Canadian Film Weekly (Jul 3, 1957)

Incorporating the Canadian Moving Picture Digest (Founded 1915) Vol. 22, No. 27 July 3, 1957 HYE BOSSIN, Editor Sopa ed SE Behan Sete beeks Ba “ee Assistant Editor Ben Halter Office Manager =~ Esther Silver CANADIAN FILM WEEKLY 175 Bloor St. East, Toronto 5, Canada Authorized as Second Class Mail, Post Office Department, Ottawa Published by Film Publications of Canada, Limited 175 Bloor St. East, Toronto 5, Ontario, Canada — Phone WAlnut 4-3707 Price $5.00 per year. BASTING PROBES (Continued from Page 1) private elements, the Canadian public has one of the richest services in the world available to it. It is particularly rich when laid against the enormous size and complications and diversities that must be met by broadcasting in Canada.”’ He concluded: “Whether we be public or private, if we serve our country as well as it deserves, we can be confident of the future. And serving Canada well will demand the sensible co-operation of public and private broadcasters. If we agree to this, and work understandingly together, then Canadian broadcasting is sure to have a great future in a still greater country.” Pier Angeli In 'Merry Andrew’ Pier Angeli has been given the feminine lead opposite Danny Kaye in Sol C. Siegel’s new MGM musical, Merry Andrew. NFB EAL Kai 4 This month reports on ALEXANDER GRAHAM BELL MUSEUM (At Baddeck, N.S.—a_ tribute to the memory of Canada’s famous inventor) APPLE HARVEST (Rougemont, Que.) Ask for Eye Witness #90 Book THIS ALL-CANADIAN NATIONAL FILM BOARD SERIES EVERY MONTH THROUGH COLUMBIA PICTURES CANADIAN FILM WEEKLY Perry Resigns (Continued from Page 1) manager’s post, according to the trade, although no official statement about Perry’s resignation or Metcalfe’s new responsibilities has been issued yet. Empire-Universal Films has the Canadian distribution rights to the films of Universal-International, RKO and Walt Disney. Leo J. Samuels, president of Buena Vista, Disney’s releasing setup in the USA, and James V. O’Gara, special sales representative, arrived in Toronto last week and held discussions with Metcalfe. Perry entered the film business with the old Universal company. In 1918 he joined Mutual Films, which was absorbed by Exhibitors Distributing Company, that company merging with Regal Films. From there he went to United Artists, then to Warner Bros. He left Warners to join Empire-Universal, formerly Empire Films, the change of name following the acquisition of the Universal franchise in 1927. Metcalfe, 40, joined Empire-Universal in 1940 as a salesman in the Calgary branch. He came to Toronto from the Montreal branch in 1949. Born in Winnipeg, he mov ed to Vancouver at an early age and attended the University School, Victoria. He is married to the former Esther Chechik and they have one daughter. Metcalfe is a member of the Variety Club of Toronto and the Advertising and Sales Club. Eva Gabor In ‘Gigi’ Eva Gabor is the latest addition to the cast of Gigi, Arthur Freed Production for MGM, which will star Leslie Caron, Maurice Chevalier and the British comedienne, Hermione Gingold. Cast In Columbia's ‘Stella’ William Holden and _ Sophia Loren will star in Columbia’s Stella. WB's "Auntie Mame’ Morton DaCosta, director of the Broadway comedy hit, Auntie Mame, has been signed by Warner Bros. Pictures to direct the film production in which Rosalind Russell will portray the same role she created for the stage smash. She will leave the play early in 1958 and be replaced by Greer Garson. KERR, DARBY (Continued from Page 1) treasurer of Famous Players. Born in Toronto, Doidge is a graduate of the University of Toronto and is a chartered accountant. For two years before joining Famous Players he was a corporation assessor for the Dominion Income Tax department. He served with the Canadian Army four years and is a past governor of the Toronto chapter of the Institute of Internal Auditors. Naylor has been promoted to the position of chief accountant. Born in Deseronto, Ontario, he was educated in Deseronto and Belleville and for some time operated the Naylor Opera House in Deseronto, built by his father in 1900. For two years he was employed by Standard Oil of New York as an accountant. Returning to Canada he was associated with F. O’Hearn & Co. and Solway Mills as accountant. He joined Famous Players in 1930 in the statistical department and later moved to the accounting department as assistant to Kerr. He’s a 25 Year Club member. Morley, for many years assistant to Darby in the insurance department, succeeds his former chief. He joined Famous Players in 1928 as office boy. He was promoted to the audit department and later the statistical department. In 1941 he became Darby’s assistant in the insurance department. He, too, is a 25 Year Club member. Anthony Haines has been named assistant to Morley. FILMS & FREEDOM (Continued from Page 1) luncheon in his honor given at Paramount Studios _ recently. Among those who heard Dolan after his introduction by Steve Broidy, president of Allied Artists and vice-president of the Association of Motion Picture Producers, were George Murphy, MGM; William Dozier, RKO production chief; and John Farrow, noted writer and director. Broidy was acting for Y. Frank Freeman, AMPP president, who was unable to be present. Dolan, for years head of the Canadian Government Travel Bureau, had met and assisted USA film industry personalities over the years in the course of Hollywood film-making expeditions to Canada and he was an old friend of many at the meeting. He had good words for the Canadian Co-operation Project, which was created ten years ago as an instrument of co-operation between the USA film industry and the Canadian Government to help promote tourism in Canada. “The Canadian Co-operation Project,” he said, “has been good for Canada in that nothing has motivated people to come to my country more than your motion pictures. Your films have made people want to visit a country whose beauties and charms you have portrayed on the picture screen.” Also in attendance were several Hollywood correspondents for the Canadian press and radio. July 3, 1957 Our Business Po | by AVA Taylor AFTER receipt of a_ report based on a lengthy study by its self-regulation committee, the board of directors of the Motion Picture Association of , America has es| tablished a new ors and individual producers will be invited C60: Steere m= stressed that such exhibitors as are invited to membership will act as “individuals’ and not as members of any exhibitor association. It will be interesting to see what individual exhibitors will be invited to sit on this Board, but more particularly so, from our viewpoint, will be the noting of whether or not one or more Canadian theatre men will be invited to join this body. Wouldn’t it seem that a Canadian opinion would be valuable? Most companies include the Canadian gross in their domestic market. If the administrators of the Production Code think that an Appeal Board should take into consideration the viewpoints throughout the continent for inclusion or omission of certain film content, isn’t it logical to have at least one representative from a part of the market which caters to more than 200,000,000 admissions annually? It is true that Canadian-manners, morals and taste§ are much like those of our cousins across the border. However, our ways of doing things are sufficiently different to merit attention. For example, we have film censorship boards in nine of our ten Provinces. If there was no Canadian representation on the Production Code Appeal Board, it would appear that Americans are doing our thinking for us in these matters and that we are not being given sufficient consideration. This is not very flattering. The political climate has changed in our country and, although nothing can _ really weaken our affection for and friendship with the United States, there are undoubtedly certain irritations from both directions. For example, there is the tendency on the part of the American distributor to treat Canada as a _ backyard and a mere source of additional revenue, which may be a result of the practice of considering~ : (Continued on Page 3) ; at