"Citheronia Regalis, the Royal Walnut Moth, or Hickory Horned Devil are some of the ringing appellations admiring entomologists have given the colorful caterpillar on which Jay T. Fox has chosen to turn his microcinematographic attention. The result, The Birth of a Caterpillar, is an excellent example of scientific filming. In it, Mr. Fox records the egg, embryonic and finally emerging stages of his subject with sound scientific knowledge, exceptional technical ability and obvious patience." Movie Makers, Dec. 1950, 468.
"To realize that paddling bow position in a canoe can be the sole subject of an entire film should surprise any reasonable movie maker. But when you consider that Paddle Up Front! is a physical-education teaching film, it is not so surprising. Naturally, the continuity treatment is repetitious, as all teaching-film plans are likely to be. But C. Roy Terry, jr., production director, ably demonstrates that the person who occupies the forward position in a canoe has an important job when it is done properly. The photography by Ellis A. Ring is workmanlike, particularly in cross lighted scenes which point up the muscle movements in various strokes by the paddler. The didactic narrative seems unnecessarily obvious in places, but it probably is justified when one considers the specific purpose of the film." Movie Makers, Dec. 1950, 468.
"Startling photography in 8mm. Kodachrome gives Harry W. Atwood's Outpost a dramatic appeal beyond the merits of its rather confused and melodramatic story. Story aside (it's a tale of murder, in which some very critical action is not adequately pointed up), Outpost deals magnificently with some of the most interesting and barren country you are likely to find this side of your nightmares. If his plot developments can become more convincing, Mr. Atwood has an excellent filming future." Movie Makers, Dec. 1950, 468.
"David W. Kean has made a simple expository film of a two-man gold mining outfit. But in it he has kept the human touch. A well written narrative supplements the pictured material in explaining the various operations that ultimately produce man's most valued metal. Interior and underground scenes are competently handled and surmount what must have been difficult lighting problems. The production of King of Metals is aptly in scale with the extent of its subject matter." Movie Makers, Dec. 1950, 468.
"In I Walked a Crooked Trail, O. L. Tapp has lured a good deal of motion and humor out of what must be one of the world's most static subjects — the Arches National Monument. Remembering that story interest is an important part of cinematics, Mr. Tapp has kept his very competent camera trained on continuous human action, letting his travelog unwind itself, very subtly, as a background. The film is limited by the essential triviality of its theme — the unfolding of a practical joke. But within its limits it does very well indeed." Movie Makers, Dec. 1950, 467-468.
"Ralph W. Luce has made a record film of a day's outing by a group of cameramen, in which he proves that imaginative planning and concise cutting can make an interesting movie of what might otherwise be dull material. The continuity scheme used in Field Trip shows a waterfront scene being shot, its process through the darkroom and its final exhibition to win top prize among the group's endeavors. Flanking this theme are creative compositions that various cameramen might have recorded, as well as inserts of the workers choosing their viewpoints and setting their lenses. The lead and end titles are particularly stimulating. Mr. Luce has achieved pace in a film that might have been plodding. The result is marred only by the graininess of its monochrome emulsion." Movie Makers, Dec. 1950, 467.
"If the lead title — Carolina Holiday — promises run-of-the-mill vacation footage, there is surely nothing else routine about this production. It is, rather, a rhapsody of color and a tone poem of contrasting moods, to which Henry K. Burns, jr., has brought fine technical skill and a perceptive eye for composition. Although rich in scenic beauty, his views are never static, for movement in a score of things — drifting fog, rustling leaves, an unexpected snow flurry — introduce animation unlooked for in the subject. An unfortunate commentary and hapless scoring (save toward the end) were detrimental to the film's achieving higher honors." Movie Makers, Dec. 1950, 466-467.
"There Runs No River: Francis J. Barrett, who entered one of the top prize winning films in our 1950 competition, again displays his fine camera technique in this 8mm black-and-white narrative of contemporary life in drab surroundings. An excellent music and sound recording on tape enhances the presentation of this commendable amateur effort." American Cinematographer, May 1951, 192.
"The Mirror: This picture was described in considerable detail, as was the steps involved in its making, in our March issue. (See pg. 102.) Arthur H. Smith and Wolfgang Schubert photographed this mystery drama which is comparable in scope, if not quality, to the average feature film production. Unfortunately, inconsistent exposure and cast limitations detracted substantially from the otherwise overall good quality of the picture, but left with sufficient points to rate it an Honorable Mention award." American Cinematographer, May. 1951, 192.
"Reportaje Grafico Nacional: Alvaro Chavarria Nunez, who aspires to producing newsreels in his native Costa Rica, presents in this entry a typical effort. The picture is a newsreel of several national events held in this country, and while it displays aggresive camera work, the film result, a dupe print, suffers a great deal because of inferior laboratory work, and therefore the true quality of the photography could not be properly evaluated. Nunez recorded the sound track, using his Auricon film recorder." American Cinematographer, May. 1951, 192.
Total Pages: 299
Amateur Cinema