"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Trading post at Wide Ruins, "Trader Burnt Hat" - Bill Lippincott, Sallie, Antoinette Badgley - mother, baby, Sallie, group of three left to right - Gaddy, John Joe, and ? , Tom Big Gun - raising his arm quickly Hosteen Belahi. Little Woman - captive of [Kit] Carson [survived the Long Walk and Navajo incarceration at Ft. Sumner], John Joe's wife (gold skirt) and daughter, Mary Toddy and John Toddy, young children, Joe Toddy, Nashoshi Begay, Paul Jones in trading post trading with Bill Cousins, wife and child of Tom Big Gun, Lukachuka - also captive of Carson (Blackrock's brother - both medicine men). Navajo Refugee Site "Kinazin" (which means Standing House) near Wide Ruins, Pat Norton inside "Kinazin" ruins, Cliff Ruin in Canyon del Muerto, ceremonial jar washed out by rain, Bill Lippincott - Elvin Jonas and Jack Norton excavating the pot, climbing cliff at Canyon de Chelly - Larry Bell and Doyle Mulligan, Sallie and Bill looking at pictographs below Wide Ruins, pictographs near spring north of trading post, Navajo Fence at Wide Ruins, numerous sunsets'." New Mexico State Archives.
"Part two of Navajo Weaving. Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Rose Martin, Patsy Martin warping, Sybil Shorty weaving, looms built by the Lippincotts at the Wide Ruins Indian School, Madge Clark, Dan Gaddy, and John Joe in front of the trading post, Bill Lippincott in patio with rug display, Bill Cousins selling rug to tourist'." New Mexico State Archives.
"Part one of Navajo Weaving. Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Crip Chee's Hogan, Milton Davis holding lamb, Eleanor Johnson from Hawaii, Bill Lippincott, Grandstaff (center), Hosteen Glish - purchase of rams for up-breeding, shearing at Wide Ruins, Jim House on horseback, Joe Toddy taking wool out for sorting and sacking for shipment, dipping in chute, Walter Ashley putting sheep in dip, Little Shorty to left, washing the wool before spinning, Patsy Martin sorting, Sybil Shorty carding wool, Dorothy Lippincott Stockton trying to learn, Louise Dale spinning wool, washing of yarn, gathering plants for dyes, Little Woman (Captive of Kit Carson - survived the Long March) grey-haired woman - stripping bark from Juniper root for red dye'." New Mexico States Archives.
"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Wide Ruins and area, farming Navajos, Black Rock - Medicine Man, Cut Hair plowing, Joe Toddy following Cut Hair, planting, Patsy Martin standing on Cultivator, Jim House's wife husking corn, Paul Jones helping husk corn, sheep dipping at Ganado, Dwight Wagner viewing sheep dipping, wool shearing at Wide Ruins, loading sheep at Chambers, tall man in tan outfit Bill Cousins, Bent Knee sitting on fence, Crip Chee's grandson in closing scene'." New Mexico States Archives.
"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Jimmy Hill flagging train at Chambers, Arizona, Post Office at Chambers, Bob Cassidy Postmaster, plane drop at Wide Ruins, Bill Cousins picking up package. Wide Ruins trading post exterior and interior, Bill and Sallie, Bill's office is original trading post of Day Brothers, Bill Cousins at front of airplane, crash of transcontinental racer on highway. Square dance, Eleanor Pratt in blue blouse near ladder, Jack Norton heavy set fellow, Phil Pratt extreme left, John Adair with back to screen, Dick Tryon [Tyron?] near rocks. Dwight Wagner - white shirt and tie near rose bush, Sallie in front of Spring house'." New Mexico State Archives.
"A two-part lecture travelogue film on the state of Arizona. The film would have been originally presented with live narration by the filmmaker, Robert Davis. Part one includes footage of desert landscapes, ranches, pre-historic artifacts, Native American art production & industry (wigs, textiles, etc), saloons, regional industry (logging, agricultural, and dams). Part two also includes footage of desert landscapes, cacti and dams as well as scenes from Phoenix and the surrounding area. Highlights from part two include a tour of a trailer park and footage of people skiing and sledding down a snowy hill." Chicago Film Archives.
"Edited film describes life on the Navajo Reservation. Scenes include women weaving, grinding corn and caring for children (baby is bound into cradle board) and men herding, hoeing corn, silversmithing, and washing and binding their hair. Also shows Navajo Rodeo (encampments, stinger and bronco riding, wild cow milking and horse racing), trading post at entrance to Monument Valley (exchanging rug for goods), Ganado Mission, workers in uranium mine and scenic views of Monument Valley and Canyon de Chelly. Efforts to deal with lack of water is discussed in narration," Human Studies Film Archives, Smithsonian Museum.
"A vacation to Cedar Breaks, Bryce, Zion, and Grand Canyon of the Colorado." American Cinematographer, June 1938, 257.
"In Grand Adventure Louise Fetzner presents a lively record of a daring run through the wild rapids of the Colorado River, as it courses the Grand Canyon from Lee's Ferry to Lake Mead. While thrilling scenes of the intrepid boats and boatmen provide the film's drama, Mrs. Fetzner has not overlooked human interest sequences on the small daily activities of these hardy adventurers. Generally good in photography and editing, the film falls off in pace somewhat in its latter portions. And perhaps the frequent inserts of a title-map of the Colorado are more hindrance than help in what is essentially an action picture." Movie Makers, Dec. 1952, 340.
"Grand Canyon Voyage is the record of how seven daring people in three tiny boats ran the Colorado River from Lee's Ferry in Arizona, through the awesome gorge of the Grand Canyon, to Lake Mead in Nevada. The trip itself was the exciting and gallant climax to four years of dedicated effort by Al Morton. Ideally, this film record of the trip should be infused with this same excitement, this same sense of gallant adventure. That it is not consistently so inspirited will be a source of sincere regret to all who know Mr. Morton. But perhaps no motion picture of this dangerous, demanding river run could recreate this spiritual overtone. The physical odds against filming were too great, too overwhelming, for controlled camera work and integrated continuity. Survival itself became more important than an image of it. Al Morton, we believe, has done a supremely difficult job far better than would the most of us. He has done it as well, surely, as any cameraman living." Movie Makers, Dec. 1951, 411.
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