"We open with a little boy standing on a box in a telephone booth; his little friend is too busy or not of a receptive mood for the boy friend. Hurt as he is, he goes into the park and laments his failure to lure the young lady. He is about to resolve a life without women when a young (very young) girl comes into his perspective. His agile mind responds and he sets about to make an impression using many approaches of demure and sophisticated charm. His success was not exactly complete. Finally she visits the "girls" room. Her long delay is too much for the young man, so he makes another telephone call and hurriedly leaves the scene. The commentary is enhanced by the sophisticated French voice. This will be included in the Package" PSA Journal, Oct. 1962, 34.
"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
"A four reel film recording details of a motor tour undertaken by Eustace and Eunice Alliott through six of the twelve Dutch provinces" (EAFA Database).
"Mr Alliott responded by projecting yet another film, in colour, recording a visit to Holland, in which there were some excellent shots of Dutch scenery, including the gorgeous tulip fields. There were also many happy portraits of peasants and children in their quaint national costume." (Anon, Photographic Journal, 418)
[Information included on the EAFA database suggests that the film was partially shot using prismatic film which, when using red, blue and green filters on a Kodak A projector, a colour experience is possible. This includes the scenes of: Volendam, Marken, Alkmaar (lively cheeses), Sneek, Veere, Domburg etc.]
"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.
"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.
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.
"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
"Phantom of Suicide Gulch, a genuinely exciting Western 'quickie,' by Earl Cochran." Movie Makers, Dec. 1939, 596.
"Story of murder during a treasure hunt." Movie Makers, Nov. 1933, 475.
Total Pages: 299
Amateur Cinema