy. j comes a-trading and encounters Jane Powell. She is a waitress. He port when their ship breaks Jean Peters is the squaw in proposes: and is accepted on the spot. Same day he returns to his down. Burt’s life and before they see Wilderness home and Jane meets her brothers-in-law. They are a At their ease in a cantina and eye to eye he gives her a bad collection of unmannered, surly types with no inhibitions and clearly listening to Rita Moreno sing, time since he thought she was in need of reform, in addition to shaves, haircuts and soap and water. they are stirred from their revresponsible for his misery. Sound Taken aback, for only a moment, Jane applies herself to the task of eries by the abrupt appearance support is also the rule. housekeeping and shaping up her immediate kin. They emerge from of Susan Hayward, who has just Disgusted with the turn of | their chin whiskers a generally handsome lot. ridden in from the bush. Her Apache events when Geronimo She teaches them the social graces, including dancing and sets husband, a miner, is trapped in surrenders, Lancaster upsets the the stage for their varied romances which takes place at a barn their gold diggings and she needs truce meeting and is arrested. raising. This proves one of the highlights of the story for the boys assistance. Together with Monte Blue, who are sorely provoked by the town slickers after the local belles fall She offers the trio $2,000 in plays the renegade chief, Lanfor them. Following a bucolic dancing session teams are named and gold, apiece. They secure hokuee caster is sent off to Florida exile. the barn raising proceeds. It winds up in a brawl that is brilliantly go along. The country ia danger En route he escapes. handled for ultimate comedy and fine destruction. _ ous what with marauding InIt is a long trek back to Later Keel tells his brothers about the sobbin’ women. He means dians. The going is hazardous Apache country and Burt makes the Sabine women of ancient Rome and how they were carried off and and it is indicated that the mishis way painfully, pausing for remained to like it fine. This gives the lads ideas and they g0 to ion is more than mere mercy. a while at the farm of a Chertown, kidnap their respective girls and take them home. Irate townsSuspicions are aroused. Temokee who has adopted the white folk give chase but a snow slide blocks pursuit and that lasts all pers are disturbed. Evil becomghan’s farming methods — corn. Winter. By the time Spring arrives Jane has a baby and there is 4. rampant. The mine is reachOn reaching his reservation he is romance all over the farmstead. Yarn ends on a delightful story 644 in time to save Hugh Mardenounced by Guilfoyle, who has note with all the boys marrying all the girls. = lowe. With Indians making their an inclination for fire _water. Cast Song die ei and ie ee oa ee sian ee Ae a presence known it is important Once more Burt gains his freedh eS oats wi artistry and nicely turne conviction. George that everyone makes tracks dom and seeks vengeance. He Folsey's Ansco color lensing is first rate. but fast. roves a dangerous one man CAST: Howard Keel, Jane Powell, Jeff Richards, Russ Tamblyn, Tommy Rall, Auta ae lwind tied war on all Mare Platt, Matt Mattox, Jacques D’Amboise, Julie Newmeyer, Nancy Kilgas, Betty The group leaves the diggings whirlwind, ea 4 : Carr, Virginia Gibson, Ruta Kilmonis, Norman Doggett, lan Wolfe, Howard Petrie, and soon their numbers are deApache enenles. Finally : he Earl Barton, Dante DiPaola, Kelly Brown, cimated until only Cooper, Widsnatches Jean and makes off into CREDITS:. Producer, Jack Cummings; Director, Stanley Donen; Screenplay, Albert mark and Susan survive, get to the mountains with her. They Hackett, Frances Goodrich, Dorothy Kingsley; From a story by Stephen Vincent (Komparative safety. Cards dereconcile and marry, native style. Benet; Lyrics, Johnny Mercer; Music, Gene De Paul; Musical direction, Adolph cide’ who. shall remain behind Wint h t Deutsch; Dances, Michael Kidd; Photography, George Folsey; Art, Cedric Gibbons, : : Passing the inter they gree Urie McCleary; Editor, Ralph E, Winters; Sound, Douglas Shearer; Sets, Edwin B. and hold off the Indians. Wid the Spring and plant corn. But Willis, Hugh Hunt. mark wins. ‘As Cooper and Susan the ‘Army closes in. As Burt is DIRECTION: Smart. PHOTOGRAPHY: Fine. yide off there is considerable about to be taken Jean bears him shooting. Once the woman is a son and he throws down his VISTAVISION BOW AT RADIO CITY safe Cooper rides back to Pal rifle. Peace settles. ; : : Richard, finds him dying. WidCAST: . Hick Mintaster: Jean Paters; A sweeping change in the technique of motion picture preraerk pamita to heaving cheated John Mclinjire, Charles Buchinsky, John sentation, which will be of great importance to the moviegoing ce Wt : Dehner, Padi Guilfoyle. ‘ public through its ability to portray startlingly realistic and lifeaig ee se . ate ed ste CREDITS: Producer, Harold Hecht; Dilike visual entertainment, is promised for early this Fall, when RGt CHARS tar Serre rector, Robert Aldrich; Screenplay, James Irving Berlin’s White Christmas, first picture ever produced in CAST: Gary Cooper, Susan Hayward, R. Webb; From the novel by Foul |. VistaVision, will have its world premiere at the Radio City Music — ESP2°8 Micrel “nina Moreno, Victor DIRECTION: Effective. Hall, New York. Manuel Mendoza. PHOTOGRAPHY: Good. VistaVision, says Paramount, is a production and presentaCREDITS: Producer, Charles Brackett; oie tion process which accomplishes reality on a screen of spectacular Director, Henry Hathaway; Screenplay, 20th-Fox' ‘Prince Of Players’ height and breadth with the most startling clarity ever attained. Frank Fenton; Story, Fred Freiberger, Richard Burton and Maggie The life-like realism which it brings to the screen is due to the —wuliom Tunbevg: Photography, Milton McNamara will star in 20th-Fox use of special cameras, which photograph tremendously over-sized DIRECTION: P Guan. ] Prince of Players. negatives, and by a new Technicolon process. PHOTOGRAPHY: Fine. i >\