"Film features trees and leaves, ducks, water, a statue, 2 women wearing coats, a bridge and some house-like structures. The garden was filmed in the spring/summer and fall" Archives of Ontario.
"Adventure on the Colorado, by Al Morton, comprises 1,600 feet of film and (at twenty four frames a second) forty eight minutes of screen time. In it, six men in two boats travel down the Colorado River from Moab, in southeastern Utah, to Lee's Ferry, in northern Arizona. Taking fifteen days, the trip covered some 300 miles, forty of which were through cataracts already claiming twenty nine lives. These are the bare and simple facts of the case. But these facts cannot begin to tell the story of Mr. Mortons epic adventure. And mind you, we are not concerned here with the breath taking dangers of the trip itself — although these alone were awesome and challenging. We are concerned only with Mr. Morton's filming adventures and the bright, indomitable story of them as recorded so stirringly in his film. That story is one of inflexible resolve against all compromise, even in the face of well nigh impossible circumstance. At one point in the picture, Mr. Morton shows us a rugged and precipitous approach to the river known as "Hole in the Rock." It was through this narrow passage that, years ago, a little band of Mormons, sent to colonize the San Juan country, brought their wagons and their belongings. In laces where the chasm had narrowed so sharply as to block the cavalcade, they dismantled the wagons and packed them through on their backs. For they had set out to cross the river — and cross it they did. Mr. Morton's filming resolve must have been of that same high order — almost religious in its intensity. As the down-river journey grew ever more arduous, you waited with sympathetic understanding for those not quite perfect scenes which the incredible conditions must surely dictate. You were ready to make allowances, to accept the imperfect as relative perfection --under the circumstances. Not so with Mr. Morion. There was no compromise with quality in the Morton picture plan. He set out to film the river, and film it he did. Adventure on, the Colorado is a moving and splendid epic, recording both a gallant adventure and a glowing achievement." Movie Makers, Dec. 1947, 513.
Un recorrido por el Monasterio de Piedra y por las cascadas cercanas retratado mediante un juego de música y agua que cae por las cascadas.
A tour by the Stone Monastery and the nearby waterfalls through a game between music and water falling from the waterfalls.
"A process film with interititles about the spring capture of alewives, an andromadous fish." oldfilm.org
"A soggetto"/ Fiction
"Alta tensione, regla e trama di Arrigo Colombo, scenario di Arnaldo Baldaccini, fotografia di Bruno Salvadori, interpreti Arnaldo Baldaccini e Aldo Frosi. La pellicola si svolge in una centrale elettrica, ma pur presentando a sfondo della vicenda il funzionamento della centrale stessa, mostra il lavoro nelle sue fasi piu salienti in rapporto e in contrasto con un dramma umano, sottolineando i pericoli e i sacrifici ehe richiede la produzione della Corrente elettrica. In molte sequenze si deve notare lo sforzo dei realizzatori per raggiungere il fine, in qualche caso particolarmente arduo, come nelle scene notturne del salvataggio sulle dighe. Delicate le scene del risveglio del protagonista, con la rappresentazione della serenita della natura al mattino, e assai adeguata nel complesso la interpretazione." - Il Ventuno 26 (Review of the G.U.F. of Venice) March 1935.
"High Tension, direction and plot by Arrigo Colombo, scenery by Arnaldo Baldaccini, photography by Bruno Salvadori, actors Arnaldo Baldaccini and Aldo Frosi. The film takes place in a power plant, but while presenting the story of the plant’s operation as the background, it shows the work in its most salient phases in relation to and in contrast with a human drama, underscoring the dangers and sacrifices that the production of electricity requires. In many sequences, one must note the effort of the filmmakers to achieve these ends, in some cases particularly arduous, as in the night scenes of the rescue on the dams. The scenes of the protagonist’s awakening are delicate with the representation nature’s serenity in the morning, and the acting is very fitting." - Il Ventuno 26 (Review of the G.U.F. of Venice) March 1935.
"Andros Blue Holes had to be in color to show us that the Blue Holes are really blue. J. Benjamin of Toronto takes us on 18 minutes of the most fascinating underwater filming ever attempted. The beauty and mystery of the Blue Holes far outweigh the dangers involved in exploring them. Very entertaining and very educational" PSA Journal, Nov. 1969, 57.
"Aqua Viva, as its name suggests, is a study of water in motion. To state it thus baldly, however, cannot reveal the true cinematic beauty of Allan Hammer's swirling patterns of light and shadow, executed with consistent success under the most difficult exposure conditions. Yet more important than Mr. Hammer's technical competence is his imaginative perception of small moments of great loveliness. Such scenes, however, because of their very delicacy, tend always to lose their effectiveness in large doses. Aqua Viva as a production leans toward excess length." Movie Makers, Dec. 1950, 466.
"A story of two bad guys on the loose and three others on their trail in the dry desert. We move over the desert floor and into the hills for some gun play. The need for water is so pressing that the fight centers about a canteen of water which becomes the center of no-mans-land. The bad gys meet their fate and the canteen is empty from bullet holes. The actors do a credible job in a chapter from a "Western" PSA Journal, Nov. 1960, 40-41.
"Cay Sal is a film of underwater life and treasure, containing some excellent underwater photography - steady, consistent, with adequate illumination for exposure and excellent subject matter" PSA Journal, Sept. 1964, 50.
"Structured around a hunting trip to Maine made by Archie Stewart and Howard Kendall. The two men travel to Perry, Maine, from New York state by train, then drive a car to a lake where they transfer their luggage to a motor boat on Grand Lake Stream and ride through heavy fog on rough water to West Grand Lake. They then carry a canoe to Lower Sysladobsis Lake, load the canoe with their rifles and supplies, and paddle off. After reaching their camp along the lake's shore, they check their rifles and eat before hunting." oldfilm.org
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