"In I Walked a Crooked Trail, O. L. Tapp has lured a good deal of motion and humor out of what must be one of the world's most static subjects — the Arches National Monument. Remembering that story interest is an important part of cinematics, Mr. Tapp has kept his very competent camera trained on continuous human action, letting his travelog unwind itself, very subtly, as a background. The film is limited by the essential triviality of its theme — the unfolding of a practical joke. But within its limits it does very well indeed." Movie Makers, Dec. 1950, 467-468.
"I'd Be Delighted To!, directed and photographed by S. Winston Childs, jr., ACL, is that kind of production often planned but seldom made — a film story told entirely in closeups. Presenting the simple incident of a dinner a deux in a gentleman's apartment, the picture runs through 400 feet of brilliantly chosen, strikingly filmed, significant closeups. It is adroit, amusing and sophisticated, and a splendid example of what, with skill and care, can be done in this distinctly advanced amateur filming method." Movie Makers, Dec. 1932, 562.
"A lyric video to the song "I'll Take Tallulah" from "Ships Ahoy" - the 1942 musical-comedy film produced by MGM, starring Eleanor Powell and Red Skelton. The song is performed by Tommy Dorsey and His Orchestra, while the film was made by amateur filmmaker Robert Davis." Chicago Film Archives.
"A shorty, filmed and cut to the fast tempo of the recording I've Got a Wife. The pace of the film is so fast that we, too, can be out of breath in four minutes. A delightful novelty and well done, with a squeeze at the end" PSA Journal, Nov. 1960, 40
"Traces the romantic relationship between a young man and woman (played by Klugman and Judy Harris) who meet in a downtown coffee shop; their nonstop dialogue fluctuates between playful psycho-babble and sincere attempts to relay their innermost feelings." Chicago Film Archives.
"Filming indoor spectacles is difficult, but it is made doubly so when the staging, actors and lighting facilities are in a constant state of flux. Yet Oscar H. Horovitz, in his Ice Follies 1947, has solved these problems with technical perfection. Points of filming vantage are carefully chosen, from which sequences of the major acts and personalities are imaginatively recorded. An intelligent use of varying focal length lenses contributes the near shots and closeups so necessary to a well rounded study of this kind. Mr. Horovitz more than maintains his position as one of the master craftsmen in his chosen field." Movie Makers, Dec. 1947, 538.
A man schedules a fishing trip several weeks in advance of the date. Before the day comes, he must overcome several mishaps and hindrances that threaten the trip.
"With the original in Filmorama, the picture above is somewhat distorted by being squeezed. The film shows life in Nova Scotia and is a beautifully planned travelogue showing the people, their customs and the country," The PSA Journal, Nov. 1956, 22.
"In this connection, one of the honorable mention films, William Murphy's 'If Rugs Could Talk,' deserves special mention. Consisting of close-ups of hands and feet in a manner perhaps too reminiscent of the still remembered 1932 prize film, 'I'd Be Delighted [To],' 'If Rugs Could Talk' was a technical achievement of the first order, for it consisted entirely of interior scenes, made by artificial light, and photographed entirely on positive film, reversal-processed at home." American Cinematographer, Feb. 1938, 75.
Total Pages: 299
Amateur Cinema