"It takes Cal Duncan 1300 feet of 16mm. color film to tell a pair of politely uninterested guests how he caught a sailfish off Acapulco — but the effort, as exemplified in Mexican Malarkey, is decidedly worth it. Mr. Duncan's running gag, climaxed by a truly comic finish right out of the funny papers, is the flashback technique developed to a high and satisfying order. His Mexican footage itself is no less effective. The robust and hearty producer has an artist's eye for fresh viewpoints, a dramatist's instinct for revealing action. His sequence on Mexico's traditional Sunday bullfight, always a difficult assignment, is outstanding. Mexican Malarkey is a refreshing variation on an increasing wellworn theme." Movie Makers, Dec. 1949, 454.
"Mexican Silhouette, conceived as a gamble, has grown up to glory. After but a few years of average movie making experience, Clement K. Chase — as with so many — felt an irresistible urge to attempt, in one film, a concentration of all his accumulated skill and experience. He turned to a subject he knew with intimacy and affection, and Mexican Silhouette was the result. It is a splendid educational and general interest study, divided flexibly into three main sections — Mexico, D. F., Mexican Agriculture and Mexican Cities. To these subjects, Mr. Chase has brought a mature photographic skill, marked by tripod steadiness, stimulating compositions and a dramatic feeling for the use of filters. Well titled in the original silent version, the film is now being distributed commercially in both sound and silent editions." Movie Makers, Dec. 1939, 633.
"Having forsaken the good land of tequila for the gypsy life of a trailerite, Ralph E. Gray presents what may be the last in a long line of distinguished human record films on America's southern neighbor. Mexico At Work And At Play displays recurrently in its many and varied sequences the opulent camera work and warm eye for color which have marked all of Mr. Gray's award winners. Mirrored in the present movie are such native occupations as sugar cane farming and mescal distilling, such handicrafts as glass blowing and opal polishing, such diversions as cock fighting and an Easter Passion Play. Mr. Gray's treatment of these and other colorful subjects is leisurely, loving and methodical." Movie Makers, Dec. 1948, 494.
"Leslie P. Thatcher offered a well edited picture in 'Mighty Niagara' with a preponderance of good photography." American Cinematographer, Dec. 1933, 342.
"Made by F. D. Koehler, jr., ACL, The Mississauga Canoe Trip is a fine example of what the movie maker can accomplish on a hunting trip in capturing a picture that has both good photography and an interesting story presentation. The fact that a tripod was added to the duffel did not daunt this cinematic hunter, and the result is refreshingly rock steady pictures that leave nothing to be desired. Perfect exposure, for the most part, and some excellent lighting show that the maker had an eye for the essentials of good picture making. A knowledge of what makes a good screen picture is demonstrated in the many effective closeups throughout the film. An excellent job of amateur titling is another feature that places this film in a high category for vacation films." Movie Makers, Dec. 1934, 534.
"E. Tad Nichols, III, born in the West, has been in the saddle almost since he first toddled. Much of his time has been spent among the Western Indians, and he has an intimate knowledge of their ways. So skillfully has he planned and edited each sequence of Navajo Rug Weaving that the audience has the rare satisfaction which comes from seeing just the right amount of each step of this ancient art that has held one method and course for many centuries. The direction and filming are of such excellence that the viewer almost seems to be present for the carding, spinning, dyeing and actual weaving of the rugs. Here is the human record film at its best." Movie Makers, Dec. 1945, 495.
"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Wide Ruins and area, farming Navajos, Black Rock - Medicine Man, Cut Hair plowing, Joe Toddy following Cut Hair, planting, Patsy Martin standing on Cultivator, Jim House's wife husking corn, Paul Jones helping husk corn, sheep dipping at Ganado, Dwight Wagner viewing sheep dipping, wool shearing at Wide Ruins, loading sheep at Chambers, tall man in tan outfit Bill Cousins, Bent Knee sitting on fence, Crip Chee's grandson in closing scene'." New Mexico States Archives.
"Part one of Navajo Weaving. Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Crip Chee's Hogan, Milton Davis holding lamb, Eleanor Johnson from Hawaii, Bill Lippincott, Grandstaff (center), Hosteen Glish - purchase of rams for up-breeding, shearing at Wide Ruins, Jim House on horseback, Joe Toddy taking wool out for sorting and sacking for shipment, dipping in chute, Walter Ashley putting sheep in dip, Little Shorty to left, washing the wool before spinning, Patsy Martin sorting, Sybil Shorty carding wool, Dorothy Lippincott Stockton trying to learn, Louise Dale spinning wool, washing of yarn, gathering plants for dyes, Little Woman (Captive of Kit Carson - survived the Long March) grey-haired woman - stripping bark from Juniper root for red dye'." New Mexico States Archives.
"Part two of Navajo Weaving. Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Rose Martin, Patsy Martin warping, Sybil Shorty weaving, looms built by the Lippincotts at the Wide Ruins Indian School, Madge Clark, Dan Gaddy, and John Joe in front of the trading post, Bill Lippincott in patio with rug display, Bill Cousins selling rug to tourist'." New Mexico State Archives.
"Hamilton H. Jones has again shown his marvelous ability to combine beautiful movies and fine music on the double turntable into a cinematic whole that, in New England Autumn, carries an audience through the calm delight of fall days to a climax that has great dignity and spiritual stimulation. We see autumn in its most restful and wistful mood, and the action is slowly paced in harmony with the dying year. There is leisurely strolling in the many hued woods. The leaves on the ground are scuffed through and gently scattered. We see the things that we all like to do in the forests in autumn. Finally, in an arresting sequence of autumn fruits — great, gleaming pumpkins and ruddy apples — the music turns to the inspiriting old Dutch hymn of thanksgiving. Rising first orchestrally and then voiced by a thousand singers, the chorus ends as our eyes are lifted to the simple spire of a New England church. Here is suavity, here is intelligent movie making and here are dignity and spiritual uplift." Movie Makers, Dec. 1947, 534.
Total Pages: 16
Amateur Cinema