"It stars a young boy, named Bill, who writes to his friend Jim, reflecting on their times together the previous summer. Title cards of the boy’s handwritten letter are interspersed with images of their summer highlights, including scenes of fishing, automobile stunts of “Bob King and his Devil Drivers,” and a motorcycle hill climb competition." Chicago Film Archives
"R.W. Smiley who produced New York World's Fair is at the head of the Publicity Department of the Royal-Liverpool Group of Insurance Companies, and made this film to show the visiting agents of those companies what the Fair was like, so that they might have an idea of what they could see, before ever they visited the Fair" ("Program Notes," 1940).
"A clever, artfully-shot, and carefully-edited amateur film of the 1939 New York World's Fair." oldfilm.org
"Black Book and Camera has good old George, you know George, photographing all the pretty lassies at the World's Fair. He then asks for their names and addresses so that he can send them a photo. Wouldn't a black book full of names and addresses be worth a pretty penny? W-e-l-l. . . George gets a lot of pretty pictures, but as for those names and addresses. . ." PSA Journal, Aug. 1967, 37.
"In Festival Michigan, Cornelius Vanden Broek undertook to record all of the fairs and community festivals that occur in the State of Michigan throughout the year. He was prompted to make this record for the benefit of many friends who were not able to attend them and thus to provide them with a vicarious participation. The usual parades, crowning a queen of this or that, live stock, home preserves, midway attractions and various contests for young folks are all here, done with pleasantly brief sequencing. A lively commentary accompanies the film. On the whole, this rather formidable undertaking results in a pleasant and completely honest endeavor. Mr. Vanden Broek achieved his goal with fine spirit." Movie Makers, Dec. 1953, 334.
"Charles and Robert Coles showed a fine knowledge of the use of filters in their twin subject, 'Cascade and World's Fair.' Also they showed a grasp of composition and camera angles that was refreshing." American Cinematographer, Dec. 1933, 342.
"The 'prize winner' of the title of course was just a goat who had pulled down for its owner a ten-dollar bill as a prize at the county fair, a sum which its owner promptly had sunk in the nearest bucolic palace of chance. The committee disregarded any possessive tendencies of its own in the goat line and decided the entrant really did know his onions when it came to making pictures. But of course every one even on the fringe of the amateur world knows J. Kinney Moore is one of the tops among the amateurs." American Cinematographer, Jan. 1938, 28.
"What would have been an excellent film under any circumstances becomes outstanding as a group production. Produced by the Minneapolis Cine Club, it was originally conceived by William S. Block, carried out under the supervision of G. L. Larson, with Earle E. Ibberson in charge of production, while club president Elmer W. Albinson did the final cutting and editing. All members contributed directly to the project, either in filming or by helping to complete the picture. In the film we accompany two teen-agers, a 4-H boy and girl, on a grand tour of the fair, visiting exhibits, marvelling at the livestock show,standing pop-eyed before the midway spectacles, puzzling over the complexities of modern art, gasping at the fireworks display against the night sky. A running gag furnishes comedy relief, while the wholesome charm of our young guides is revealed in a sympathetic and appealing fashion. The members' filming is consistently competent, and deft editing has made Minnesota State Fair a well integrated and thoroughly enjoyable entertainment." Movie Makers, Dec. 1948, 476, 491.
"In Streets of Peace, Lewis B. Sebring, jr., presents a manifold accomplishment in film. Here is a record of the New York World's Fair 1939, but a record which, because of its selectivity, gives the impression of completeness in setting forth a single theme, although the material is both voluminous and varied. Here, also, is an interpretation of the epic idea behind the foreign participation in this great American exposition, the vision of peace, which has since been so rudely interrupted. Mr. Sebring takes his camera through the streets of peace, literally, and we see one after another of the foreign buildings and exhibits at the Fair; we also look at the different national celebrations in the Court of Peace. The visit of the King and Queen of England is recorded in considerable detail. After a scene of children of many lands uniting in a gathering in the Children's World, we find the pointed query as to what these youngsters will make of the "world of tomorrow," and the picture closes with distinguished shots of the United States Building, with its flag and the word "Peace," which appears on its façade. Mr. Sebring's titling is admirable, both in wording and in execution. His Kodachrome exposures have less good moments, but his camera handling is otherwise pleasing. Here is a workmanlike and finished recording of a great international event." Movie Makers, Dec. 1939, 635-636.
"The World's People, production of Edmund Zacher, II, ACL, and Herbert Johnson, ACL, with musical accompaniment and incidental sound effects by the record and double turntable method and with a narrative presented by Mr. Johnson through the sound system, offers a combination of visual and aural entertainment that is marked by a finish and perfection in cinematography and an interest and liveliness in accompaniment. The film describes a visit to the Century of Progress exposition in Chicago, featuring as its theme the many races and nations of the world represented there. The cinematography of Messrs. Zacher and Johnson is effortless and of uniformly high standard, is playing with intelligent restraint the effects used by professional cameramen. The combination of long shots, medium views and closeups leaves no beholder unsatisfied in any scene presented. There is a decidedly human character in the whole footage and the people are never overshadowed by architecture or machinery. In one place, two somewhat indignant ladies are seen in vigorous and disapproving conversation, for example, yet they are entirely unconscious actors. In continuity planning and execution, in cinematographic perfection and in a satisfying and informing use of excellent narrative, music and sound effects, The World's People sets a high standard in starting out to do a thing and doing it with sureness and real success." Movie Makers, Dec. 1934, 546.
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