"Mainly shows trip(s) up the Stikine by riverboat and placer mining activity [nearby]. Includes: waterfront view of Wrangell, Alaska; views of and from riverboat Hazel B No. 2 going upriver; the Three Sisters (islands in the river); riverboat at Telegraph Creek and barge at Dease Lake, and local activity; forest fire & fire-fighting; shots of Fokker F-11AHB flying boat designated CF-AUV (at dock and taking off) and a Fairchild floatplane; aerial shots in the vicinity; wreckage of aircraft CF-AUV (which crashed at McDame Lake, 13 July 1935); general scenery and wildlife. The placer mining footage, which is interspersed, includes shots of a small mining camp, sluice works, panning, hydraulic monitor operation, jerry-built mining equipment in use, etc. [The footage] was shot [ca. 1933-35] by Joseph J. Jackson, whose company "Three J's Placer Mines, Inc." prospected near the confluence of Thibert Creek with Dease Lake in [the years 1931-35]." (BC Archives)
"Adventure on the Colorado, by Al Morton, comprises 1,600 feet of film and (at twenty four frames a second) forty eight minutes of screen time. In it, six men in two boats travel down the Colorado River from Moab, in southeastern Utah, to Lee's Ferry, in northern Arizona. Taking fifteen days, the trip covered some 300 miles, forty of which were through cataracts already claiming twenty nine lives. These are the bare and simple facts of the case. But these facts cannot begin to tell the story of Mr. Mortons epic adventure. And mind you, we are not concerned here with the breath taking dangers of the trip itself — although these alone were awesome and challenging. We are concerned only with Mr. Morton's filming adventures and the bright, indomitable story of them as recorded so stirringly in his film. That story is one of inflexible resolve against all compromise, even in the face of well nigh impossible circumstance. At one point in the picture, Mr. Morton shows us a rugged and precipitous approach to the river known as "Hole in the Rock." It was through this narrow passage that, years ago, a little band of Mormons, sent to colonize the San Juan country, brought their wagons and their belongings. In laces where the chasm had narrowed so sharply as to block the cavalcade, they dismantled the wagons and packed them through on their backs. For they had set out to cross the river — and cross it they did. Mr. Morton's filming resolve must have been of that same high order — almost religious in its intensity. As the down-river journey grew ever more arduous, you waited with sympathetic understanding for those not quite perfect scenes which the incredible conditions must surely dictate. You were ready to make allowances, to accept the imperfect as relative perfection --under the circumstances. Not so with Mr. Morion. There was no compromise with quality in the Morton picture plan. He set out to film the river, and film it he did. Adventure on, the Colorado is a moving and splendid epic, recording both a gallant adventure and a glowing achievement." Movie Makers, Dec. 1947, 513.
Un recorrido por el Monasterio de Piedra y por las cascadas cercanas retratado mediante un juego de música y agua que cae por las cascadas.
A tour by the Stone Monastery and the nearby waterfalls through a game between music and water falling from the waterfalls.
"A process film with interititles about the spring capture of alewives, an andromadous fish." oldfilm.org
"Andros Blue Holes had to be in color to show us that the Blue Holes are really blue. J. Benjamin of Toronto takes us on 18 minutes of the most fascinating underwater filming ever attempted. The beauty and mystery of the Blue Holes far outweigh the dangers involved in exploring them. Very entertaining and very educational" PSA Journal, Nov. 1969, 57.
"Item is a production of Dr. Willinsky's cruise and trip to Argentina with his wife, Sadie. In the form of a travelogue, footage of cruise activities and entertainment, beaches, landmarks, and the local population is interspersed with captions and maps that were added in by Dr. Willinsky to provide context. Featured cities include Santos, Montevideo, Buenos Aires and Rio De Janero. Sadie is ocassionally spotted in the footage site-seeing and interacting with the locals." Ontario Jewish Archives.
"The very great faculty of Robert P. Kehoe for seeing natural beauty and giving it an individual and entirely original expression in film enables him, in Brookside, to reach a new height in cinematography, because he has added to that faculty an attention to the business of continuity. Like Tennyson's Brook, Mr. Kehoe"s film starts to go somewhere, keeps going and gets there, while we who watch the going see, by the brookside, some of the loveliest — but tripodless — footage of water, flowers and woodland that any landscapist could want to come by. The final sequence of Mr. Kehoe's picture has a tragic tenderness that is almost too poignant, since he has filmed the funeral progress down the darting brook of a lustrous butterfly that ventured too close to the water and was sucked into it. With wings outspread, the little body goes past us into '"yesterday's ten thousand years" as the film ends." Movie Makers, Dec. 1941, 565.
"Harley H. Bixler has made a competent travel study of Prince Edward Isle in his film, Canada's Garden Province. Rural and urban scenes, water and landscapes strike a balance in this thorough coverage of an enchanting scenic spot. One feature of Mr. Bixler's style is his ability to exclude irrelevant material and to include only those shots that are necessary to his descriptive narrative. Good judgment in the rotation of long and medium shots and closeups gives the movie interest and variety that lifts it above the usual run of travel pictures. Impeccable cinematography and a genuine appreciation of the atmosphere and mood of the surroundings are other distinguishing features." Movie Makers, Dec. 1942, 507.
"Cay Sal is a film of underwater life and treasure, containing some excellent underwater photography - steady, consistent, with adequate illumination for exposure and excellent subject matter" PSA Journal, Sept. 1964, 50.
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