"By a facile blending of warm hearted humor and a keen perception of human interest values, George Mesaros has created a film study of a famous beach in New York's metropolitan area that is replete with interest, information and entertainment. His technical skill and knowledge of what makes a motion picture move prevent this from being the dull collection of random shots all too frequently characteristic of this genre subject. Employing himself as a frenzied and frustrated shutterbug and a filming friend as plain Joe Doakes at the beach with his wife, a lunch and box camera, Mr. Mesaros proceeds to examine with interest and obvious affection the thousand and one attractions of the Long Island resort. An excellent musical score and a brief commentary help to integrate the compact 700 feet of the film's lively length." Movie Makers, Dec. 1949, 454.
"Unity of theme is the striking characteristic of Jose M. Pavon's Menemsha — and its Achilles heel as well. The producer, in a series of beautifully composed scenes that seem to ebb and flow with the surging rhythm of the sea, has extracted the essence of a small fishing town on the coast of Martha's Vineyard. For almost its entire length, the film emphasizes the salt and the sea and the strange, lovely things of the ocean littoral with a feeling that Mr. Pavon accents brilliantly in double exposures of the shimmering sea water sweeping over even the deserted wharves. Unfortunately, Menemsha's unity breaks down a little as Mr. Pavon's camera roams too far afield and brings in elements that suggest fresh water and inland life rather than his original theme. A little cutting would tighten up a film that, technically and artistically, is a delicate and creative delight." Movie Makers, Dec. 1949, 454.
"It takes Cal Duncan 1300 feet of 16mm. color film to tell a pair of politely uninterested guests how he caught a sailfish off Acapulco — but the effort, as exemplified in Mexican Malarkey, is decidedly worth it. Mr. Duncan's running gag, climaxed by a truly comic finish right out of the funny papers, is the flashback technique developed to a high and satisfying order. His Mexican footage itself is no less effective. The robust and hearty producer has an artist's eye for fresh viewpoints, a dramatist's instinct for revealing action. His sequence on Mexico's traditional Sunday bullfight, always a difficult assignment, is outstanding. Mexican Malarkey is a refreshing variation on an increasing wellworn theme." Movie Makers, Dec. 1949, 454.
"Although there is no actual violence portrayed in this psychological thriller, Storm Due — in which a young wife discovers her husband to be a murderer — is instinct with mounting tension and terror. Francis J. Barrett's film is a potent combination of several related elements. Wedded almost as one are dramatic, hard-hitting camera angles and the visual stimulus of brilliant, low-key lighting. Acting of theatrical calibre by the young wife is accented by an off-stage voice which underlines her fears — a technique that suggests a loan from the best in modern radio. A taut continuity only hints at the story line as it hurries through this exciting evocation of violence. This very economy of dramatic exposition, in fact, will make Storm Due an unpopular and often misunderstood production. For these reviewers, however, it remains creative cinema of a very high order." Movie Makers, Dec. 1949, 454-455.
"The familiar plight of a boy who disappears just before his music lesson is the simple springboard launching The Great Man Hunt. The subsequent adventures of the older brother and a reluctant pal who search for the errant youngster build into a chase sequence (on the teen age level) that is soundly representative of basic movie techniques. In developing this theme, Donald Volkman set himself many a difficult exposure problem — notably in shots of the boys aboard a trolley car and in wooded areas with sunlight slanting through tall trees. His solution of these problems is satisfying in every case. Further, Mr. Volkman's cross cutting in the chase sequences indicates intelligent study of professional masters of this technique. A swift climax is presented amusingly as the music teacher apprehends the boy who, wearing only a pair of swimming trunks, tucks a violin under his chin and proceeds to play his lesson at the edge of a lake." Movie Makers, Dec. 1949, 455.
"In this dramatization of James Whitcomb Riley's well known poem for children, Andy Potter chose a perfect character for the leading role. It is his fine acting that bolsters the spirit of the story and outweighs the uneven exposure of a few early scenes. Imaginative camera viewpoints and an interesting musical score give pace to what might have been a tritely sentimental production. Suspense is maintained where it is needed, and the settings, both indoors and out, have been chosen with an eye for variety. Quotes from the poet's verses serve as titles. The Raggedy Man is a sensitive portrayal of childhood pathos and drama." Movie Makers, Dec. 1949, 455.
"Through the eyes and experiences of Matsela, a statuesque native of Basutoland, South Africa, Lewis Lewis reveals a stirring story of the triumph of modern agricultural science over the warring elements of nature. The account of how Matsela and his people all but perish in the dust bowl created by malevolent storms and drought, how he studies under a government program of soil reclamation and triumphantly puts his new training to work, provides an absorbing drama and an enlightening document on one of the world's grave problems. Although dealing with literal facts, Mr. Lewis dramatizes the incidents in his story with telling skill. Superb camera work and an attractive variety of viewpoints aid the dramatic effect, while a fascinating score of native songs further enhances the presentation. Save as a scientific record, the film is somewhat overlong, with the second of three 900 foot reels regrettably slow paced after the swift excitement of the opening chapter." Movie Makers, Dec. 1949, 455.
"A witch who tires of her venomous role decides to transmit her characteristics to the soul of a cat. In this utterly charming film, William A. Thomas shows that he understands this soul perfectly — in both its winsome and its wilder aspects. With inexhaustible patience, he has recorded all the mischievous doings of a lively kitten that finally sees the light of love and casts off the witch's spell — i.e., the cat has kittens. Mr. Thomas's staging of the witch scenes — a role played with relish by Olive Thomas — is eerie and effective, while his sequences on the satanic feline are done with amused affection. The Witch Cat will appall those who "can't bear the beasts," delight those who adore them." Movie Makers, Dec. 1949, 455.
"Taking the familiar 'Twas the Night Before Christmas as a theme, Bert Seckendorf and Vic Watson have put together an appealing children's holiday film combining live action with animation. The live action interludes show a father reading the poem to his young son on Christmas Eve, with the familiar lines superimposed at the base of the scene. These connectives then fade out to miniature sets in which animated figures re-enact the well known story of St. Nick. The film suffers from some underexposure and uneven animation in places, but it offers a very pleasant holiday item." Movie Makers, Dec. 1949, 455,468.
"Raymond Berger has based his film on the familiar story of a dog that finds his way back home from a long distance, paralleled with a little girl's grief at the dog's absence. Imprisoned accidentally in the luggage compartment of a parked car, Lassie, a magnificent Collie, is driven miles from home before his equally accidental release. As the dog turns homeward, Mr. Berger maintains the suspense of his adventures over difficult terrain with admirable skill. A little closer cutting in the final re- union scenes at home would have heightened the dramatic quality. The few long shots in this 8mm. film are outstandingly executed, and there are touching closeups of the little girl as she mourns her pet." Movie Makers, Dec. 1949, 468.
Total Pages: 299
Amateur Cinema