"Helen H. Loeffler has the distinction of being the only woman among those whose films placed in this year's Ten Best selection. Permanent Color is a workmanlike film record of applying vitreous enamel to metal in the production of decorative objects. The movie is replete with well lighted closeups of each operation, from making the vessels of copper to the final polishing after the enamel has been baked. Explanatory titles of the various steps are well handled, and scenes of the finished products provide a colorful ending." Movie Makers, Dec. 1944, 496.
"The audience, aided by the perspective eye of the motion picture camera, watches the converging paths of unrelated people. Gently, their separate activities draw them together briefly, to touch, and then send them on their separate ways again. A thoughtfully produced and completely enjoyable film that uses the best of the film-makers art. the skillful use of music as the "narrator" of the story brought to the maker of the film the George Cushman Trophy for the most effective use of sound on film" PSA Journal, Oct. 1963, 41-42.
"Pets, 350 ft., 16mm., filmed by Dr. F. S. O'Hara, won its position on the list of special mention because of the many remarkably well composed closeups of family pets that it contains and because of the cameraman's patience and skill in securing many delightfully natural bits of action. Included in the film is a sequence of a cat and dog playing together. The film offers much grace and photographic beauty as well as that amazing attractiveness animals always possess on the screen." Movie Makers, Dec. 1931, 686.
"Story of murder during a treasure hunt." Movie Makers, Nov. 1933, 475.
"Phantom of Suicide Gulch, a genuinely exciting Western 'quickie,' by Earl Cochran." Movie Makers, Dec. 1939, 596.
"Sam Fass, having captured some remarkable footage of the Ice Follies in 16mm Kodachrome, set about to weave these shots into an interesting continuity with a logical story line. The director of the ice show summons to his office two likely prospects for one of his ice numbers. When the young women arrive, he projects 16mm movies of his show in order to demonstrate the numbers in which he wishes the girls to take part. When the film ends, the girls agree to join the show and sign contracts -a simple story thread on which the shots of the Ice Follies were deftly strung. The camera work on the Follies numbers is just about tops. Exposure is all anyone could ask for and each number is carefully chronicled and later edited in a slick manner that gives the illusion it all was carefully planned production." American Cinematographer, May. 1952, 222
El filme muestra una procesión católica en la que hombres cargan esculturas de la Virgen y Cristo cargando una cruz. Cientos de personas caminan con ellos, incluyendo unos cuantos hombres vestidos de blanco, con máscaras y la espalda descubierta, que caminan de espaldas mientras se auto-flagelan. Se muestran diversas imágenes de estos hombres golpeándose a sí mismos, gente caminando junto a las estatuas y un hombre con una máscara blanca y una túnica café que muestra una cruz en la espalda; este hombre en particular camina sin zapatos y con cadenas alrededor de sus pies. Casi al final del filme, los hombres vestidos de blanco van ante un sacerdote que pica sus espaldas con un pequeño instrumento hasta que sangran, para después continuar auto-flagelándose. La película termina con imágenes de la procesión aún avanzando.
The film shows a Catholic procession in which men carry sculptures of the Virgin and of Christ carrying a cross. Hundreds of people walk along with them, including a few men all dressed in white, with white masks and their backs uncovered, that walk backwards while they are self-flagellating. The film contains several images of this men beating themselves, people walking along with the statues and one man with a white mask and a brown gown with a cross on the back; this particular man walks without shoes and has chains around his feet. Almost at the end of the film, the men dressed in white go before a priest that punctures their backs with a small instrument until they bleed, afterwards, the continue to self-flagellate. The movie finishes with images of the procession still advancing.
"Irwin Sharpe and Cye Landy have gone back to film beginnings in composing their engaging little etude, Picnic. The fundamental of their selection is the old reliable device of the chase sequence. Beginning quietly with a simple family picnic, the producers soon overlay on this bucolic subject a mysterious kidnapping and its resultant chase. The cutting, camera positions and tempo of this climactic sequence show a true understanding of cinematic expression." Movie Makers, Dec. 1947, 538-539.
"Film depicts a club picnic held at a Eaton Hall Farm. Film includes title cards. Footage includes families at picnic, playing games, canoeing, swimming and people filming with motion picture cameras" Archives of Ontario.
"J. Fred Muggs, a chimpanzee, undertakes to make and bake a pizza pie, and then eats it. Mr. Muggs at work may remind some of us of one or more events in the hazy past. He goes at the pie making with considerable proficiency although he is a bit of a comic. Like many cooks, he samples the ingredients as he works. Laughs enough for all" PSA Journal, Oct. 1961, 49
Total Pages: 203
Amateur Cinema