"Documentary: Depicts experiences of a new missionary as he gains self-confidence in his work in the Belgian Congo where the people are suspicious and only slowly accept the mission." National Archives.
"Leo J. Heffernan's 'What God Hath Whrought" pictures some of the wonders of Nature, with emphasis on the mighty Niagara Falls. His color photography is excellent." American Cinematographer, May 1952, 224.
"While motoring through Zion National Park, Leo J. Heffernan photographed the mountains, trees and canyons as they passed by his camera. The resulting picture, What God Hath Wrought, filmed almost entirely from his moving car, has an amazing three-dimensional effect. Changes in depth and perspective give the viewer a strong sense of participation, a true feeling that he is actually on the spot. For, traveling along the main highways, where so many tourists drive each year, Mr. Heffernan shows us this usually static subject from a tourist's level — but with new and refreshing viewpoints." Movie Makers, Dec. 1952, 341.
"An experimental exercise with extension tubes, picturing textures in extreme closeup. Such materials as salt, bread, leaves, nylon hose, coffee grounds, book edges, etc., are shown highly magnified, then later identified in medium closeup shots. Idea is similar to quiz feature appearing currently in the Ford Times magazine." Home Movies, Sept. 1947, 586.
"Does a fine job of demonstrating special effects and tricks, the cameras which can and cannot do them, how they are done and used. Very educational for any prospective filmer." PSA Journal, Nov. 1956, 45.
"The film depicts a Boy Scout's walk through a rural setting. He's later joined by a group of children who follow him through meadows and corn fields." Chicago Film Archives
"Film documents autoworkers making cars. It features fast driving shots in downtown Toronto. The cast includes Robert Moutrie and Edna Jarrell as husband and wife and Neil Upshall as the salesman. American Motors (Canada) Limited and McDowell Motors Limited were thanked" Archives of Ontario.
"First Film and When the Cat's Away, a double header entry, which takes honors jointly because of the strong relationship between the two, is the production of the Cinema Club of Lowell Junior High School, at Long Beach. Calif., and of the club's faculty adviser, Helen Rees Clifford. First Film, largely the work of Miss Clifford, summarizes the Junior High School group's experiences in producing When the Cat's Away, which is entirely the achievement of the youngsters. Together, the two films present a clear and concise picture of the initial production of a film by a junior high school movie club, from scenario writing and movie planning to the completed opus, ready for its premiere. So, in these two reels, one sees how the job of teaching movie making technique to youngsters, of ages from eleven to fourteen, can be handled efficiently and happily, and one learns how clear and coherent a little picture can be produced as a starter. Few high school photoplay clubs have begun so well and with so little lost motion. Very few high school first films are as clear and competent as When the Cat's Away." Movie Makers, Dec. 1938, 618.
Film treatment of the poem "When the Frost Is On the Punkin" by James Whitcomb Riley. Intertitles with text from the poem are interspersed among images that match the themes and content of the poem. The scenes include shots of harvest work, fall scenery, turkeys, and pumpkins.
"From the Island of Capri, Helen Welsh has brought home a charming, sunny vignette in Where the Sirens Sang. It is the sort of film any traveler would like to have as a memento of a pleasant sojourn. Miss Welsh's seeing lens has captured the spirit of the countryside, its people, its luxurious beaches, its typical transportation. For this reviewer, Where the Sirens Sang plays a beckoning tune indeed." Movie Makers, Dec. 1953, 334-335.
"The Texas Forest Service was faced with a grave problem. Large parts of Texas were being devastated and deforested by numerous fires. The fires were caused by the idle fancy and carelessness of backwoodsmen. Which He Hath Planted was produced for the Service by Larry J. Fisher, ACL, as part of the campaign to lead these woodsmen into more constructive paths. It is a striking example of how, with imagination, a motion picture can be constructed to fit the needs of a very special situation. Mr. Fisher and the Forest Service had to find a common ground on which to base their appeal against the pyromaniacal instinct. Realizing that, however uneducated, most people from the backwoods have both acquaintance with and veneration for the Bible, they decided to peg their entire film on quotations from the Scriptures. What they have produced is a beautiful welding of applicable Biblical passages, both spoken and sung, to forest scenes, the end result tending to promote the idea that trees are rich and wondrous manifestations of God and are not intended by Him to be destroyed by man's casual whim. The lesson is well taught. But the film imparts a sense of beauty and reverence that far outlives the immediate lesson. For that, Mr. Fisher's blending of music and word and image is responsible." Movie Makers, Dec. 1946, 486.
Total Pages: 203
Amateur Cinema