"Novel continuity, beautiful cinematography and a nosegay of feminine charms are the distinctive features of Ten Pretty Girls, produced by Anchor O. Jensen. This expert little drama, made on 8mm Kodachrome, is an excellent example of quality workmanship in that width. The opening scene shows a young man contemplating his address book. He folds a large piece of paper and cuts from it a string of ten dolls, which become the symbols of as many lovely young women. As each doll is torn from the group, a new sequence featuring one of the girls is introduced. A different flower, corsage or bouquet figures in the action as each of the girls is shown in some individual and flattering setting. At the conclusion, the young man has made his choice; he spurns the blondes and brunettes for the favors of a titian beauty." Movie Makers, Dec. 1943, 474.
"They Who Touch, an award winner in past International Festivals, is an experimental, symbolic film depicting the love play of a young boy and girl. Different people get different interpretations from the hands of the young couple which are featured in this film" PSA Journal, Aug. 1967, 37.
"In Trilogy, Timothy M. Lawler, jr., submits an interesting and, for the most part, successful effort to match romantic verse with appropriately emotional scenes. For his verse, Mr. Lawler has used Kilmer's Trees, Malay's The Wide World and Shelley's Love's Philosophy. The moods of the movie footage are excellent. The verse suffers a little, however, because it is released on the screen (or in narrative readings) a couplet at a time, at varying intervals, thus breaking into the overall rhythm. On the whole, however, Trilogy is a good approach to an attractive and difficult ideal." Movie Makers, Dec. 1949, 471.
"Film is a mostly animated cartoon featuring an animated woman and men. The film backdrop often features life images of an old house in winter. The film begins by showing a few pages from the Dec. 7, 1867 'The Milkspur Beacon' newspaper. The woman is in the middle of getting married when she decides to run away. After going back and forth between at least two men, she gets married again" Archives of Ontario.
"Out of his own experience and happy recollections, Sidney Moritz presents in telling terms a warm and affectionate recounting of the marriage and honeymoon. A bright sun filtering through the stained glass of the church lights the solemn exchange of vows amidst swelling organ tones. The scene dissolves to preparations for the honeymoon, the contentment of a pastoral setting, the first months of life together, the small details that contribute to gracious living, and finally a fond recalling of the beginnings — the stained glass and sunlight, two people in love, the music and the prayer. A sympathetic scoring complements this sincere and moving record film." Movie Makers, Dec. 1948, 496.
"This film seems to pick up the same couple from “I’ve Got This Problem” (played by Don Klugman and Judy Harris) a few years later, as they attend a swinging bohemian party where they pilfer personal objects from the unsuspecting guests." Chicago Film Archives.
"Beneath ominous storm clouds, the recently engaged Ann Lister (Winifred Poyser) and Bob Randle (Harry Ellis) argue about their ideas of marital bliss - she wants a house in town, he prefers a country cottage. As the argument reaches its peak, Ann removes her engagement ring, and hands it back to Bob, who walks away, crestfallen. Visiting Amelia - "a very modern girl with very modern ideas about love" - Ann admits that she broke off the engagement in an attempt to find out if Bob really loves her. Following a series of encounters in the street, Ann hatches a plan to become the leading lady opposite Bob in a new theatrical production. But will their love survive the ultimate test?" (EAFA Database)
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