"a soggetto"/fiction
"Although Hobby Show consists of little more than a walk through an exhibition hall, where the talented hobbyists of Long Beach, Calif., have exhibited their crafts and collections, Leonard E. Graham and his wife, Velma, have succeeded in making the experience a constantly interesting one. Each of the exhibits is fascinating in itself, and the Grahams have done an admirable job of overcoming the obstacles of lighting, shooting through glass (which they had to do for some detailed studies of miniatures) and filming under generally difficult conditions. Technically, the film is top drawer. The musical score for the picture of old player-piano music was an inspiration and a delight." Movie Makers, Dec. 1951, 412.
"The Horn, which hepeats should not confuse with Dorothy Baker's epic Young Man With a Horn, is nevertheless a yarn about a jazz trumpeter—and, like Miss Baker's Rick Martin, one whose life ends in death after he loses his stuff. It is a swift, savage, tender and tragic tale which Dominic Mumolo (himself a professional musician) tells here. And to its telling he has brought with amazing proficiency every resource—imagery, acting, music, speech and pace—of high motion picture drama. Herb Willis plays the part of the manic and despairing trumpeter as if to the manner born. His miming makes this difficult and decisive role wholly believable, while his voice (used not as narration, but in a musing, stream-of-consciousness flashback) is by turns tender, pathetic, searing and passionate. Musical phrases, prepared especially for the picture by Frank Worth, add immeasurably to the film's power. The Horn is a stirring and trenchant study in human emotions. If you dislike having your heartbeat aroused, you'd better avoid it. But if not...then The Horn is a movie made for you" PSA Journal, Jan. 1955, 49.
"Renowned Hungarian violinist Jelly D'Aranyi steals the scene, and brings a swirl of glamour to a cold Manchester day, as she entertains young Ruth Behrens in the family's garden. Jelly always stayed at Holly Royde, the Behrens' family home, when she performed with the Halle Orchestra. Look out for Ruth's sister Mary, confined to the house with a cold, and watching the fun through opera glasses." (BFI Player)
"The Knife is a deft little story film concerning a jealous husband who suspects a local artist of making time with his wife. Grabbing the artist's knife, he stabs the artist in the back, but the result is not at all what he, nor the audience, expects" PSA Journal, Sept. 1966, 35.
C’est à l’automne 1937, au retour de l’exposition universelle de Paris, qu’Omer Parent entreprend la réalisation de l’œuvre expérimentale La vie d’Émile Lazo. En réaction directe à la « loi du cadenas » émise par le gouvernement Duplessis, le titre de ce court-métrage réfère au tout premier film visé par cette nouvelle motion censurogène, imposée aux médias : The life of Emile Zola de William Dieterle (1937).
S’il s’agit là du premier film expérimental achevé par Parent, l’œuvre est également issue d’une collaboration amicale au sein de professeurs de l’École des beaux-arts de Québec qui se prêtent au jeu de l’acteur : la sculptrice Sylvia d’Aoust (1902-2004), la dessinatrice Arline Généreux (1897-1987), la graveuse Simone Hudon (1905-1984), le couple Madeleine Des Rosiers (1904-1994) et son mari Jean Paul Lemieux (1904-1990), tous les deux peintres. À cette petite bande — qui fréquente l’éphémère atelier du « Nordet » où le tournage a lieu —, s’ajoute Robert Lapalme (1908-1997), caricaturiste et illustrateur de talent au style immédiatement reconnaissable, seule figure à ne pas occuper alors un poste de professeur. Sorte d’électron libre, Lapalme, en plus de rédiger le scénario du film en écho à sa propre existence, y incarne le rôle d’Émile Lazo. Terminé au printemps 1938, ce film « amateur » porte sur la condition de l’artiste « moderne » vis-à-vis de l’académisme dont il cherche à se libérer.
Peu après sa création, La vie d’Émile Lazo a été projetée à quelques reprises lors de présentations publiques et particulières dont une visait, en 1941, à célébrer l’installation d’Alfred Pellan — meilleur ami de Parent — dans son nouvel atelier. Depuis cette époque, ce film, dont il n’existe que deux copies sur pellicule, est demeuré pour ainsi dire inédit, connu seulement par quelques amateurs et spécialistes. Zoom-out est fier de présenter cette satire, rare et burlesque.
In the autumn of 1937, upon his return from the Paris Universal Exhibition, Omer Parent undertakes the creation of the experimental work "The Life of Emile Lazo". In direct reaction to the "Padlock Law" issued by the Duplessis government, the title of this short movie refers to the very first film targeted by this new censorship motion imposed on the media: William Dieterle's "The Life of Emile Zola" (1937). Completed in the spring of 1938, this "amateur" movie deals with the condition of the "modern" artist in relation to academicism from which he seeks to free himself.
While this is Parent's first experimental work, it is also the result of a friendly collaboration among professors at the École des beaux-arts de Québec who lend themselves to the role of actors: sculptor Sylvia d'Aoust (1902-2004), draughtswoman Arline Généreux (1897-1987), engraver Simone Hudon (1905-1984), the couple Madeleine Des Rosiers (1904-1994) and her husband Jean Paul Lemieux (1904-1990), both painters. A little appart in this small group of artists and professors — who frequents the ephemeral "Nordet" studio where filming takes place— Robert Lapalme (1908-1997), a talented caricaturist and illustrator with a immediately recognizable style, is added. Lapalme, in addition to writing the film's screenplay in echo with his own existence, also plays the role of Émile Lazo.
Shortly after its creation, "The Life of Émile Lazo" was screened a few times during public and private presentations, one of which aimed, in 1941, to celebrate the installation of Alfred Pellan—Parent's best friend—in his new studio. Since then, this rare and burlesque satire, of which only two copies on film exist, has remained virtually unpublished, known only to a few enthusiasts and specialists until fall of 2022 where it was realeased online.
"This is a short story about a musician, a pianist who has enjoyed the pleasure and popularity of concerts in many cities of Europe. And then came the war! Even in the thick of battle, when his fingers must play a different keyboard, music does not leave his mind. The picture closes with the last concert, simple, but forceful in its emotional impact" PSA Journal, Nov. 1959, 48.
Documentary film chronicling the background and production of Dinosaur Dream (1995), which Sid Laverents made in his late-80s with assistance from his wife, Charlotte.
"Two Visual Arts students of the San Carlos Academy find themselves embroiled in contradictions, spiritual inclinations and concerns about the political and social conditions of Mexico, which puts them in a quandary about what stance to take in the Student Movement of 1968." Ambulante.
“Sinematek.TV film arkeolojisine devam ediyor! 1979 yılında Stockholm’da düzenlenen Nazım Hikmet’i Anma Gecesi’ndeki Ruhi Su, Zülfü Livaneli, Tuncel Kurtiz’in performansları Muammer Özer tarafından kaydedilmiş ve İlk defa Sinematek.tv tarafından yayınlanıyor.” Sinematek.tv: http://sinematek.tv/nazim-hikmet-anmasi-stockholm-1979/ (15 November 2019).
“Sinematek TV continues its film archeology! Muammer Özer’s film of a commemoration night for Nazım Hikmet displays Ruhi Su, Zülfü Livnaeli, and Tuncel Kurtiz and Sinematek.tv screens it for the first time.” Sinematek.tv: http://sinematek.tv/nazim-hikmet-anmasi-stockholm-1979/ (15 November 2019).
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Amateur Cinema