"Werner Henze has shown in Bohemian Baloney that artists can make fun of themselves and their profession. An artist and his wife had planned to have a quiet evening at the movies when a telephone call warns of a visit by a wealthy prospective buyer of pictures and her meek husband. How the young couple suddenly transform their own characters and their tasteful and immaculate living room into a scene of "arty" surroundings is gaily depicted with just the right amount of farce. The compositions and lighting are excellent and there are gay, unexpected twists throughout, particularly when a self portrait of the artist comes to life." Movie Makers, Dec. 1944, 495.
"Take a dog, a daughter and a pair of delightful parents, mix them together in a movie, and see what you get! If you get anything within striking distance of The Boss Comes to Dinner, then you have discovered the same secret that stamps indelibly this production by Ryne Zimmerman. It is the secret of good family fun, warmly presented and glowingly filmed. Here, in this delightful comedy, is a charming little imp of a girl, her absurdly performing pet and — lest we forget — a magnificent black monarch of the kitchen, all mixed up in a series of uproarious capers, as the poor boss and his wife "come to dinner." Mr. Zimmerman's camera work strides well along with his ability to plan and point up his comic developments. Produced all indoors, the film's lighting seems to radiate that intimate rapport and affection which bind together its happy family. The few titles are harmonious in design and clean in their execution. The Boss Comes to Dinner is a frolic of good fun and innate good taste." Movie Makers, Dec. 1944, 494.
A married couple responds to a newspaper ad seeking homes for foreign delegates visiting America. The couple receives the news that their guests are coming from Hong Kong, China, and they begin to alter their home and appearances to adjust to Chinese customs. However, when the delegates arrive, they do not meet the couple's expectations.
"Structurally sustained by only the slimmest of plot incidents, Dummy Walks Out is in essence an etude in cinematics, sparkling with brilliant photography and bravura with striking angles. An evening of bridge, consistently bad cards to one player and, in time, the dummy walks out — such is the simple scheme of this masterpiece in miniature. Throughout its brief footage, however, the producers, M. P. Gamber. ACL, and Walter Mills, ACL, have contrived a gleaming glossary of cinematic imagination which delights the eye and beggars analysis. Near shot, closeup and extreme closeup (in several scenes, a single playing card fills the entire screen) follow one another with graphic beauty. Dummy Walks Out is a brilliant answer to the timid souls who "alibi" that the Eights can't take it." Movie Makers, Dec. 1935, 534, 550.
"Among the pictures awarded Honorable Mention is An Evening at Home, by Arthur E. Ojeda, ACL, a rare achievement in film planning — the family picture of interest outside the family. In it the father arrives home from his work and is greeted by the children. Soon, after the bedtime story, they toddle off upstairs, leaving the domestic stage clear for the grownups' dinner and the subsequently arriving neighbors. There follow a shaker of friendly drinks and a session of jigsaw puzzling after which the guests depart. The last lights go out and the film is over. Mr Ojeda's treatment of this theme is clearly sequenced, told without titles and mostly in closeups. Honorable mention was well deserved by the definite interest which he brought to the subject. With more perfect technical execution, an even greater honor might have been won by this family film." Movie Makers, Dec. 1934, 546.
The G.R.A.M.C. holds an open house on November 1, 1961. This film documents the event, showing amateur filmmakers dining, conversing with one another, and examining cameras.
"Hazards, which won the MPD Club Film Award, centers around a man who would rather be by himself than entertain friends who are about to call. He commands his wife to tell them he is in Montreal, but by story's end he finds deception can be a rather embarrassing thing" PSA Journal, Sept. 1965, 51.
"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.
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