"In Caineville, Glen H. Turner has now turned his camera on a Western ghost town, and with moments of sheer movie magic, he has brought it to life again. The slow turning by the wind of the leaves of an abandoned school book, and the slow pan to initials carved on a schoolhouse desk, evoke as if he were alive the youngster who carved them. In another scene, done with consummate smoothness, Mr. Turner shows an abandoned street on which a schoolboy, with books over his shoulder, slowly materializes into solid form — and then dissolves again into thin air. Surrounding Caineville always are the brooding mountains and the ever-encroaching river which implacably seeks to destroy the last vestiges of the crumbling village. Caineville is a triumph of imaginative creation over static material." Movie Makers, Dec. 1953, 320.
"With the recent scaling of Mt. Everest, it is appropriate that a mountain-climbing film should be entered — and should win — in this year's Ten Best contest. Jerry More's Canadian High Adventure is such a picture. Obviously, Mr. More is a competent climber himself, as well as being a good movie maker, for the film presents an amazing variety of camera angles which make one question where the cameraman must have been to take them. For example, some scenes show the climbers crossing a crevasse from underneath, leaving you with the single assumption that the cameraman climbed down into the crevasse to shoot them. Excellent photography, competent editing and a friendly, well-written narrative all combine to make Canadian High Adventure an outstanding mountain-climbing study." Movie Makers, Dec. 1953, 320, 332.
"Concerto, by Warren Doremus, is a sensitive and touching story of young love, following a couple from the joy of their graduation and marriage to the anguish and pain of the man's recall to war service in Korea. The telling of this simple tale has been done with such warmth that the observer cannot help being caught up in the current of emotions which fill the film. The performances of Sallie Dunn and George Harrison as the young couple convey the right mood for each scene with complete sincerity and heart, while Mr. Doremus's direction is forceful and yet restrained. Accompanied by and an interpretation of the Warsaw Concerto of Richard Addinsell, Concerto, the film, may truly be styled a cine tone poem." Movie Makers, Dec. 1953, 332.
"We had thought satire, especially in films, was a lamented art of the past. Thus it is a pleasure to report that it is back again with a vengeance in March of TV. Following both the visual and narrative patterns originated by the now-familiar March of Time series, Charles E. Coleman has created an uproarious satire on television and the inroads it has made into the American home. Both subtle and devastating by turns, the film leaves no aspect of this electronic marvel unscathed. On the technical side, all departments have been capably handled, with the crisp direction and portentous narration being, perhaps, the most notable. The acting is assured and natural, remaining always within the farcical framework of the satire. Whether you like, dislike or simply ignore the subject which this shortie so sparklingly derides, March of TV is unreservedly guaranteed to keep you in stitches." Movie Makers, Dec. 1953, 332.
"Lovers of boats and devotees of movie making alike will probably never see enough of Rochester Race, produced by Walter F. Chappelle jr. in the summer of 1952. For this picture is one of the most complete and authentic records of big-league yacht racing that has been produced to date. For big league indeed was the 72 foot yawl Escapade, owned by Wendell Anderson of the Detroit Yacht Club and sailing as scratch boat in the Rochester point-to-point race westward to Hamilton, Ont., eastward to Stony Point Light, and then back to the Rochester inlet. And big league too was Mr. Chappelle's detailed coverage of this grind, as the proud beauty — with a crew of fourteen and 2630 square feet of working sail area — barreled through heavy seas, slatted and drifted in the calms — but came home by 38 seconds the winner. Working under difficult (and often dangerous) conditions, the producer nevertheless achieved a variety and quality of scenes which are amazing. His handling of side or back lighting, as a big Genoa or spinnaker jib arched out from the Escapade, creates many moments of breath-taking beauty. With Rochester Race Mr. Chappelle has proved beyond the cavil of superstitious yachtsmen that a fine movie may be made on a fine racing craft — and yet still win the race." Movie Makers, Dec. 1953, 332-333.
"Once again two movie makers have pooled their joint knowledge of movie making and their companion interests in ornithology to produce a delightful film of bird life — a record of camera hunting for gulls, terns, ospreys, black skimmers and other water birds along parts of the Atlantic littoral. In Seashore Safari, Robert E. Lawrence and J. Donald Sutherland have wisely limited the subject matter and footage of their film to a small portion of the almost unlimited world of birds. Seashore Safari is presented in a clear and crisp manner, with many scenes outstanding for their beautiful photography. The film is well edited. The accompanying narrative is unfailingly informative, without being verbose. All in all — an excellent production." Movie Makers, Dec. 1953, 333.
"Stretching for more than a thousand miles along Australia's northeastern coast stands the Great Barrier Reef, a vast agglomeration of tide-swept coral islands and islets. For mariners who have threaded their way through these perilous formations, they hold little of enchantment. But to Alfred T. Bartlett (who confines his camera to the Whitsunday group) they are such stuff as dreams are made on — and he has portrayed them thus in The Enchanted Isles. Mr. Bartlett's canvas is a rich one, comprising all of the classic elements of romance: the sun-drenched strand, the nodding palms, the lovely girls and, always and ever-present, the clean blue of the sky and the yet-deeper blue of the circumambient waters. He has painted these elements both in large, lush compositions and with observing attention to the minutiae of vibrant life around him. Even his colors (via the magic of the pola screen) are richly sensuous in their depth of saturation. An unabashedly romantic narrative ("Have you ever dreamed a secret dream?" is the opening line) rounds out this affectionate and interpretive travel study." Movie Makers, Dec. 1953, 333-334.
"In The Ladybird, W. G. Nicholls has told the story of the life of the common ladybug — remember "Ladybug, ladybug, fly away home . . ."? — in a film that is entertainingly instructive as well as distinguished by excellent photography, composition and editing. Many of the extreme closeups of the tiny ladybird as it goes through the various stages of its insect life-cycle are indeed remarkable. Mr. Nicholls's skill in closeup cinematography is particularly well demonstrated in the series of scenes featuring the ladybird's value as a devourer of the aphids that so bother rose growers. A narrative that is educative and well written creates a feeling of respect for the ladybird as a friend to man in his constant struggle against destructive insects. Here is a nature study which is first class in every way." Movie Makers, Dec. 1953, 334.
"Produced by the Long Beach (Calif.) Cinema Club for its local Community Chest, Because of You is a competent presentation of the various community services offered by the local welfare organizations which receive their support from the Chest. The activities of these agencies, as they aid an unfortunate family to which things seem to happen, are presented in a well-paced manner, without appearing to overemphasize any one agency over the others. The production was well photographed by Lucille Lloyd, capably directed and acted, and is smoothly edited. The narrative, while good, could have been shortened in spots. For a club and community effort, Because of You accomplishes its objective of making its viewers Community Chest conscious." Movie Makers, Dec. 1953, 334.
"Candy Capers is a gay little dance fantasy in animation, using lollypops, wafers and other familiar childhood sweets. It is gay, that is, until the entrance of the villain— a long black sinuous licorice snake. The wafers shiver in horror as one of them is captured by the intruder. Then they organize their attack and rout the enemy. Roy Fulmer jr. has achieved smooth animation of his puppets and accompanies them with a pleasant musical score. The result is a bit of confection that is a delight to the eye and ear." Movie Makers, Dec. 1953, 334.
Total Pages: 299
Amateur Cinema