"documentario a fantasia"/avant-garde documentary
"...che tratta della vita gioiosa dei bimbi in una delle tante colonie elioterapiche volute dal Duce per la sanità della stirpe."— I Littoriali del cinema: Un’altra interessante serie di documentari, La Stampa, September 3, 1939
"...which deals with the joyful life of children in one of the many heliotherapeutic colonies wanted by the Duce for the health of the lineage." — I Littoriali del cinema: Un’altra interessante serie di documentari, La Stampa, September 3, 1939
"For Louis McMahon, making movies must seem to be as natural as breathing — only far more fun. It stands out in his work, from the first dynamic opening of The Black Rider to the last dramatic gun fight, in which, inevitably, the villain is vanquished and the hero left triumphant. For this film goes back to first principles of the motion picture, both in its "horse opera" subject matter and in its unfailing sense of movement and compelling excitement. True to the old traditions, this young producer has turned seemingly impossible obstacles with cinematic trickery and imagination. For the present, his technical skill has not always been equal to his creative ambition, but the genuine urge is there in abundance." Movie Makers, Dec. 1941, 566-567.
"A short mystery film from members of the Amateur Cinema League. A group of relatives gather in a haunted house for the reading of a will. Someone among them knows a secret about the house, and uses stories about the Black Widow to try and scare everyone away. In the end, their identity is revealed and all the secrets come to light. Title cards narrate the dialogue." Chicago Film Archives.
"Boomerang is a simple, direct and hard hitting drama with a moral. Caught in lean times, a young man is laid off from his factory job. Lusting blindly for revenge, he kidnaps his boss's little daughter and sets off down the long, lonely road of the hunted fugitive. Days stretch into weeks, but still he eludes capture, as his patient little prisoner slowly melts his resentment with kindness and childish trust. At last, won over by the warmth of her love, he goes recklessly forth to get a doll that she wanted, only to meet death in a blaze of gunfire. The boomerang of revenge has come full circle. In this rather specialized drama, Chester Glassley has done a good job with a difficult story. The buildup is slow but relentless. The long series of outdoor hideouts is convincingly haunted with fear and menace, and the movie maker has done much to enhance their mood with an adroit use of his camera. Perhaps most outstanding, however, is the genuine portrayal of the little girl." Movie Makers, Dec. 1940, 602.
"Film a soggetto"/Fiction film
"Il esso è descritto, attraverso infiniti particolari, la storia di un fanciullo traviato, che dopo un avventuroso vagabondaggio, viene rinchiuso in un Riformatorio giudiziario per l’espiazione della pena che gli è stata inflitta in seguito ad un reato da lui commesso. Ne seguano le trasformazione spirituale finché lo vediamo restituito alla società riabilitato."
"It describes, through infinite details, the story of a misguided child, who after adventurous vagrancy, is locked up in a reformatory for the expiation of the sentence imposed on him as a result of a crime he committed. Spiritual transformation follow until we see him returned to society rehabilitated."
The film was directed by special courtesy of the Minister di Grazia e Giustizia, nel R. Riformatorio giudiziario di Nisida (Napoli)
—Notizario delle sezioni cinematografiche dei gruppi universitari fascisti a cura del ministero della cultura popolare, September 1938 p. 11
"Inspired by a family funeral, three children in Cockermouth, Cumbria, give the recently deceased 'Jackdaw' a dignified send-off. Heather Harris, the youngest child, officiates as a priest. Sadly, no-one can now remember whether the deceased was a family pet or just a wild bird found in the garden, but this film remains as a fleeting, yet touching, picture of a moment in childhood" (BFI Player).
"A young girl and an Australian terrier named Frisco are the ingredients of Calling Frisco, a sound on film story in which the speech is mostly from the dog's point of view. The film flows smoothly through typical scenes of a day's activities of eating and going to market and playing, ending in a dramatic climax in which Frisco protects his young mistress by warning off an intruder. Imaginative viewpoints and pleasant interior lighting are employed throughout. The dog's simple tricks are well pictured without being obtrusive, while the scene in which a bouncing ball lands in a goldfish tank, with its accompanying sound track, has the creative fantasy of Disney. Cyril Stevens has made a jolly film. " Movie Makers, Dec. 1948, 493.
"The fact that the film, Camp Pinnacle, made by Robert F. Gowen, was provided with a clear spoken accompaniment served to enhance the workmanlike excellence of its cinematic presentation. Since it was a film made, avowedly, to sell to prospect parents the advantages of Camp Pinnacle, it would hardly have been fair to look for those more delicate nuances of atmosphere and sequence which may become a labor of love in the more personal film. Thus Camp Pinnacle was chosen for its excellence as a straightforward exposition, in glowing color, of every interesting aspect of the lives of the lads and their counselors at camp. In setting this forth, Mr. Gowen has chosen simple, natural sequences and has interpreted these with technical excellence and secure knowledge of the Kodachrome medium." Movie Makers, Dec. 1936, 551.
A Camper and His Canoe was filmed at Camp Kawagama, the youth summer camp run by the filmmaker and his wife.
"Children Grow Up, photographed by Charles J. Carbonaro, ACL, and produced by The Religious Motion Picture Foundation, is one of the best examples of effectively handling amateur actors in a story telling film yet made. This three reel film was avowedly produced to point a moral in parent and child relationships and, as such, may be classed as social propaganda, a function in which it succeeds admirably. Yet the story it tells seems genuine and is of general audience interest. The film is carefully cut so that the action is logical and smoothly paced. Mr. Carbonaro is particularly to be congratulated for his handling of the difficult technique of parallel action, which occurs as the development of the children of two separate families takes place. Both streams of interest merge into one in a well planned, dramatic climax. The story is told entirely with the aid of amateur actors. Interior shots are in the majority and, for these, no special sets were built, the furnishings of the ordinary home being used. The lighting and exposure under these conditions are excellent throughout." Movie Makers, Dec. 1935, 534.
Total Pages: 11
Amateur Cinema