"The Tombs Of The Nobles, 400 ft., 16mm., is distinguished both in its subject matter and technical triumph over seemingly insuperable photographic odds. In it Mr. Hansen has achieved a clear and valuable record of Egyptian art and history as he found them presented on the interior walls of countless Egyptian tombs. Only by a careful placing and manipulation of sheets and mirrors in the cramped space of each tomb was Mr. Hansen able to cast sufficient light from the doorways onto the hundreds of paintings which he photographed. The film's continuity has been planned and edited in a simple, documentary style, adapted for use as an informal lecture subject. Its technical accomplishment seems unparalleled in the annals of amateur filming and has been well employed in recording subject matter entirely different from the general amateur picture." Movie Makers, Dec. 1931, 658.
"The Toilers, a 150 ft. Kodacolor reel made by Arthur G. Greaves, demonstrates the continuity possibilities of Kodacolor, a much neglected aspect of amateur color movies. Men at work — in the harbors, along the seacoast and inland, caring for flocks and harvesting grain — is the motif of the picture, relieved by a few glimpses of men and children at play. The picture is distinguished by beautiful photography of consistent quality and by a smooth succession of moving compositions in color. These qualities, combined with a clear continuity, give the film much more unity than is usual with Kodacolor reels. This is one of the all too few Kodacolor films that may be viewed as a subject possessing an artistic purpose as a whole, rather than as a series of separate scenes and sequences. Its chief color triumph is, perhaps, in the scenes of the harvesting against the background of fields of golden grain." Movie Makers, Dec. 1931, 658.
"The Eyes Of Science, 3000 ft., 35mm., planned and photographed by J. S. Watson, Jr. and Melville Webber, is exceptional for continuity treatment and photography alike. Conceived primarily as an industrial film of a very high order, the final result is a veritable tour de force in the technical accomplishment of film exposition. Telling the story of lens making and culminating in representation of the impressive and complicated optical machinery which plays an important part in modern art and industry, the smoothness of the continuity is plainly the result of careful calculation of the interest value of the whole as well as of every small part. Multiple exposures, lap dissolves, color and microcinematography, as well as a number of surprising photographic effects, give this film a technical interest much above the average. Of these, some of the exceptional examples are the photography of light rays passing through prisms and lenses; a recording of the phenomenon of Newton's Rings in color; a scene showing a subject, together with its image on the ground glass of a camera; strains in a structure revealed by polarized light and many other remarkable shots. In short, the combination of cinematic art and skill with which this film is composed places it well in the front rank of all existing industrials regardless of the source of their production." Movie Makers, Dec. 1931, 657.
"Made in collaboration with Melville Webber for Bausch & Lomb Optical Co. Included: glass making, grinding, and polishing lenses and prisms, manufacture and principles of operation of microscopes, telescopes, and other optical instruments" (Unseen Cinema, 114).
"Electra, 400 ft., 16mm., produced by Clyde Hammond, is a picturization of that Greek drama. Its most novel quality is the evidence of an intelligent search for the best motion picture treatment to present an accurate film version of the story. A series of tableau like sequences were finally used with much better results than if the plot had been adapted and scenarized in the customary manner. Certainly this film version is much truer to the original than would otherwise have been possible. Not being able to erect the complicated sets that would seem necessary, Mr. Hammond used flat gray walls, producing the suggestion of ancient Greek palaces and dwellings with "props," costumes and occasional wall ornamentation. The photographic quality is uniformly good throughout and, one sequence has very good double exposures." Movie Makers, Dec. 1930, 787-788.
"The feature length photoplay produced in Siam by Nai Bernard Juangbhanich is one of the best of the serious dramatic efforts produced by amateurs. The story deals with the profligacy of a young Siamese who has been educated in Europe. Feeling superior to an ordinary business career, the young man determines to write, with the consequent search for "experience and atmosphere." In the succession of romantic episodes that follow, the theme of the tale is developed with extraordinary skill and, in spite of the manifest satire in several of the sequences, the picture includes many sincere glimpses into the social life and customs of the upper classes of Siam. Completely blinded and embittered as the result of his folly, the protagonist finally comes to terms with himself and actually does succeed as an author. Although this plot follows a familiar outline, Mr. Juangbhanich again proves that it is not the essential plot but the treatment that counts. The picture includes flaws both in photography and continuity but they appear unimportant in view of the general photographic quality and the epic nature of the treatment. It was recently screened for the staff of the Academy of Motion Picture Arts and Sciences." Movie Makers, Dec. 1930, 759, 787.
