As mentioned in last week’s ad, the Canadian National Exhibition took a break during World War II. Once the war was over, the existing buildings were modernized to prepare for the Ex’s return. “From acting as a depot through which passed thousands of young Canadians to the theatres of war,” noted a Toronto Telegram editorial, “it now reverts to its role as the window through which the world may glimpse the peacetime strength and wealth of the country in all its amazing variety.”
The CNE was officially opened, after a concert by the United States Navy Band, by Prime Minister William Lyon Mackenzie King on August 22. King emphasized that Canada’s postwar stability was linked to the recovery of Great Britain’s economy, which saw a series of austerity measures introduced the following week. As recounted that evening in the Telegram, King noted that “the Exhibition affords a vivid illustration of our Canadian way of life. More may be seen here in a day than might be learned from books in a month.” Over 103,000 people passed through the gates that day, the first a pair of children from Springhurst—the first adult, according to the Telegram—”was an annoyed CNE worker who had forgotten his pass.”
The next day saw 273,000 visitors, many on hand for “Warrior’s Day,” a salute to veterans.
The Globe and Mail pondered what would bring people to the fair in an editorial on opening day eve:
What actually drives the people to the Exhibition? Undoubtedly the advance notices on such things as rides, sideshows, marathon swims, speedboat races, baby contests, fireworks displays and so on are the primary eye-catchers. But we will wager that more people will want to see the new automobile with three front headlights than will rush over to the sword swallower’s tent. More will want to see in action the television set they would like for their own living room than the careening speedboat which they never will be able to afford.
One lasting memento of this edition was a short produced by the National Film Board, Johnny at the Fair. The film follows the adventures of “Johnny,” a four-year-old who wanders away from his parents and explores the grounds, meeting all of the celebrities on hand that year. Among those he encounters: Prime Minister King, boxing great Joe Louis, skater Barbara Ann Scott, and comedians Olsen and Johnson (best known for their anarchic revue Hellzapoppin’). “Johnny” was chosen from hundreds of children who auditioned. In a Globe and Mail interview, his mother believed that he won “because he was born with a pleasing personality…or maybe it’s because his father is a kibitzer—a prankster, I mean.”
Johnny at the Fair gained new life in the 1990s, when it was lovingly mocked by the crew of Mystery Science Theatre 3000. As for “Johnny,” he fared well in adulthood, growing up to be artist Charles Pachter. The film is being shown at this year’s CNE, along with a documentary reuniting Pachter and director Jack Olsen.
Source: National Home Monthly, July 1947. Editorial material gathered from the Toronto Telegram, August 21-22, 1947 and The Globe and Mail, August 21, 1947.