Canadian Film Weekly (Oct 20, 1954)

Page scan 0008 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Oct 20, 1954
Volume:
Canadian Film Weekly (Oct 20, 1954)
Leaf #:
0008
Language:
English
Collection:
Canada, Hollywood Studio System, and Global Cinema
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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THE PICK OF THE PICTURES | A ss <= VOICE of the CANADIAN MOTION PICTURE INDUSTRY REVIEWS INFORMATION RATINGS Vol. 19, No. 40 USA AND UK REVIEWS Page 9 WEST OF ZANZIBAR (From Kinematograph Weekly, JARO (Technicolor) 93 Mins. British (U). Featuring Anthony Steel, Sheila Sim and Edric Connor, Produced by Leslie Norman. Directed by Harry Watt. Director of photography, Paul Beeson. Musical director, Dock Mathieson. Large-scale jungle jamboree, dipped in flawless Technicolor. A sequel to Where No Vultures Fly, it illustrates the further adventures of Bob Payton, intrepid British-born African game warden. Here he interests himself in a tribe compelled to find fresh pastures because of soil erosion, and prevents its male members from becoming tools of ruthless ivory poachers, secretly controlled by a cultured half-breed. The hero’s wife and offspring again share some of his hazards, but the white characters are less sure of themselves. than in the parent film. The native types are, however, superbly drawn and, together with brilliantly photographed animal highlights, even things up. Excellent popular booking. Story.—When ‘“dustbowl’ conditions force the Galana tribe to move, the majority elects to settle on the coast, despite the advice and warnings of Chief Ushingo and Bob Payton, the game warden. Once in Mombasa, the young men fall victims of slick crooks and turn ivory poachers. To save them from themselves, Bob seeks the head of the ring. Production.—The picture does not tell a particularly subtle yarn, and much of the dialogue is fourth form, but immediately the battle between stout. fella Bob and sinister Dhofar is joined, stupendous thrills, including hair-raising fights with panthers and crocodiles and spectacular river forays follow in breathless succession. Anthony Steel, oddly enough, overdoes the casual approach as Bob, William Simons, also in Where No Vultures Fly, shows signs of self-consciousness as Tim, and Sheila Sim lacks the easy manner of Dinah Sheridan, the original Mary, but no fault can be found with the native players. Edric Connor makes a majestic and forthright Ushingo, and Juma delights as a wily local boy. The rest of the coloured cast also registers. The widely varied backgrounds are superb, and neatly underline the film’s simple, yet comforting philosophy, and boldly frame its jolly and exciting action. Comedy relief apt and camera work outstanding. Points of Appeal.—tImpressive acting by native players, wholesome sentiment, terrific thrills. London) BRIGADOON (From The Film Daily, NY) with Gene Kelly, Van Johnson, Cyd Charisse MGM Ansco-CinemaScope 108 Mins. ANOTHER FINE ACCOMPLISHMENT AND RICH ENTERTAINMENT DELIVERY FROM METRO AND ARTHUR FREED. CAPTIVATING DIVERSION, WELL HANDLED. DEVELOPS INTO A REWARDING, HIGHLY SATISFYING EXPERIENCE BY VINCENTE MINNELLI. Captivating entertainment projected with the expert touch in evidence and with complete understanding of its venture into the realm of fantasy will garner for this film version of the Alan Jay Lerner work considerable applause and still more appreciation. Lerner’s musical play, set in the Scottish highlands, shapes up a fine blending of touching romance, an unusual examination of the passage of time, a fine panel of graceful performances, exceptional dancing. Captured also is the colorful movement of village life plus individual examination of personalities and characters. Given a smart and alert production by Arthur Freed there is additional quality derived from color by Ansco in vivid tints and the broad visual appeal of CinemaScope. The able hand of Vincente Minnelli guided the Lerner screenplay to the end that spectators are exposed to a series of compellingly handled high moments that hit out for fairly spontaneous response. There are, too, rich, warm qualities. Distinguished in its musical content, Brigadoon in that respect has an already popular score. It is lilting, poignant, keenly romantic and contributes to the terpsichorean efforts of Kelly, Miss Charisse, Hugh Laing and the folks of the chorus. It is of such calibre as to cause heads to swing in metronome rhythm. Lyrics are by Lerner and music is by Frederick Loewe. Delineating the story background