Canadian Film Weekly (Apr 6, 1955)

} Page 4 MERIDIAN GROWS (Continued from Page 1) ganization servicing such sponsors as Libby, McNeill & Libby of Canada Limited, General Motors and Imperial Oil Limited. Right now Meridian is shooting a short subject starring Marilyn Bell, conqueror of Lake Ontario, with Roffman shooting the Len Peterson script. The company will soon begin work on a feature film, Child’s Play, which will be directed by Jules Bricken, director of the Ray Milland TV series and other top programs, and produced by Roffman. Written by John Harding, Child’s Play, to be developed against a Canadian background, has joint USA-Canada financing. Meridian, which began in a small office on Wellesley Street and rented equipment and facilities, recently launched an expansion program beginning with the setting up of an extensive studio at 192 Bay Street, in the heart of Toronto’s financial district. The studio, one of the first in the area with 60-cycle power lines, is in full blast making TV commercials and the agencies are responding to having a film producer nearby. The studio is following the New York idea of pre-filming TV commercials at the dressrehearsal stage, so that’ the sponsor knows how they’ll look, and they’re made 48 hours later. This is possible because Meridian has complete 35 mm. and 16 mm. cameras and other production equipment, a cutting room, a screening room, executive offices and a staff, all on one floor. Roffman, a native of Montreal, was trained in New York and was with the National Film Board during the war. Serving with the armed forces as a director cameraman, he was wounded and invalided home in 1945. Before returning home to set up Meridian with Foster he spent ten years in the USA, producing under contract for NBC and CBS, and working on assignments by Eagile-Lion, Republic, The March of Time, RKO-Pathe and other companies. His last USA film was on the life of Thomas Edison, for Jules Levey. Foster, a former newspaperman on The Toronto Star and The Windsor Star, was Deputy National Film Commissioner for Canada and_ established’ the Australian National Film Board on loan from Canada. After resigning from the NFB he was chief of films and TV for the United Nations, with offices in New York. Some time after his return to Canada he organized Warner Bros. 16 mm. commercial and theatrical division, serving as general manager, then resigned to enter public relations with Arthur Wells, a former newspaper colleague. CANADIAN FILM WEEKLY Cardinal McGuigan At Toronto Communion Breakfast His Eminence James C. Cardinal McGuigan is shown speaking at the fourth annual Communion Breakfast of the Catholics in the Toronto entertainment community. On his left is the special speaker, Reverend Gerrard McKernan, and on his right, Winston Barron, who was toastmaster, and John J. Fitzgibbons, Sr., CBE, who introduced the Cardinal. Ohe Cardinal's Cribute “Miracles come from God but God uses human instruments and one of the human instruments for St. Michael's was John J. Fitzgibbons.” These words were part of an eloquent expression of appreciation by His Eminence James C. Cardinal McGuigan of Toronto, for the work of the motion picture and theatre community in helping make a success of the recent financial campaign for the enlargement of the great hospital that welcomes the sick of all races and creeds. They were spoken at the fourth annual Communion Breakfast of the Catholics in the entertainment business. His Eminence then emphasized how quietly Fitzgibbons had served St. Michael’s for years. As in the theatre, many unseen persons work behind the scenes “to make the star a glorious performer.” “Ive seen this going on for many years,” he said. “I’ve never said anything before—but John J. Fitzgibbons has been the greatest driving force behind the institution. He was behind the scenes. He was the man pulling the strings to see that the curtain never fell.” His contribution “was a great accomplishment for himself and for the hospital he loves,” he said. Mr. Fitzgibbons is chairman of the board of governors of St. Michael’s. Earlier in his address the Cardinal emphasized that the most important part of the theatre’s early development came through the use of dramatics for the exposition of religion, since few could read and write. All the play of passions and virtues in Man could be found in the output of a single dramatist, Shakespeare, who was a Catholic at a time when it was not too easy to be one. The theatre has always been important in influencing thought. “If we are to survive as human beings the spiritual must triumph over the materialistic. Without that there is no hope,” he said. “The purpose of all that God has created is to serve our fellow-man. I hope that you Catholic men and women will use all in your power to direct your industry toward good because a lot of things are being used today for evil.” The Cardinal’s concluding remarks were mainly devoted to thanking the theatre industry, particularly for allowing the use of houses without charge on Sunday as places of worship. Many immigrant Catholics were desirous of worshipping in their own language. “People must have a place to say Mass before a parish can be started,” he said. “I don’t think we have ever been refused the use of a theatre on Sunday for Holy Mass and the ministrations of religion. I wish to thank the managers of the theatres and I hope the word is passed on to others.” neers April 6, 1955 HEART AWARD (Continued from Page 1) of the Village in Guelph, Peterborough, North Bay, St. Catharines, Hamilton and other communities. ‘I’m grateful for the honor,” he told the dinner meeting in the Prince George Hotel, “and I would like to accept it in trust for them.” Chief Barker Harry S. Mandell, after announcing the winner from a sealed envelope handed him by Heart Award Committee chairman Wm. Summerville, Jr., ealled on John J. Fitzgibbons to present the marble scroll which symbolizes the honor. Fitzgibbons spoke of Krendel’s devotion to the work of Variety. “He carried the torch for this tent for many years,” he said. “He carried it high and he carried it well.” Born in Winnipeg, Krendel entered the industry as a writer for Exhibitors’ Daily Review in New York in 1926. The next year he joined Warners in Winnipeg as a salesman and the year after that he went to Famous Players as publicity man for the Metropolitan Theatre in that city. In 1929 he was moved to Windsor, Ontario as assistant at the Capitol and later to Toronto as head of the St. Clair. Soon after he was promoted to the management of the Tivoli, where he conducted a managers’ school for ushers and others. In 1939 he was named manager of the company’s Niagara District, with offices in Hamilton, and in 1942 he became manager of its A District, moving to head office in Toronto. The 25 Year Club inducted him in 1953. Iixtremely likeable and widely popular, Krendel became Variety’s Dough Guy several years ago. The announcement of his victory, which was made at the same time as a large photo blowup of him was unveiled, drew a real ovation. No Alta. Ticket Tax Cut ‘At This Time’ The Alberta legislature recently defeated a Liberal resolution calling for the abolition of the amusement tax, with one member of the government party bringing the yeas to 11 compared with 38 nays. The Honorable C. E. Gerhart, provincial secretary and treasurer, said that consideration had been given several times but the conclusion was that no action should be taken ‘at this time.” He said theatre owners had told the government that abolition would not mean a reduction in prices but the Liberal leader, J. Harper Prowse, reported a check with a large Edmonton theatre proved otherwise, Of the $1,100,000 amusement tax total $885,682 came from theatres, Gerhart says.