"doc. pubblicitario"/advertising documentary
"Frank E. Gunnell has used a novel continuity motif in Mohawk Pals that ties together what otherwise would be a rambling film story. Two boys are shown doing their "homework," and the final assignment is to write a composition on vacations. The film then pictures the summer adventures at Lake Mohawk of the two boys and a girl of similar age. From time to time, there are inserted shots of the boys writing, and sentences from their compositions are cleverly double exposed at the bottom of the frame, to serve as subtitles for the film. The cinematography is immaculate, and the youngsters appear without self consciousness in their various pursuits of fun on a summer vacation." Movie Makers, Dec. 1944, 496.
"About a 9-year-old African girl, found by Protestant missionaries in the French Cameroons and reared in a mission school, who later marries a native teacher and returns to help her village." National Archives.
"With Number Three Arrives, John Martin carries on the continuity both of his charming family and of his delightful films of them, so ably introduced by his last year's award winner, A Day with the Young Martins. Here again are the sure feeling for cinematic story technique, the nicely effective angles and the smooth sequencing which belies any need for titles. Added to these deft and familiar abilities of Mr. Martin's work, the current production brings to light a delightful flair for farce comedy by the harassed father and a family terrier rivaling, on a small scale, the best of Hollywood's canine thespians. Once more, Mr. Martin has proved beyond argument that a well planned family film may be of interest to all who see it." Movie Makers, Dec. 1937, 630.
A story of a young boy and girl who play pranks on their maid as their Mother is away from the house.
"With its first, full dress training film for Scoutmasters, the Visual Education Service of the Boy Scouts of America embarks, in The Patrol Method, on a new pedagogical path. Instead of presenting the perfect method for emulation, the movie records what happens when Scoutmasters and patrol leaders, with more enthusiasm than shrewdness, do things in ways that invite difficulty. The wiser course is pointed out tactfully, but indirectly, in the film. Here is an unusual employment of the movie medium, but the United States Army and Navy found that it worked in war training. The film is intended for use with a printed outline, and verbal conferences will follow its showings. Directly designed to accomplish a specific teaching task, The Patrol Method does it admirably." Movie Makers, Dec. 1945, 498.
"To those filmers who have had the dubious honor of trying to direct a group of young, obstreperous children who somehow seem to persist in shyly gazing into the camera lens, Harlan M. Webber should be able to give some sound advice. Charming, but not cunning, Pinocchio's Jack-O'-Lantern seems to solve all the usual deficiencies which attend a film starring children. With a sure camera sense, Mr. Webber uses sparkling lighting and imaginative camera viewpoints to bring out the Peter Pan quality which pervades the Halloween party given by his son. The picture opens with startlingly clear shots of the small boy reading a Halloween book and continues with him helping his mother prepare the refreshments for the coming party. In a spirit of understanding and finesse, the filmer follows the antics of the disguised children through the party itself and on to the usual doorbell ringing, where they heinously blackmail the neighbors for candy, cookies and cake. Nostalgically provocative, the film exhibits a buoyant naturalness which would delight any audience." Movie Makers, Dec. 1946, 486.
"A man entertains a married woman in her own home. He has previously stolen money from her husband’s wallet and hides the money in a book. The woman in turn removes the money from the book and keeps it for herself. The husband discovers their dalliance and orders the man to go. The man returns and accuses the couple of stealing his money. A burglar interrupts the proceedings. The burglar searches the pockets of the husband and removes (what looks like) another woman’s handkerchief. The burglar then searches the pockets of the man and the wife, discovering the money. The burglar offers the money to the husband in order to recompense him for embarrassing him in front of his wife and proceeds to steal other items from the room, leaving his revolver on the floor. The burglar says farewell. The husband and the man square up to each other" (EAFA Database).
"This film was specifically produced for a meeting of the London Amateur Cinematographers’ Association on 27 March 1929. The film was the basis of a competition for the club members. The club’s members in this case were invited to record the mistakes incorporated into the film. The report in Amateur Films notes that the competition was won by Mrs Nora Pfeil, who recorded approximately 30 mistakes" (EAFA Database).
"The story concerns a girl who, during her husband’s absence in the East, takes a lover. The husband returns home unexpectedly, and, in a heated scene, threatens the lover with an automatic. Unfortunately for him this expansive gesture is witnessed by a tramp. The tramp thinks he had better retreat. As he hurries from the scene he hears a shot ring out and returns to find that the lover has been killed. He reports to a policeman, with the result that the husband is arrested, tried, and condemned to death. Dramatic Climax - With feminine perversity the wife now realises that it is her husband who she really loves, and implores her sister’s fiancé, a member of the C.I.D., to save her husband, whom she believes innocent. He promises to do his best, and, on fuller investigation, finds a sodden letter near the spot where the murder was committed. On making enquiries he finds that a man has recently been lodging at the address given on the envelope, who had just returned from America, and had disappeared on the day of the murder. When finally arrested the man tells of a private vendetta with the lover and of his determination to be avenged. A witness to the quarrel, he shoots the erstwhile friend just after the quarrel with the husband. The final scenes lend themselves to a thrilling climax. The final shot portrays the face of the murderer as he discharges his gun point blank at the audience" (M.A.L.B. 1931: 6).
"Comprehensive record of the event at London's White City stadium, with U.K., U.S., and Commonwealth entrants. Cowboys and cowgirls, saddled and bareback-riding, bucking broncos, roping, steer riding and dangerous horseback acrobatics. Named riders - Hardy Murphy, Ted Elder and Homer the Rodeo Clown." (EAFA Database)
Total Pages: 11
Amateur Cinema