"Produced as a gift to Dorothy Burritt's husband, filmmaker Oscar Burritt (who was working in Toronto at the time), this is an offbeat study of life at their Vancouver apartment -- suite 2, 1960 Robson Street. The camera explores the apartment and the household memorabilia, and Dorothy is seen sitting for a portrait by painter Peter Bortkus. Later some friends drop by for a screening of Sacha Guitry's film Pearls of the Crown, followed by a party. Among the guests are Moira Armour, film editor Maureen Balfe, UBC student Stanley Fox, photographer Peter Varley, and an unnamed figure wearing a bird costume. Most of the people shown would have been involved with the National Film Society of Canada (Vancouver Branch). Suite Two won honourable mention (amateur category) at the first Canadian Film Awards in 1949." (BC Archives)
The film was restored in 1986 by the British Columbia Archives.
"A silent documentary that follows a group from Central Cinematographers as they view, discuss and shoot films. The process of filmmking becomes transparent as the actors are seen alongside the equipment that lights and films them as well as the large number of people that are needed to prepare for a scene." Chicago Film Archives
"Apple Sculpture by Frank L. Kreznar of Milwaukee, Wis. No Literal description of this film is possible more than the title itself. This surprising hobby is beautifully presented in this 8-minute 16mm film that was awarded a Ten Best Medal" PSA Journal, Nov. 1971, 41
"The Knife is a deft little story film concerning a jealous husband who suspects a local artist of making time with his wife. Grabbing the artist's knife, he stabs the artist in the back, but the result is not at all what he, nor the audience, expects" PSA Journal, Sept. 1966, 35.
"Portrait in Bronze is an excellent documentary of the making of a bronze bust from the first sitting and the sculpturing in clay right on through to the finished product. The original was shot on Ektachrome commercial and the projection print is excellent in every particular - a large factor in the film's success. It received the MPD Golden Scissors Award for best editing of any film in the contest" PSA Journal, Sept. 1965, 50.
"The One Man Band shows the filmer, Sid Laverents, playing about six instruments all at once, not to mention an old auto horn squeezed in between his knees that would compete well with Spike Jones, He explains what he is up to as a one man band, then plays two or three selections. A lively and entertaining film" PSA Journal, Sept. 1964, 51.
"With Stronger Reason is a photoplay about an artist who is disgusted with his efforts–disgusted, in fact, with life in general–at least what life has been to him. Flashbacks at the beginning work to the film's favor, and excellent black-and-white photography plus some of the best camera work in this contest in recent years are features of this outstanding story film. It also received the MPD Scenario Award and the MPD Sound Award" PSA Journal, Sept. 1964, 50.
"From the era of jazz to the big swing bands, show business has meant life and music. The voices of Sophie Tucker, Al Jolson and Bing Crosby bring nostalgic memories as they sing those grand old songs. Clever, pantomime, night scenes of New York, familiar faces, along with the arrangements of Benny Goodman, Glen Miller and others, make the audience chuckle as they tap their toes and swing their shoulders, being caught up in the rhythm and excitement of "Show Biz" PSA Journal, Oct. 1963, 42.
"This is a short story about a musician, a pianist who has enjoyed the pleasure and popularity of concerts in many cities of Europe. And then came the war! Even in the thick of battle, when his fingers must play a different keyboard, music does not leave his mind. The picture closes with the last concert, simple, but forceful in its emotional impact" PSA Journal, Nov. 1959, 48.
"The Horn, which hepeats should not confuse with Dorothy Baker's epic Young Man With a Horn, is nevertheless a yarn about a jazz trumpeter—and, like Miss Baker's Rick Martin, one whose life ends in death after he loses his stuff. It is a swift, savage, tender and tragic tale which Dominic Mumolo (himself a professional musician) tells here. And to its telling he has brought with amazing proficiency every resource—imagery, acting, music, speech and pace—of high motion picture drama. Herb Willis plays the part of the manic and despairing trumpeter as if to the manner born. His miming makes this difficult and decisive role wholly believable, while his voice (used not as narration, but in a musing, stream-of-consciousness flashback) is by turns tender, pathetic, searing and passionate. Musical phrases, prepared especially for the picture by Frank Worth, add immeasurably to the film's power. The Horn is a stirring and trenchant study in human emotions. If you dislike having your heartbeat aroused, you'd better avoid it. But if not...then The Horn is a movie made for you" PSA Journal, Jan. 1955, 49.
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