"The Last Review, by George A. Ward, ACL, is an almost faultless example of a military motion picture, into which is woven a story that has the rare quality of evoking deep emotion from the audience. Actually, the film is a record of the camp life of the 105th Field Artillery of the New York National Guard, in its summer instruction quarters at Pine Camp, N. Y. Dramatically, it is the story of a Field Artillery private soldier and his friend, the oldest horse in the regiment. Condemned to be shot because of age and the approaching motorization of the command, the horse is reprieved and is given a review by the entire regiment in honor of "the artilleryman's best friend." The tale was not fictional, but actual. The hero was a member of the regiment, he loved the veteran horse and the review was actually held, not for purposes of filming but as a tribute. The film ends with the review, while actually the reprieve was only temporary and the equine actor has since been destroyed because of age. In this film, Mr. Ward exhibited cinematography of high quality and much incidental beauty. He contrived, as well, to give a military record that errs in no detail and that has no false note. To crown it all, he filmed a scenario, in itself moving and acted with complete sincerity." Movie Makers, Dec. 1934, 534.
"Made by F. D. Koehler, jr., ACL, The Mississauga Canoe Trip is a fine example of what the movie maker can accomplish on a hunting trip in capturing a picture that has both good photography and an interesting story presentation. The fact that a tripod was added to the duffel did not daunt this cinematic hunter, and the result is refreshingly rock steady pictures that leave nothing to be desired. Perfect exposure, for the most part, and some excellent lighting show that the maker had an eye for the essentials of good picture making. A knowledge of what makes a good screen picture is demonstrated in the many effective closeups throughout the film. An excellent job of amateur titling is another feature that places this film in a high category for vacation films." Movie Makers, Dec. 1934, 534.
"Not One Word, by Kenneth F. Space, ACL, is an all around triumph of amateur photoplay production. It is a simple melodrama of the keeper of a lighthouse, his wife and the rejected suitor who returns. A wreck at sea (beautifully staged in miniature) is the complicating dramatic factor, and, with these ingredients, a dignified motion picture story of remarkable unity has been produced. In it, Mr. Space and his able staff have blended dramatic lighting, authentic settings and superb photography to achieve a distinguished whole. Under restrained but smoothly paced direction, the three leading players have enacted their roles with definite histrionic skill. If one were to try to select a single quality in the film which is outstandingly brilliant, the vote of this observer would be cast for the cutting. It is accurate and incisive, adding that last bit of dramatic "punch" which is perhaps the quality least often achieved by the amateur producer. Not One Word speaks for itself, but in the wordless and potent idiom of cinematic imagination." Movie Makers, Dec. 1934, 534.
"In Peasants, Konstantin Kostich, ACL, has produced a sympathetic and withal entertaining picture of the people of village and farm land in Czechoslovakia and Roumania. Expert photography, an understanding choice of camera angle and workmanlike sequences mark this interesting film study and serve as a vehicle for its outstanding quality — a sincere and attractive presentation of the people as they are, not as they might be made to appear for the sake of motion picture cleverness. Mr. Kostich needs rely only on his own skill and can afford to neglect making a point of what, in dress or custom, might appear to be a strange peculiarity to another people. Unlike many professional travel photographers, he can avoid these obvious aids to sustain interest and can present his peasants on the friendly basis of real understanding. This does not mean that he does not tell a real story; it simply means that he tells it fairly and sincerely and, hence, beautifully." Movie Makers, Dec. 1934, 534.
"In Thyroidectomy, Henry M. Lester, ACL, has combined all the essentials of the perfect medical film. The delicate color gradations of tissues that mean much to the surgeon are clearly evident, due to excellent exposure, lighting and suitable film stock. Thorough presentation of the operating technique is given by means of suitable telephoto lenses and properly placing the camera in relation to the surgical field. An unusual feature of this particular operation is the large number of instruments which necessarily must remain in the field most of the time, creating a difficult problem for the photographer in that the many shining surfaces tend to produce undesirable reflections. However, Mr. Lester has solved this problem to perfection. The film is a result of the combination of highly specialized skill, equipment designed for the purpose and an exact knowledge of the requirements for the perfect surgical film." Movie Makers, Dec. 1934, 534.
"Venice, another Kodacolor achievement by John V. Hansen, ACL, exemplifies in a new way the amazing versatility of the amateur color medium in the hands of a master craftsman. The significant accomplishment in this case is capturing the brilliant, yet delicate, Andrea del Sarto mosaics in the arched recesses above the doors of St. Marks in Venice. Although the sunlight does not strike these mosaics directly and lighting conditions for any type of photography are difficult, Mr. Hansen succeeded in registering the tones and colors, from the most subtle pastel shades to the brilliant yellow of metallic gold. This latter quality, so difficult to simulate in any medium other than the real thing, here is shown with the rich luster of the metal itself. Turneresque interpretations of Venice in another section of the reel are equally beautiful, if less obvious accomplishments, while studies of colors of buildings, as reflected in shimmering water, succeed in preserving what otherwise would be the most elusive memories of beauty. Mr. Hansen richly deserves the accolade of the Ten Best." Movie Makers, Dec. 1934, 534, 545-546.
"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.
"Among the pictures awarded Honorable Mention is An Evening at Home, by Arthur E. Ojeda, ACL, a rare achievement in film planning — the family picture of interest outside the family. In it the father arrives home from his work and is greeted by the children. Soon, after the bedtime story, they toddle off upstairs, leaving the domestic stage clear for the grownups' dinner and the subsequently arriving neighbors. There follow a shaker of friendly drinks and a session of jigsaw puzzling after which the guests depart. The last lights go out and the film is over. Mr Ojeda's treatment of this theme is clearly sequenced, told without titles and mostly in closeups. Honorable mention was well deserved by the definite interest which he brought to the subject. With more perfect technical execution, an even greater honor might have been won by this family film." Movie Makers, Dec. 1934, 546.
"Bringing Kodacolor indoors was the task E. M. Barnard, ACL, set for himself in Christmas 1933, and the result is a 400 foot reel of very charming Christmas studies. One of the few attempts at a complete personal story in color, this picture presents a well photographed and adequately planned film of the youngsters' enjoyment of the holiday. Exposure for interior Kodacolor seems to be no problem to Mr. Barnard, for the majority of his scenes have perfect color rendition as well as very effective and interesting lighting. Some of the studies of his small daughter have an appealing loveliness that is impossible to get in black and white, for they present the very delicate flesh tones with perfect faith as well as the colors of costumes and incidental Christmas background. This film marks a new step in personal indoor filming and leads the way to more extensive use of the color medium by artificial light." Movie Makers, Dec. 1934, 546.
"Adequate illumination of the large areas of classrooms, auditoriums and laboratories, each with varied light absorbing or reflecting characteristics, presents a respectable problem to the average movie maker, even with the dual aid of supersensitive film and Photofloods. However, in Emma Willard School, T. W. Willard, ACL, has met and overcome this problem with great success and moreover with attractive and satisfying results. Although the production of the film would appear to have been beset with a whole range of large scale lighting problems, from balancing the daylight from large window areas to illuminating rooms completely with artificial light, not once are the results cramped in any way. Important action is highlighted to feature it and there is always a pleasant composition of illumination." Movie Makers, Dec. 1934, 546.
Total Pages: 299
Amateur Cinema