Un cura preocupado de que una pareja viva en el mismo hogar sin estar casados, pide un milagro. Reza para que alguien en la pareja se enferme a fin de que valoren la vida y entiendan la necesidad de seguir los preceptos de su religión.
A priest concerned with a couple living together without being married, asks for a miracle. He prays for someone in the couple to become ill so that they will value life and the need to follow the precepts of religion.
"The Daggy Shoe Caper takes less time to view than it does to read this review. The film lasts only 45 seconds, but in that time we learn an important lesson in life. You see there is this daggy shog and he puys a biece of meat. But when he sees his weflection in the rawter he gets selfish and mabs for the greet the other daggy shog has and - you've heard that one before, but the moral of the story is a new one! Great humor" PSA Journal, Aug. 1967, 37.
"What happens when a modern gentleman of advancing years advertises for a mail-order bride and tries to answer the applicant of his choice? Der Brief, (The Letter), an excruciatingly funny farce by Dr. Oscar Wurmboeck, gives us one answer to this problem, as our shy but determined hero is confronted at every turn by confusion and frustration. Everything happens - the ink spills, the fountain pen leaks, the mechanical pencil won't hold leads, the wooden ones won't sharpen, and the typewriter refuses to type - to deter our man from his course. Competent camera work, incisive direction and crisp editing serve to point up the brilliant and appealing portrayal of the unfortunate lover by Rudy Rattinger, so that Der Brief builds quickly and smoothly from laughter to hysterics. Here is pure farce in the old tradition. It is nice to welcome it back to the filmic fold after too long an absence" PSA Journal, Jan. 1955, 50.
(Catalan): Film humorístic amateur, en el qual l'autor especula, irònicament, amb el significat literal dels diaris de l'època (1934), com per exemple, un presoner està llegint el diari LA LIBERTAD darrera de les reixes de la presó.
Film about the social impact of newspapers in the everyday life of the interwar period. It mixes fiction with documentary styles and warns against the political implication of mass media, especially in relation to their effect on workers, from a conservative perspective. [Description from the Filmoteca de Catalunya catalog]
"Cal Duncan, the exuberant extrovert of Lee's Summit, Mo., has, in The Director, turned his high talents for low comedy on our own hobby of amateur movies. Both the hobby and the hobbyist's long suffering friends take quite a beating. In the person of Felix Fogbound, a perennial bird-brain in the producer's cinematic studio, Mr. Duncan combines all of the classic amateur idiocies with a flavoring of Hollywood hokum. His lampooning of personal movies is robust, rowdy and for keeps. When Fogbound swoops his camera in a dizzy pan shot, you have really had it. When he attacks editing with a pot of glue and his thumb-and-forefinger splicing technique, every movie maker will wince with horror. The director is a derisive and delightful burlesque, executed with an almost artless technical competence." Movie Makers, Dec. 1950, 468.
"Staria Zimmerman, that charming Milwaukee minx who made her big time bow in The Boss Comes to Dinner, a 1944 Ten Best winner, has done it again in The Dizzy Top. As the impish daughter of a winsome but widowed mother, she pulls the strings in this "merryonette" show which maneuver her pretty parent into the arms of a new and handsome husband. The quite willing victim of these arch designs is, in the film, the proprietor of a swank hat shop, and it is in this bright locale that the majority of the action takes place. Patricia and Ryne Zimmerman — the producers and supporting players — have a sharp and genuine sense of farce comedy. Their lighthearted plot dances forward as gaily as the suave settings they have contrived for it. Their incidents are antic in their absurdity, their timing crisp and delicately controlled. These qualities are, to be sure, aided immeasurably by Mistress Staria, who carries off each new comic conceit with impudent but charming assurance. Mr. Zimmerman's technical execution in their latest film leaves little to be desired in competence and imagination. There is, to a heightened degree, the same warmth and brilliance in his lighting which marked The Boss. His camera viewpoints are effective and varied, cutting one into the next with precision and pace. Show pieces of cinematic imagination enrich the production, like sugar plums in a Christmas pudding. The Dizzy Top, the Zimmerman's first 16mm. effort, is a handsome step forward along their chosen course of lighthearted comedy." Movie Makers, Dec. 1946, 486.
A husband and wife hold different opinions about who is to become Sheriff. The wife roots for the Democratic candidate "Preacher" Slaughter, while the husband wants to re-elect Republican candidate Sheriff Carver. Both parties bribe the husband and wife for their absentee ballot. notes from CFA
"In spite of the almost insurmountable difficulties in using feet to portray much of the action and most of the emotion in a movie, E. H. Sparks has managed to make Doghouse Blues completely comprehensible. A delightful farce of a bibulous fisherman, the story makes judicious use of the angler's big toe to denote thirst, hunger and any other emotion which might master a man on a solo weekend. Colorful scenes of inlets and bays, as well as attractive sequences of fishing craft, imbue the film with a flavor of authenticity. In satiric repetition, his indignant wife trails the tippling angler to the secluded spot where his boat rides at anchor, there to find him "taking the long count." A rude awakening for the errant husband and an eminently suitable final scene close the picture." Movie Makers, Dec. 1946, 471.
"It all began when the faucet started to drip." Oldfilm.org
"Here, in Duck Soup, is the true life blood of amateur movie making — the family film. Since the hobby's very beginning in 1923, and consistently through the years since that time, more persons have bought more amateur movie cameras to take family films than for all other reasons put together. And yet look at the results! Or better still, don't look at them — for they are on the average an incoherent hodgepodge of over and underexposure, unsteady camera handling and wild panning on disconnected mementos of familiar milestones. Duck Soup, for those filmers who are lucky enough to see it, should change all that. For here is a well planned and crisply executed family film which has a beginning, a middle and an end. It has also precise camera work, fluid sequencing, and lighting on the children which will delight the heart of all home filmers. Do not, however, let these disciplined excellencies mislead you. For, above all else, Duck Soup is no stodgy exercise in family record keeping. These people had fun! Look . . . Duck Soup is a rollicking, rambunctious saga of what happens in a household when Pop, charging recklessly that the trials of homekeeping are "duck soup," is deserted for a few days by his deserving wife. What happens, as Pop gets the works from a quintet of utterly engaging youngsters, shouldn't happen (as they say) to a dog. There is stolid, well-meaning Tim, who, returning from the corner store, mangles a loaf of bread beyond all human use; there is demure and lovely Ellen, who plays the bride with Mom's best lace tablecloth; there are Greg and Kevin, impish and angelic twins, who roughhouse their way through the afternoon nap, bathing, haircuts and countless other high-spirited adventures. And there is, finally, Gary, the baby, who bawls like a foghorn and is Pop's particular problem-of-the-day. Duck Soup, in recounting these hilarious misadventures, is not a "great" film in the majestic sense of the word. (Majesty would be impossible in the face of that Lawler brood!) But it is family filming of the finest sort. It is warm, winning and alive with good spirits. Duck Soup is the best of the Ten Best for 1952 — and it richly deserves the Maxim Memorial Award which it has won." Movie Makers, 1952, 323-324.
Total Pages: 23
Amateur Cinema