"George A. Valentine long has been one of the nation's leading 8mm movie makers, because of his knack for consistently turning out capsule movies with a punch, which have won numerous awards. In 'Make Mine Magic' Valentine has scored again with an appealing story of a lad who comes into possession of a magic wand, and thereafter brings to reality numerous wishes of his and those of his brother and sister. Valentine has a slick way of injecting humor and also a surprise last-minute gag into his movies. His 8mm color photography is consistently good and his editing and titling, as always, is skillfully done." American Cinematographer, May 1952, 222
"Sam Fass, having captured some remarkable footage of the Ice Follies in 16mm Kodachrome, set about to weave these shots into an interesting continuity with a logical story line. The director of the ice show summons to his office two likely prospects for one of his ice numbers. When the young women arrive, he projects 16mm movies of his show in order to demonstrate the numbers in which he wishes the girls to take part. When the film ends, the girls agree to join the show and sign contracts -a simple story thread on which the shots of the Ice Follies were deftly strung. The camera work on the Follies numbers is just about tops. Exposure is all anyone could ask for and each number is carefully chronicled and later edited in a slick manner that gives the illusion it all was carefully planned production." American Cinematographer, May. 1952, 222
"Bert Seckendorf is at his best documenting interesting places and events of this land of ours, and in editing and titling such films to impart sustaining interest on the screen. In 'Romance of Gloucester' he has focused his camera on both the interesting places and much of the contemporary life of Gloucester. His discerning lens brings satisfying multi-scene sequences of activities of Gloucester natives, instead of the one-shot treatment so often accorded such material by the uninitiated cine filmer. Result is, one experiences something in viewing this picture on the screen. Seckendorf's photography is clear-cut, discerning, and shows good taste in composition." American Cinematographer, May 1952, 222.
"Denny Plumlee credits Hy Knaack as associate cameraman on this unusual film, which demonstrates excellent miniature settings, lighting, and camera treatment. Together, the two have given cine filmers something new to top in amateur movies. A sound-on-film production in 16mm Kodachrome, the narration is a masterful job and contributes considerably to building and sustaining interest in the picture." American Cinematographer, May. 1952, 222.
"One rarely thinks of a portrait of a place; but Bermudiana is in essence just that. Helen C. Welsh has a perceptive eye for beauty, an affection for her subject and a trained, technical knowledge of her craft. This triple-threat combination has recorded not only the justifiably famous surface aspects of these enchanting islands, but it has revealed as well much of their inner spirit. The film has all the attractions of a first rate travelog and the informative qualities of an honest documentary. Its accompanying narrative complements perfectly the flow of pictorial material, providing supplementary information without piling up facts and figures simply for their own sake. A happy choice of musical background furnishes the final touch to a rich and well rounded presentation." Movie Makers, Dec. 1951, 410.
"There are precious few sails in this production which William Messner has called Blades and Sails. But there is a powerful lot of cinema in its smooth 650 feet of Kodachrome. And there is a wealth of flashing blades. The blades are bandied about by Ernest Riedel, a gaunt length of rawhide and muscle, otherwise known as the national, international and Olympic canoe champion. During the smoothly plotted course of Riedel's exposition of canoeing techniques. Mr. Messner demonstrates his own championship calibre behind the camera. His angles are so right as to seem effortless — though you suspect they're not. His follow-through is as deft as a sweeping blade and his cutting as crisp as a speeding birchbark. Blades and Sails is informative, entertaining and sound cinema — which is quite a combination in any man's movie." Movie Makers, Dec. 1951, 410.
"Spear That Fish - Few professionals have yet brought to theatre screens such scenes as Leon Paddock has captured in this entertaining 16mm color film. Using underwater camera equipment which he designed himself, he and an associate journeyed to the west coast of Mexico where they took the camera underwater and shot scenes of sturdy swimmers with water-goggles and swim-fins exploring the marine life of Mexico's off-shore waters. Shown are divers using spears and spear-guns in hunting game fish, and one diver's encounter with devilfish and other unusual marine life. The climax is marked by a duel between a diver and a shark, with the diver knifing the shark and bringing it to surface. The color photography is some of the best 16mm underseas camerawork yet to be seen. It demonstrates unusual skill as well as the filmer's knack of obtaining excellent exposures with color film in the admittedly difficult conditions which underwater invariably presents. The narration on tape contributes adequately to the screen presentation enhancing the continuity of the slick editing of this picture." American Cinematographer, May 1952, 223-4.
"Venezia, Pearl Of The Adriatic - Oscar Horovitz, in his recent world travels, gives us the benefit of his discerning eye with a studied and beautiful account on color film of the beauties of Venice, Italy. In this picture, he especially demonstrates his uncanny knack for searching out the most dramatic points of interest and for capturing them with his camera in such a manner that even without a running commentary, the picture has an unusual appeal. The secret, of course, is Horovitz's trick of following up his shots with more descriptive shots, in order to tell the complete story. Every sequence, no matter how brief or what the subject, is complete -sufficient. His compositions are artful, adding much to the interest of the picture. Considering that he spent two days in Venice, he has achieved a remarkable documentary of this beautiful and interesting city." American Cinematographer, May 1952, 224.
"Venice, with the misted Italian sun glowing softly on her mosaic domes and sparkling spires, is truly gem-like in her pearly beauty. And Oscar H. Horovitz has succeeded to an extraordinary measure in capturing the warm opalescence of this ancient capital. Such standard subjects as the Grand Canal and St. Mark's Square, in sequences of rewarding detail, have been blended in with less familiar scenes along the city's less famed waterways and few narrow streets. Such a detailed study belies the widespread belief that one must have unlimited time in which to do full justice to one's subject; Mr. Horovitz reportedly spent but two days here. However, his expert command of the technical elements of movie making, plus a pleasing sense of composition and eye for human interest, combine to make Venezia a memorable travel-film experience." Movie Makers, Dec. 1951, 410-411.
"Waters Of Lodore - Unlike most letter carriers who go for a hike on their vaction, letter-carrier Morton and a party of friends set out on a boating adventure down the Colorado river during his 1950 summer vacation. Morton recorded the adventure from start to finish, and edited the footage into an absorbing documentary having many thrilling moments. Although the picture is a little slow getting started -the preparation and get-away sequences being somewhat overly- lenghty -the picture, once the boats get underway, is packed with interest and not a few thrills. It must have been a monumental job making movies on such an arduous journey, for it was often a tough enough job just to keep the boats afloat. Staging the boat action in the rougher waters required infinite patience and camera skill, but Morton has been rewarded with some excellent shots of his fellow-boatmen navigating the dangerous rapids. Morton shot the picture on 16mm Kodachrome at 24 f.p.s., hoping later to combine the narration on a sound print. At present, the narration is recorded on wire and synchronized with the picture." American Cinematographer, May 1952, 224.
"Harold Ramser's 'Acapulco—Mexican Riviera' is a beautiful Kodachrome documentary of the colorful Mexican resort city." American Cinematographer, May 1952, 224.
Total Pages: 299
Amateur Cinema