Canadian Film Weekly (Nov 30, 1955)

Page scan 0005 from Canadian Film Weekly

Record Details:

Title:
Canadian Film Weekly
Date:
Nov 30, 1955
Volume:
Canadian Film Weekly (Nov 30, 1955)
Leaf #:
0005
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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Review THE TENDER TRAP (From The Film Daily, NY) with Frank Sinatra, Debbie Reynolds, David Wayne, Celeste Holm, (CinemaScope-Eastman Color) MGM 111 Mins. CUTE, CAPRICIOUS COMEDY DESIGNED TO SATISFY ALL AGE GROUPS. TASTEFULLY PRODUCED, DEFTLY DIRECTED FOR MOST LAUGHS. TOP CAST, GOOD TITLE SONG, AID EXPLOITATION VALUE, A gay, rollicking comedy that should appeal to all ages. The Tender Trap is based on the play by Max Shulman and Robert Paul Smith wittily scripted into screen fare by Julius Epstein. Each of the four main characters is addicted to bright repartee, making for some really good laughs and a barrel of chuckles. As a matter of fact, it’s been quite a while since a comedy of this calibre — cute, comic and capricious —has been shown. Smartly sophisticated, yet human enough to be believed, it’s got what it takes for boxoffice success. As directed by Charles Walters, The Tender Trap moves along nicely and has been smartly produced by Lawrence Weingarten. His deft hand is felt in the quality of sets and costumes. They’re just right for the piece, lending a well-to-do atmosphere, yet not distracting from the yarn. Walters has manipulated his characters — chief of whom are Frank Sinatra, Debbie Reynolds, David Wayne and Celeste Holm — with dexterity, so that each complements the other, retaining his, or her, own unique personality. Jarma Lewis, Lola Albright and Carolyne Jones head the featured cast and give competent and highly-creditable performances, which help the smooth action of the film. Paul C. Vogel’s CinemaScopeEastman Color lensing is easy on the eyes, and Sammy Cahn’s and James Van Heusen’s title song, due for Hit Parade status, easy on the ears. CAST: nolds, Jarma Jones. CREDITS: Producer, Lawrence Weingarten; Director, Charles Walters; Screenplay, Julius Enstein; Based on the play by Max Shulman & Robert Paul Smith; Photography, Paul C. Vogel. DIRECTION: Excellent. PHOTOGRAPHY: UA's "Bed Of Fear’ Now Under Way Bed of Fear has been set as the new title for the James Harris production formerly called The Clean Break, which United Artists will release. It is now before the cameras in New York with Sterling Hayden, Coleen Gray, Vince Edwards and Marie Windsor. Stanley Kubrick will direct from his own screenplay . Frank Sinatra, Debbie David Wayne, Celeste Lewis, Lola Albright, ReyHo'm, Carolyn Fine. CANADIAN FILM WEEKLY ANACDIAN MOTION PICTURE INDUSTRY 1955-56 YEAR BOOK of the CANADIAN MOTION PICTURE INDUSTRY Edited by HYE BOSSIN A COMPLETE DIRECTORY OF INFORMATION “| imagine that you don't have many users of the book that can make the same claim that | do: that is, my Year Books travel back and forth from the Rockies to as far east as Newfoundland, helping me in many an argument.” Hugh J. Sedgwick, Fifth Vice-President and Canadian Representative, |IATSE “The Year Book is compact and very informative, containing statistics and information on all phases of the motion picture industry in Canada. We frequently refer to the Year Book in answering all types of inquiries with regard to films in Canada." Nathan D. Golden, Director of the Motion Picture Division, Business and Defense Administration, Department of Commerce, Washington, DC Film Publications of Canada, Ltd. 175 BLOOR ST. E., TORONTO 5, CANADA | Please send me the 1955-56 edition of the CANADIAN FILM WEEKLY YEAR BOOK, Remittance, including postage, | is herewith enclosed for: New Subscriber $3.00........ ... (includes one year’s subscription | to the Canadian Film Weekly) : Year Book Only ($2.25)......... | Mail the YEAR BOOK to | PROMI sede. rate ck, sys ROP ee eee | UE on ee ee fo ee ee oe oe ae) | ae ae Ve a oa A POE. Baie at | Rrneince: Me Biake. etre ie ae a ae ae | Country November 30, 1955 Review ULYSSES (From The Film Daily, NY) with Kirk Douglas, Silvano Mangano, Anthony Quinn. Paramount (Technicolor) 104 Mins. MULTI-TALENT SCREENPLAY BASED ON HOMER’S ODYSSEY. SUBJECT, AND MAGNITUDE OF PRODUCTION SHOULD SELL IT. Magnificenly photographed in Technicolor by Harold Rosson on locations in and around Italy, this Ponti De Laurentiis production, based on Homer’s Odyssey, has an historical epic appeal that will probably sell it to most audiences. Besides, it has a good cast, headed by Kirk Douglas, Silvana Mangano, Anthony Quinn and Rossana Podesta. Produced by Dino De Laurentiis and Carlo Ponti, in association with William W. Schoor, the film was directed by Mario Camerini. Screenplay credits read like a who's who of writers; Franco Brusati, Mario Camerini, Ennio de Concini, Hugh Gray, Ben Hecht, Ivo Perilli and Irwin Shaw. The producers have spared no expense in telling their story and have come up with a production of scope whose _ boxoffice receipts should be in proportion to its magnitude. It’s continuity, however, seems less on a par with the high standards set by its other assets. When the 10-year Trojan war ends, Ulysses, king of Ithaca, played by Kirk Douglas, heads for home, wife, Silvano Mangano, and«young son, Franco Interlenghi. Miss Mangano’s suitors, believing Ulysses dead, have been forcing the issue of a new husband. Douglas, meanwhile, has encountered all sorts of impediments in his homeward trek. He returns to Ithaca, in disguise, just before Miss Mangano is_ to choose a new husband. He suggests a feat only he can do, proves his identity to one and all and through this wins back his queen. CAST: Kirk Douglas, Silvano Mangano, Anthony Quinn, Rossana Podesta, Sylvie, Daniel lIvernell, Jacques Dumesnil, CREDITS: A Lux Film; Ponti De Lau rentiis Production; Producers, Dino De Laurentiis, Carlo Ponti, in association with William W. Schoor; Based on Homer’s Odyssey; Director, Mario Camerini; Screenplay, Franco Brusati, Mario Camerini, Ennio de Concini, Hugh Gray, Ben Hecht, Ivo Berilli, Irwin Shaw; Photography, Harold Rosson. DIRECTION: Good. PHOTOGRAPHY: Excellent. William Holden To Star In WB Fiim William Holden has been signed to star in Toward the Unknown as the first picture of Holden’s newly-formed Toluca Productions Company. Mervyn LeRoy will produce and direct the picture for presentation. Warner Bros,’