"Holiday footage taken by Laurie and Stuart Day during a fortnight’s break in the Swiss Alps prefaced by, and concluding with, scenes involving Laurie and Stuart Day at home in Stoke on Trent" (EAFA Database).
"An Interlude in Happy Isles, made by Dr. Delmer J. Frazier, is one of those comparatively rare vacation pictures that tell their story in detail, but only in that detail which will mean something to an audience that did not have the good fortune to take the same trip. We have no road signs nor guide maps (except for cinematic effect), we don't even know where "Happy Isles" may be. All we know is that the Frazier family has a delightful time there; that they plan their trips with care; that they love the woods and the wild life; and, finally, that their appreciation of it all thoroughly entitles them to an interlude of pleasure. This film is an excellent technical job — the interiors at the beginning of the picture are beautifully lighted, and follow shots of the squirrels in the woods are quite amazing. However, it is the continuity of this picture, with its well planned incidents, that gives it Honorable Mention." Movie Makers, Dec. 1936, 549.
"Members of the Preston family on holiday in the Isle of Man. Various locations around the island are visited - including Douglas, Derby Castle and Onchan Head. At Groudle Glen, people are seen having a ride along a miniature railway and a zoo keeper is filmed throwing fish to a hungry sea lion in its concrete enclosure. Further scenes include close up shots of the Laxey Wheel in motion and a manx cat. Concludes with footage of the seafront at Ramsey." (NWFA Online Archive)
"[...] Interesting 16 millimeter study of fishing, ranging from deep sea thrills off the Florida coast to an expedition into the Canadian wilds." Photoplay, Nov. 1929, 67.
"This film is dedicated to all lousy golfers who give up the game daily..." Fully narrated film of a round of golf at the [Cape Neddick?] Country Club in Ogunquit, Maine. Foldfilm.org
"Nancy tells and shows in a series of five flashbacks what impressed 12 year old Nancy most during her summer vacation. Many a family vacation film ends with the unpacking of the car and bringing in the suitcases. That is where this little vacation film begins. As Nancy unpacks her bag she looks at the things she has brought home and they remind her of her summer's events–boating, woodgathering and the removal of a splinter from grandfather's hand, the milkweed plants and the monarch caterpillar, swimming, a picnic, feeding the birds, and playing with other girls her own age. This is decidedly different from the ordinary travel film, and much of its charm comes from the voice of a young Nancy as she narrates the film. It won the MPD Travel Film Award" PSA Journal, Sept. 1965, 50-51.
"In L'Ile d'Orléans, Radford and Judith Crawley cross a bridge and come back. But they cross a bridge with a difference, because what they see and what they make us see on the other side of that bridge is the inner essence of a withdrawn people, who proudly conserve the memory of things past in the realities of things here. The Maxim Award winner opens a door into a region of Eastern Canada — the Island of Orleans — where old French and old Canadian folkways are lived placidly and with dignity. Actually, the camera crosses a very modern bridge at the film's beginning and returns over it at its end. But, once in L'Ile d'Orléans, in the hands of the two Crawleys, this Twentieth Century box of wheels and gears spins a tale of yesterday, even if it pictures just what its lens sees today. The landscape and the old houses, some of them there for more than two hundred years, set the decor, after which we come to the dwellers in this separate Arcady. They do, with a delightful unconsciousness of being observed, the things that make up their daily lives, and, when invited to take notice of the visitors, they do this with a fine courtesy that is the very refinement of hospitality. Mr. and Mrs. Crawley devote a liberal part of their footage to a careful study of home cheese making, in which camera positions and a large number of close shots turn what might have been a dull and factual record into something of cinematographic distinction. The highlight of the Crawleys' film is a leisurely and sympathetic watching of what is the highlight of life in l'Ile d'Orléans — the country Sunday. We see different churches, all of a general type, but each with its essential neighborhood individuality. Finally, one of these is singled out for an extensive camera visit. Bells ring and the country priest is shown with his gravity and solemn courtesy. The countryside comes to life with its church bound inhabitants who wind over the simple roads slowly yet purposefully and with the assurance of those who know that the land is theirs as it was their fathers'. With such pictures of everyday life, scored with appropriate music for double turntable showing, Mr. and Mrs. Crawley have etched an epoch, in a record which can stand on its own feet with good genre description in any art form. With not a single concession to sentimentality — as should be the case in honest work — but with a sure feeling for that which reaches out for the finer emotions, they have shown us what they found across the bridge. Here is personal filming at its best." Movie Makers, Dec. 1939, 608-609.
Documental sobre el Club Femení i d'Esports de Barcelona que recull les úniques imatges en moviment d'aquesta institució pionera. Documentary about the Women's and Sports Club of Barcelona that collects the only moving images of this pioneering institution.
Total Pages: 13
Amateur Cinema