"In New Horizon, Cinematographer Clardy presented the life of a farm girl at a moment of crisis. One reel, almost without titles, tells the story of her efforts to marry the man she loves in spite of her father's opposition which keeps her chained to the farm." American Cinematographer, Feb. 1935, 78.
"Clardy was the winner last year of the gold medal for scenario and photography. Last year Clardy's picture was based on a western theme, while this year his scenario, although set in its greater part in the outdoors had several indoor shots. However, most to be admired was the way in which he handled his production both from composition and directorial standpoint. There were only three people in his cast with the girl assuming the major role. His sense of dramatic values, and especially his fine feeling for the proper tempo brought forth unstinted praise from the judges." American Cinematographer, Dec. 1934, 365
"A perfectly delightful holiday in personal filming, replete with humor, and imagination, is the comedy, Nite Life, produced by J. Kinney Moore, entirely in Kodachrome and, what is more, almost entirely in interior Kodachrome, by artificial light. Mr. Moore, in his work, refutes the contention, sometimes heard, that the amateur should be wary of film comedy. And, beside negotiating this pinnacle successfully, the producer has added an outstanding technical handling of Kodachrome, as well as a highly diverting and intelligent use of the various camera illusions it is possible to produce with the aid of modern 16mm. equipment. The obvious zest and pleasure with which the actor producer entered into the creation of this film add immeasurably to its value as a genuine document of personal filming achievement. Examples of carefully planned and executed trick photography follow one another in such rapid succession in the film that the spectator is left time only to gasp. However, these tricks are not executed simply for their own sake, but strictly in accordance with the furtherance of the plot. It must be said that, in the second part of the film, the author does yield slightly to the temptation of attenuating the action somewhat in order to spin out his bag of tricks. But the film as a whole is so delightful that any audience could easily forgive this small shortcoming." Movie Makers, Dec. 1936, 542.
"Not One Word, by Kenneth F. Space, ACL, is an all around triumph of amateur photoplay production. It is a simple melodrama of the keeper of a lighthouse, his wife and the rejected suitor who returns. A wreck at sea (beautifully staged in miniature) is the complicating dramatic factor, and, with these ingredients, a dignified motion picture story of remarkable unity has been produced. In it, Mr. Space and his able staff have blended dramatic lighting, authentic settings and superb photography to achieve a distinguished whole. Under restrained but smoothly paced direction, the three leading players have enacted their roles with definite histrionic skill. If one were to try to select a single quality in the film which is outstandingly brilliant, the vote of this observer would be cast for the cutting. It is accurate and incisive, adding that last bit of dramatic "punch" which is perhaps the quality least often achieved by the amateur producer. Not One Word speaks for itself, but in the wordless and potent idiom of cinematic imagination." Movie Makers, Dec. 1934, 534.
"Neither the lead title nor the unpretentious opening scenes — as a small boy is seen building a crude toy boat — prepares the spectator for the pure enchantment of One Summer Day. For, almost unrealized even as it happens, the film melts with incredible smoothness from live action into animation and make-believe. The toy boat becomes a pirate galleon of old, a flower a maiden in distress and a twig her gallant suitor, as there unfolds a tale of romantic derring-do. Under cover of darkness, the pirates plot to kidnap the lady, whose protector, a humble fisherman, is away at his nets. He returns, only to be bested in the ensuing sword play, yet, undaunted, he still gives chase. With the help of a friendly whale, he overtakes the pirates, frees his lady and, as the galleon goes down in flames, the lovers return to shore, to live happily ever after. Then, as quietly as it all began, we are back at the edge of the sunlit pond. The boy lifts his boat from the water and turns homeward. And yet, through the true magic of the movies, we have entered for a brief moment childhood's enchanted world. Highly imaginative camera handling, technical skill and a keen sense of cinematic values make this an outstanding example of personal filming. The musical accompaniment and sound effects (including the cling-clang-cling of clashing swords) complement the picture perfectly. Glen Turner has added a new dimension to amateur filming with this simple story so superbly told in its brief 350 feet of 8mm. film." Movie Makers, Dec. 1949, 452-453.
"Pipe Dreams, by Joseph Dephoure, ACL, and Edward Atkins, ACL, is ranked among the year's ten best because of its considerable triumphs over dramatic and technical difficulties. Through the imagination of its producers, a small cast, simple settings and moderate footage have been used to tell a big story, rich in pictorial effect. Dreaming that he has murdered his unfaithful wife, a young man sees in prospect the swift and fearful course of his life to the waiting gallows. The murder, the trial, the death cell and the hanging are represented in large part only by the imaginative and striking use of shadows of the real scenes. Occasional straight shots are heightened in effect by unusual angles and dramatic lighting. Sensitively planned, smartly executed and deftly cut, Pipe Dreams makes its simple story exciting and forceful." Movie Makers, Dec. 1933, 500.
"In Reflections, Henry E. Hird has followed the intelligent practice of revising footage shot when film was more plentiful, with the result that he has created a new and interesting synthesis by editing. On a winter evening, a man reflects on the joys and adventures of a past summer. Of an athletic disposition, he has swum, sailed and hunted. Interested in wild life, he has observed and filmed birds. From time to time, he adjusts a radio, to find music that expresses the moods of his reverie. Finally, he turns off the radio, the musical accompaniment ceases and the film ends in silence. With excellent cinematography and with a nice editorial sense, Mr. Hird has gathered interesting events into an entertaining whole." Movie Makers, Dec. 1944, 496.
"Return from Fire, as defined by its producer, Dr. W. Lynwood Heaver, is the "biography of a mental breakdown." In its opening we meet a boy and girl idyllically in love. But the clouds of war fall across their summer sunshine, the young man is called up and, in a short time, is announced as missing in combat. It is then that the fires of apprehension, misery and terror sear into the girl's mind. How modern psychiatry serves, at last, to recall her from this self inflicted limbo is the climactic denouement of Dr. Heaver's drama. The conception of Return from Fire is imaginative and exciting. The acting and its correlative direction are excellent throughout. A provocative musical score contributes markedly to the maintenance of dramatic tension. Dr. Heaver's camera work, rising occasionally to heights of cinematic imagination, is sound, satisfying and suggestive of still greater things to come. Put down his name as one to watch!" Movie Makers, Dec. 1945, 494.
"An archaeologist on an excavation finds a glass cube that allows him to see into the past where he sees an Egyptian Princess standing in a garden." Sacramento Public Library.
‘Ayako prays at the grave of her brother. Returning home, she helps Seizo - her late brother's young friend - to release his kite caught in the trees; an interlude that restores memories of the departed. Rural life and customs and the special delights of childhood are skilfully conveyed’ (EAFA Database).
Referred to "Sister and Brother" in 1932 American Cinematographer competition.
Total Pages: 4
Amateur Cinema