"La Reata depicts a lost art, that of making a lariat or lasso. The cowhide is stretched and staked out on the ground to dry. Then, with a long circular cut, a rawhide rope is made, cured, then braided to form the rope used in this fast disappearing custom. A leisurely pace gives the film much of its charm, plus a narrator who is in no rush - a welcome change" PSA Journal, Aug. 1967, 36.
Corto documental sobre el pueblo de Izkiz , en el que el narrador describe de forma poética el pueblo entre planos de paisaje y arquitectura de este mismo. Mientras se recitan varias poesías aparecen imágenes de casas, tejados, laderas, ventanas, calles, la iglesia, casas abandonadas, animales, personas, niños –jugando o andando en bicicleta –, personas mayores, escenas de campo y vida campesina, escenas vacacionales, invernaderos, flores, insectos, el río, etc.
Documentary short about the town of Izkiz, in which the narrator describes the town in a poetic way while the film shows shots of landscapes and architecture. While several poetries are recited, we see images of houses, roofs, hillsides, windows, streets, the church, abandoned houses, animals, persons, children –either playing or riding bikes–, elderly people, countryside and country life scenes, vacation moments, greenhouses, flowers, insects, the river, etc.
"Within the brief confines of Lady on June Street, Leo Caloia presents a satisfying example of the personality film worked out in story form. Faced with the common problem of family filming, he has resolved the riddle with imagination, humor and marked cinematic ability. The "lady" in question is pictured as a lazy, luxury loving wife, spiritually eager to be the best of helpmates, but physically enslaved to satins and sweetmeats. Dozing, as she regards with languorous ambition an advertisement for homemade shortcake, she dreams vividly of a sweet but unaccustomed success with pot and pan. Crash! In her dream, the lady slips, and her magnificent shortcake slithers across the kitchen linoleum. Bump! In reality, she has rolled sleepily from her couch, to awake with a thud on the living room floor. The film fades swiftly as she hurries the tops off canned beans and sauerkraut." Movie Makers, Dec. 1939, 632.
"Children and pets are generally lovable and always interesting; but filming them is not a simple task, as many amateurs have found out. Raymond J. Berger, in Lassie Stays Home, accomplishes it with a sure touch and an ease that will be the envy of his fellow filmers. The excellently planned story tells of a lost child who is found by Lassie, the loyal canine family member, after the baby's somewhat older sister hunts her frantically. No adult appears in any of the footage; and remarkably enough, one does not sense the directing mother, just out of camera range. The whole movie goes forward as if the children and Lassie were entirely alone, with the camera miles away. Here is 8mm at its best and here is a film that every amateur would be proud to have made." Movie Makers, Dec. 1945, 494.
"Among the ten best, The Last Entry, running seven reels 16mm., is one of the most ambitious amateur photoplays ever undertaken and completed. The plot, requiring many elaborate interior sets, is based on a mystery story that opens with a house party. While a room is darkened for the projection of amateur films, one of the guests is murdered and all present may be suspected equally. The detective handling the case uncovers the fact that the murdered man, an author, has lived on blackmail effected by threats of exposure through publication, which throws suspicion on several of the guests of the house party who were discovered to be his victims. However, in the end, the murder is solved by screening the same pictures that were on the projector when it was committed. Although this plot offered great difficulties in the direction of large group scenes, the creation of the necessary lighting effects and the interpretation of the actors' roles, it is beautifully and suavely handled. In the film are several lighting treatments that may be listed as among the most effective ever achieved by amateurs. One chase sequence staged through long corridors, a large, dimly lighted attic and on the roof of the mansion at night in the rain, can be likened only to the effects secured in the best professional mystery photoplays. James F. Bell, jr., ACL, was director with Charles H. Bell, ACL, and Benjamin Bull, jr., ACL, cameramen and Lyman Howe, ACL, in charge of lighting." Movie Makers, Dec. 1932, 537-538.
"'Life,' by H. B. Hutchings, given the highest recognition for Home Movies, is the sort of picture that the 16mm camera was made for. It is a day in his son's life and contains many effects which were undoubtedly secured with one of the more modern cameras." American Cinematographer, Dec. 1933, 321, 342.
"On an actual Protestant missionary who brought Christianity, education, and medical aid to an illiterate, pagan tribe in the Belgian Congo." National Archives.
"This year, Ten Best welcomes a baby picture to its select circle. Out of the large number of personal and family films submitted to the League, Linda represents the ultimate in child movies. Here, in less than ten minutes of running time, unfold some of the high lights of the first few weeks of a baby's life. Following a carefully planned scenario, Richard Fuller shows himself well acquainted with motion picture technique. Lovely settings are accentuated by superb lighting. Pastel pinks and blues, colors intimately connected with the nursery, predominate. Fine cutting, well chosen camera viewpoints, effective use of dolly shots and double exposures all attest to a sound knowledge of cinematic expression. Above all, there is a feeling of quality and good taste. At the advent of a tiny stork, ingeniously controlled by wires, Mr. Fuller begins pacing the floor and lighting one cigarette after the other. Then, the routine of Linda's early days is set forth in charming fashion." Movie Makers, Dec. 1941, 564.
"A family picture built around the young daughter of Ira Radovsky. She is coming into the age when little girls want to go for a walk when things at home are not completely as they would like them. We follow the adventures of this young lady and enjoy every moment of it." PSA Journal, Nov. 1958, 46.
"In Little Geezer, running 400 feet, Theodore Huff, ACL, has produced one of the most able and amusing burlesque film stories of the amateur year, repeating his success of that earlier satiric classic, Hearts of the West. Again he has used, with amazing directorial facility, the neighborhood youngsters as his only actors. Again he has aped, with his own peculiar genius, the threadbare cliches of professional drama, poking fun in his filming as well as his titling. Little Geezer offers fine examples of real cinema, is the sort of thing amateurs can do as well or better than professionals and is delightfully amusing in the process." Movie Makers, Dec. 1932, 561.
"Theodore Huff, ACL, has done it again! That lone wolf producer of Hearts Of The West has paralleled the gorgeous fun of his earlier panning of the purple plains as he takes the gangsters for a ride in Little Geezer. The Big Shot, his lieutenant, Greta Garbage (" — more to be pitied than sniffed at") and Scarface Macaroni are all there, played by the neighborhood kids, no one of them over eleven years old. Through their naively serious acting and his own genius at direction and editing. Mr. Huff has riddled with bursts of laughter the machine gun monarchy of professional filmdom." Movie Makers, Sept. 1932, 398.
Total Pages: 38
Amateur Cinema