"In Ultima Thule and Peggy's Cove, produced by Edward A. Bollinger, ACL, and Mrs. Bollinger, one finds what must be the ultimate in beautiful scenic photography, magically infused throughout with a sensitive feeling for the relationship of ordinary people to their natural backgrounds. Beyond the veritable perfection of many of the scenes in these pictures it seems impossible for camera and film to go, even when guided by skill and imagination as superb as Mr. and Mrs. Bollinger's. Compositions, cutting and sequence structure are incisive and stirring, while the title wordings and execution leave little to be desired in suave good taste. The two subjects are first and last reels of a four reel study of Nova Scotia, in which, it is understood, Mr. Bollinger has done the camera work and his wife the editing and titling. It is a happy combination, from which have resulted documentary reels of magnificent skill and breathtaking beauty." Movie Makers, Dec. 1935, 550.
"Among the pictures awarded Honorable Mention is Bermuda, the Floating Gardens, a color travelog of that island, another of the competent publicity pictures made by Konstantin T. Kostich. ACL, which make the audience yearn to buy a steamship ticket and set sail. Mr. Kostich has mastered the art of this appeal, and Bermuda, the Floating Gardens is one of the best examples of his genius. Here are shown glimpses of the comfort of the ship, the colorful beauties of the island and some of the recreational facilities that are offered. There is splendid color photography throughout and numerous examples of cinematic decor which enliven the work but which do not detract from the film's primary purpose. Notable are such things as the shadow of the horse and carriage moving along the warm colored stone wall and a cleverly planned composition of a winding road banked with brilliant flowers. It would be dangerous to look at this picture around February." Movie Makers, Dec. 1935, 550-551.
"The relatively short photoplay, Choosing a Scenario, has been awarded Honorable Mention because it is a smooth and superficially brilliant example of comedy film story making. Originally produced as one of the entries in a group filming contest conducted by the Cinema Club of San Francisco, the picture took first award in that contest for its director, William Palmer. ACL, its cameraman, K. G. Stephens. ACL, and its lone actor, J. Oliver Tucker, ACL. Although comparatively slight in significance, it offers fine photography, intelligent cutting, effective angles and deft acting in telling a clever story with lively tempo." Movie Makers, Dec. 1935, 551.
"A combination of time lapse cinemicrography and shooting huge factory interiors presented William Schanzenbach, ACL, with the gamut of technical difficulties in the photography of the four reel picture, The Commercial Production of Yeast. The interior shots of huge tanks and other machinery were not only adequately exposed but also were shot from attractive angles without extreme consciousness of camera angles. The laboratory sequences, in which time lapse technique was combined with work at the microscope to show the growth of yeast over a period of time, were well handled. Careful planning and clear titles add to the virtues of this exceptional industrial film." Movie Makers, Dec. 1935, 551.
"Springtime in California, by F. B. Judson, ACL, is an example of what every Kodachrome filmer would be proud to have made, because it studies Nature in her most extensively colorful manifestations, with complete freedom of camera viewpoint, offering closeups, medium shots and long views, all of them richly hued. This film indicates a delicate appreciation of color on the part of its maker, who. having a highly chromatic subject to his hand, did not let it run away with him. but kept it well under control, with the result that he delights with his management of pastel shades, where another might have omitted these and substituted garish footage so easily available in the highly colored California landscape. Mr. Judson is awarded Honorable Mention because he has done a typical thing — a Kodachrome landscape study — with restraint and liveliness, combining two qualities not always found together." Movie Makers, Dec. 1935, 553.
"Under the Maple Leaf, a new version of the perennial Canadian travel study by Hamilton H. Jones, ACL, is more beautiful and even more satisfying than its forerunners. Ineligible for current Ten Best, because of the fact that a small part of the present material has been viewed and listed in previous selections, the new release is included in the Honorable Mention category as a tribute to the dexterity with which the material, old and new, has been combined and the high quality of the added color sequences. The same flawless photography and clever sequencing which marked previous versions are again present. The disc sound accompaniment (in revised form) is deftly handled, making a thrilling addition to the film. Color is interspersed successfully with black and white sequences in a way that seems to obviate criticism of the mixture." Movie Makers, Dec. 1935, 553.
"Wire and Cable Manufacture, made by Robert F. Gowen, ACL, is a good example of what can be done with the presentation of heavy manufacturing processes. The many fine shots of large machines in motion as well as of rolling hot copper ingots were striking in their beauty. A careful record of the entire process of making a giant cable was worked out on short notice and was photographed in a short time. Many difficult lighting problems were overcome, and the result is an achievement that will do credit to the manufacturer's reputation and will add prestige to Mr. Gowen's cine fame." Movie Makers, Dec. 1935, 553, 555.
"Y West Side, the joint production of Robert Coles, ACL, who directed the film, and Charles Coles and Edwin Schwarz, ACL, who photographed it, is a very successful publicity picture for the West Side Y. M. C. A. in New York City. Starting with the social and dormitory facilities of the "Y," the film carries the audience on a tour of gymnasiums, special exercise rooms, roof courts and pools. The abundance of athletic and exercise equipment is shown clearly in sequences of their use, and the carefully planned action throughout the picture maintains interest and continuity. This film is distinguished by excellent photography and by the successful solution of the innumerable problems in handling large scale interiors and group action. Ingenious adaptations of games and exercises were sometimes required in order to fit the scene to the camera field, determined by the exigencies of the space available. The talents of the three producers were so integrated as to make the enterprise an outstanding success." Movie Makers, Dec. 1935, 555.
"A down mountain ski run, etched against a filtered sky and set in a world of fantastic snow shapes and incredible beauty, is the theme of Mount Zao, which was filmed on the Japanese mountain of that name. Khoji Tsukamoto has mastered the technique of back lighting the dramatic turns, stems and jumps of a down mountain run so that they are framed against luminous clouds of powdered snow. The ski runners are always preceded by an ubiquitous cameraman who has invariably chosen the most effective angle for each scene of his closely knit sequences. The result is as smooth a picture of skiing as the screen has seen. In sequencing, editing and the nuances of tempo, this film is near the top. And particularly praiseworthy is the way in which the cameraman has involved backgrounds of astonishing natural beauty with foregrounds of interest compelling action." Movie Makers, Dec. 1937, 603, 626.
Total Pages: 299
Amateur Cinema