"Henry E. Hird, whose suavity and expertness as a movie maker increase each year, has chosen in his present offering to illustrate one of the cine film's most interesting capacities — its power to analyze motion. Introducing his footage with a lead title assembly finely accomplished with double exposure on moving backgrounds, Mr. Hird has observed and recorded with cinematic sureness such things as what happens when cream is poured into a cup of coffee and is filmed in such manner that the action is greatly slowed down for careful analysis. We watch the mechanics of flying seagulls, in landings and takeoffs. We look at the manner in which crystals are formed from chemical combinations, as well as at opening flowers, by time lapse filming. Smoke rings are shown and there are fine examples of the familiar dives caught in slow motion. Mr. Hird's picture compares favorably with the best slow motion studies of the professional screen, and it presents a number of fresh subjects." Movie Makers, Dec. 1946, 471, 486.
"Distinctive for its superb blend of old and new visual techniques coupled with an unusual sound track, the film was unanimously selected as the winning entry [in the amateur category at the Canadian Film Awards in 1950]" (Topalovich, 10).
"Mr. Motorboat's Last Stand, written and produced by John A. Flory, who was assisted in photography by Theodore Huff, ACL, carries the subtitle, A Comedy of the Depression. It has, however, nothing in common with the typical motion picture comedy but is, instead, one of the very few films made each year that represent an intelligent attempt at experimentation with the motion picture medium. It is a story of Mr. Motorboat, an unemployed negro, who lives as elegantly as circumstances will permit in an automobile dump and who sells carefully washed and polished apples on a street corner. The picture turns into fantasy as Mr. Motorboat appears to ride to work in the morning in one of the cars of the dump that stands motionless without its wheels. Then the fantasy becomes more complete when he makes a bit of money and uses it as bait with which to fish in Wall Street. This he does literally and actually and with marvelous results until the crash of 1929. Simultaneously with the explosion of the prosperity bubble, Mr. Motorboat's competitor smashes his apple stand and the picture ends in a magnificent chase sequence, Mr. Motorboat after the competitor. This picture is photographed superbly well, and the editing is as smooth as that of the professional studio product. It is filled with remarkable directorial touches and cinematic symbolism and, although it suffers to some extent from the haphazard admixture of fantasy and realism, it is decidedly the best experimental film of the year." Movie Makers, Dec. 1933, 522.
"Multiple Sidosis by Sidney N. Laverentz a PSA member of National City, California. Sid's title is a mind-boggler surpassed only by the unbelievable single frame multi-image exposures, all in synchronization, that is reminiscent of his winner of a few years ago, "One Man Band." This 10-minute 16mm film won for him a Ten Best medal and the Golden Microphone Award, the new title for the past Sound Award" PSA Journal, Nov. 1970, 38.
"Nightsong is a dramatic story of a colored night club singer, Willie Wright, trying to make the big time and, most of all "to get people to like me." One evening while singing, his eyes rest on the face of a beautiful young white girl and his infatuation with her becomes unmistakable as the story unfolds. The film is 99% visual with a sound track that places great emphasis on the various moods of the young singer" PSA Journal, Sept. 1965, 50.
"Relegated to Honorable Mention only because it has been used commercially, No Credit, a brief and amusing abstract film, would under normal conditions have attained a much higher rating. The picture, produced by Leonard W. Tregillus, is a study in forms and movement accompanied by music. Much of it is single frame work that must have required infinite pains. This sounds alarmingly modern and incomprehensible; but since the film does not have to use words and depends for its effect solely on the cameraman's sense of timing, mood and music, the end result is altogether entertaining. Most abstract films seem to illustrate a theory or argue a point. No Credit stands on its own merits of creative form and movement, integrated with a stimulating musical score." Movie Makers, Dec. 1948, 494.
"doc. a fantasia"/avant-garde documentary
"Numerical Order is a learning-how-to-count film. Through some very beautiful art work, paste-up, and other production techniques, Bill Peterson shows how to count. He has found a reason for every number up to 100. Your better judgement tells you he couldn't possibly keep up his starting pace until reaching 100, but he does except for one little bit of cheating. A film like this must have taken a million hours of patience to produce in addition to a lot of talent" PSA Journal, Oct. 1968, 48.
Olympionic is another successful film by Rose and Stuart Dabbs of the Bronx. Naturally it's in color, and it is only 4 minutes long. The film is an excellent example of creativity, experimentation and what have you. It's all put together neatly. Here's your chance to see a film twice, three times and even as many as twenty times all in one screening. The gracefulness of the film is really a work of art. Oh yes, it's about Olympic diving" PSA Journal, Nov. 1969, 57.
Total Pages: 16
Amateur Cinema