"The production of the Flower City Amateur Movie Club of Rochester, N. Y., Terror, 400 ft., 16mm., was written and directed by Frank J. Buehlman. It was recently screened as a special, added feature on a week's run at the Little Theater in Rochester. Terror is a psychological study of the effect of fear. Its story is based on a practical joke engineered by friends of the victim who, to the end of the film, remain ignorant of the disastrous results. As the story develops, we see the commonplace incidents of every day life through the eyes of the fear obsessed principal character. The handling of the theme required great care but the producers succeeded in making the highly fantastic reactions of the character seem plausible. With its exquisite lighting effects and the dramatic power achieved in the climactic sequences through cinematography, this film is certainly outstanding." Movie Makers, Dec. 1930, 759.
"Operation On The Brain, 300 ft., 16mm., made by Ernest Page and William Palmer, is a splendid record of a surgical operation. The film's most prominent quality is its fine definition. Correct exposure and careful lighting produced a clean cut and understandable scientific record. Closeups, made with a telephoto lens, were correctly interspersed with the longer shots to emphasize the important details. Variation in camera position is as important in films of operations as in other types of subject matter. Continuous closeups, often used in films of this nature, may be as unsatisfactory as would be continuous medium shots. Although not planned from the viewpoint of instruction, this picture is probably as satisfactory a surgical record as is possible to make under amateur conditions." Movie Makers, Dec. 1930, 759.
"Carl Weagant's sea epic, The Cruise Of The Carlsark, 3000 ft., 16mm., is a complete film record of the voyage of the ketch, Carlsark, across the Atlantic. Three Cornell men began the adventurous trip at Ithaca, N. Y., sailing through the Erie Canal system into the St. Lawrence and thence out into the Atlantic. Crossing the ocean in the little yawl, they cruised through the Mediterranean and returned home, stopping at the Canaries. The film record of the trip, made by Mr. Weagant, who was skipper as well as cameraman, is almost as important an advent in the annals of amateur movie making as the trip itself is in yachting circles. Excellent in exposure throughout, the picture contains few of the errors that would have been excusable. The continuity follows the chart of the voyage but the reels of sea scenes in the midst of the film can be considered as a separate subject. These scenes, telling the every day life aboard the ketch and the exciting incidents on the trip, are as interesting and as well photographed as any amateur made sea pictures that have come to the attention of League headquarters." Movie Makers, Dec. 1930, 759.
"The Art of Photo Engraving, 1600 ft., 16mm., filmed by Edward J. Schon, tells the story of photo engraving from the first step to the last. It makes the complete process clear to the nontechnical audience while its interest to the engraver is such that Mr. Schon was invited to attend the recent American Photo Engravers' Convention in Philadelphia to screen the film and speak on his experiences in making it. It is probable that this excellent amateur made industrial has initiated a series of similar films on the same topic. Because of the unusually careful focusing and consistently even exposure, in spite of the wide variety of lighting conditions met with in interior scenes, this film is photographically outstanding. The continuity, presenting the plant's operations in natural sequence, is commendable for its clarity, particularly in view of the numerous complicated processes featured." Movie Makers, Dec. 1930, 759.
"Havana, 400 ft., 16 mm., made by Herman Danz, is outstanding among the recent travel and vacation films rather more for its photographic quality than for its continuity. The film presents Havana, its harbor, street scenes and architecture. Mr. Danz has avoided almost all of the amateur's pitfalls, for the film contains no instances of wobbly "pamming," [sic] jerky shots or unfortunate camera angles, encountered so often in films of foreign cities. Even more important, the treatment is impersonal throughout and purely intimate shots were either not taken or were edited out to be included in a family reel. Thus the film is the type that strangers and friends can enjoy as much as a professional treatment of the same subject. Filters used with panchromatic film brought out cloud formations hanging over the picturesque harbor and emphasized the colorful architectural detail of the buildings." Movie Makers, Dec. 1930, 758-759.
Total Pages: 174