there are Kelly and Johnson as a pair of American nimrods shooting grouse in the heather. Lost, they come upon “Brigadoon,” which is not really there and unmarked on the map. Here, the first mystical note of the story is struck. In the ensuing passage of one day the tale of the town is revealed and the full course of events transpire since, with nightfall, “Brigadoon” must disappear for another century along with its inhabitants. Johnson is pursued. Kelly becomes infatuated with Cyd. A wedding celebration is about to be launched. There is merriment and rancor and the existence of “Brigadoon” is threatened when a recalcitrant, embittered, frustrated and unrequited lover makes his bid to escape. Johnson accidentally brings him down. Night falls. Barry Jones has previously explained about “Brigadoon” and the peculiarity of its once in a hundred years being. It is hard for Kelly to withdraw. He does, Taking off with Johnson as “Brigadoon” vanishes. Later, in New York, with its noise, emotional’ turmoil and nervous excitement, Kelly is brought to full realization that Cyd and “Brigadoon” are for him. He forthwith returns—and just in time. This is a delightful, compelling handling of an unusual story and musical theme. It has a soothing factor in its unfoldment and delivers richly. Joseph Ruttenberg’s photography expertly captures the brooding atmosphere of Scotland and the passionate moments of the Kelly-Charisse romance. From Metro and from Arthur Freed, Brigadoon is another fine accomplishment. CAST: Gene Kelly, Yan Johnson, Cyd Charisse, Elaine Stewart, Barry Jones, Hugh Laing, Albert Sharpe. CREDITS: Producer, Arthur Freed; Director, Vincente Minnelli; Music, Frederick Loewe; Lyrics, Alan Jay Lerner; Based on the musical play by Alan Jay Lerner; Musical direction, Johnny Green; Choreography, Gene Kelly; Photography, Joseph Ruttenberg, DIRECTION, Able. PHOTOGRAPHY, First Rate. To Play Chessman The controversial role of Caryl Chessman, the convict who wrote the sensational autobiography, Cell 2455, has gone to William Campbell. Columbia Pictures will produce the screen version. "The Sea Chase’ James Arness will play the part of a belligerent crewman in Warner Bros.’ The Sea Chase, in CinemaScope and WarnerColor, starring John Wayne and Lana Turner, RING OF FEAR (From the Film Daily, NY) with Clyde Beatty, Pat O’Brien, Mickey Spillane CinemaScope-WarnerColor Warners 93 Mins. COLORFUL, VIVID SHOW. HAS THE PLUS ENTERTAINMENT FACTOR. WILL ATTRACT YOUNGSTERS AS WELL AS THE DEVOTEES OF THE CIRCUS. Offering mostly, in the entertainment sense, the acts and personalities of the Clyde Beatty Circus, with Clyde, himself, often taking the spotlight, “Ring of Fear” has definite indications of considerable appeal for youngsters who won’t be quite taken in by other factors of the screenplay. Of course, circuses being circuses, there is also a vast public for the spectacular brand of entertainment. The obvious and inherent values of high flying trapeze artists, wire walking, trained horses, clowns, trained elephants and the like, plus the highly animated performance of Beatty with his cats, are on prominent and effective display. For the literary taste there is Mickey Spillane, himself, wandering among the tents and props. From the Wayne-Fellows production team, delivered by Fellows and effectively directed by James Edward Grant, this somewhat lengthy detailing of the prowlings and depredations of a vengeful homicidal maniac, an escapee from an asylum, moves in measured sequences. CinemaScope and WarnerColor make their considerable contributions. Edwin DuPar was director of the first grade photography. Basic element in the plot is the reappearance of Sean McClory, the killer, on the circus scene. In the initial phase of the narrative he is seen as a killer of no scruples. Demented, he has lethal plans for a trapeze artist, Marian Carr, and her husband, John Bromfield. McClory capitalizes on the alcoholic weakness of Emmett Lynn for a while in order to wreak havoc. Finally he kills Lynn and sets his aim for the big vengeance. Pat O’Brien, as the manager of the show, calls in Spillane to track down the unknown culprit who is right in their midst. In good time, and with plenty of circus color background, this is done but by a tiger. CAST: Clyde Beatty, Pat O’Brien, Mickey Spillane, Sean McClory, Merian Carr, John Bromfield. CREDITS: Producer, Robert M. Fellows; Director, James Edward Grant; Written by Paul Fix, Philip MacDonald, James Edward Grant; Photography, Edwin DuPar. DIRECTION: Effective, PHOTOGRAPHY: Good.