"To produce a clear explanation of just how the modern dial telephone works is a task that would tax any movie maker's ability, or even the united capabilities of any two filmers. Yet, when Kenneth Bloomer and Robert Orr. jr., pooled their movie making and telephone engineering knowledge to make Behind the Dial, they produced one of the most competent technical films that Movie Makers staff has ever seen. Clear, flawless photography, combined with a script that was worked out with infinite care, makes the story interesting and complete. Particularly effective are the sequences of the operation of the automatic machinery of the dial systems, in which shots of the encased mechanisms dissolve into scenes of the same mechanisms after the cases have been removed. The camera achieves the effect of an X-ray in revealing what actually happens within a maze of machinery to make the dial system possible. The film represents a tremendous amount of labor and planning, for much of the equipment shown had to be filmed at the telephone office late at night when the traffic was very light. This is a documentary film of both educational and entertainment value." Movie Makers, Dec. 1937, 628-629.
"To the producer of Ducky 'n Busty must be given the palm of accomplishment for making the first 16mm. cartoon story in Kodachrome that has come to the attention of the League. Plenty of publicity has been given to the immense amount of detailed work that goes into making a theatrical screen cartoon. In Hollywood, this is done by a large staff, but Emile Gallet, producer of this unusual film, performed every bit of the work himself. This included the construction of a special apparatus for shooting color film, frame by frame, the arrangement of proper lighting and designing an alignment device for bringing each separate drawing into correct relationship with its predecessor. In addition, Mr. Gallet, who is an artist, planned the scenario and executed each separate drawing in color. The monumental effort thus involved may be deduced from the fact that there are forty frames to each foot of film and that Ducky 'n Busty runs to a length of 400 feet. The subject matter of this amusing cartoon is of the type familiar in theatrical productions, wherein the antics of birds and animals repeat the foibles of humankind. In imaginative color design, fine technical work and sheer achievement in this field, into which so few amateur workers have ventured, Mr. Gallet rates highest praise." Movie Makers, Dec. 1937, 629.
"The able talent of the Rockville Cinema Club again has produced an excellent photoplay. In Notoriety, the acting of this seasoned group of players sets a high standard for amateurs, and the work of the leading lady deserves special mention. Able direction and camera work help to carry along a story which has a few weak spots in its structure, for the film has a surprising amount of suspense, which is unusual in amateur dramatic ventures. There are several smooth comedy sequences that are extraordinarily well handled, and there are interior scenes of outstanding quality in lighting. The work of this group constitutes a good example to those who feel that good films are made only with elaborate equipment, for this picture tells its story in straightforward, workmanlike sequences filmed with the simplest of accessories." Movie Makers, Dec. 1937, 629-630.
"With Number Three Arrives, John Martin carries on the continuity both of his charming family and of his delightful films of them, so ably introduced by his last year's award winner, A Day with the Young Martins. Here again are the sure feeling for cinematic story technique, the nicely effective angles and the smooth sequencing which belies any need for titles. Added to these deft and familiar abilities of Mr. Martin's work, the current production brings to light a delightful flair for farce comedy by the harassed father and a family terrier rivaling, on a small scale, the best of Hollywood's canine thespians. Once more, Mr. Martin has proved beyond argument that a well planned family film may be of interest to all who see it." Movie Makers, Dec. 1937, 630.
"The majesty of one of North America's greatest rivers is the theme of Walter Downs's Saga of the St. Lawrence. Stunning Kodachrome views of this mighty stream picture it from the decks of a river steamer. The ship is used as a mechanism for carrying the continuity theme forward and for providing smooth "trucking" shots of the passing shoreline. Brief stops offered the opportunity for sequences that show the character of the country and its people with the sympathy and understanding of one who knows the region well. These also punctuated the film in a pleasant and interesting fashion. The picture is accompanied by a musical background and some sound effects, all done by double turntable. This is a gracious and capable film of high photographic quality." Movie Makers, Dec. 1937, 630.
"The current and widespread revival of interest in cycling is the subject of Under Your Own Power, by Sidney Moritz. Carefully planned, attractively photographed in color and neatly edited, the production is a pleasing and happy record of bright days in the summer sun. Mr. Moritz has shrewdly remembered in his film the predominant human interest of this leisured sport, as well as the lovely scenic vistas to which it leads, and has embroidered both of these subjects with distinctive angles and some successful "effect" shots framed by cycle wheels. Amusing, effective and well worded titles in color round out this highly entertaining etude of modern wheeling." Movie Makers, Dec. 1937, 630.
"Luc Fauvel is a Norman, and he turned to his own pays to contrive as sensitive and trenchant a study of French provincial life, in miniature, done by the medium of film, as did giants like Flaubert and de Maupassant through the medium of words. His Vieille France has irony, pathos, humor and plain reporting. It is the tale of an old bonnet maker of Normandy, who goes through her daily tasks, in which she has grown old, but who, at the end of the labor, reviews the past, by means of her photograph album, and meditates on her son, who died on the field of honor in the World War, and on her daughter who has become a great dancer and is far removed from the little Norman village of her origin. Mr. Fauvel accomplishes most by suggestion, by indirect statement and by a kind of insidious comment on life, never more than fleetingly presented. This young Frenchman, now studying at Cambridge, in England, will give us better and more technically well knit pictures as times goes on." Movie Makers, Dec. 1937, 630.
"The title of Pomfret Today, produced by the T. W. Willard Motion Picture Company, gives a clear impression of the subject matter of this recent addition to the Willard tradition of fine school films. Produced for the Pomfret School, in Connecticut, the picture provides a pleasant portrait of a gracious institution carrying on its work amid settings of quiet beauty. Studies, sports, hobbies and recreation — all are recalled here in sequences marked by a wealth of warm color and distinguished technical ability. A directly planned continuity is neatly edited and adequately titled, in a subject designed primarily for alumni screening." Movie Makers, Dec. 1937, 630.
"doc. scientifico"/scientific documentary
Total Pages: 299
Amateur Cinema