"Children Grow Up, photographed by Charles J. Carbonaro, ACL, and produced by The Religious Motion Picture Foundation, is one of the best examples of effectively handling amateur actors in a story telling film yet made. This three reel film was avowedly produced to point a moral in parent and child relationships and, as such, may be classed as social propaganda, a function in which it succeeds admirably. Yet the story it tells seems genuine and is of general audience interest. The film is carefully cut so that the action is logical and smoothly paced. Mr. Carbonaro is particularly to be congratulated for his handling of the difficult technique of parallel action, which occurs as the development of the children of two separate families takes place. Both streams of interest merge into one in a well planned, dramatic climax. The story is told entirely with the aid of amateur actors. Interior shots are in the majority and, for these, no special sets were built, the furnishings of the ordinary home being used. The lighting and exposure under these conditions are excellent throughout." Movie Makers, Dec. 1935, 534.
"Documentary: Depicts lives of children in the Belgian Congo and French Cameroon." National Archives.
"Combines ancestral memory with reincarnation when the main character falls asleep, sees nymphs dancing in the same landscape hundreds of years in the past, and confronts his previous incarnation herding sheep and wearing fur." UC Berkeley Library.
"Bringing Kodacolor indoors was the task E. M. Barnard, ACL, set for himself in Christmas 1933, and the result is a 400 foot reel of very charming Christmas studies. One of the few attempts at a complete personal story in color, this picture presents a well photographed and adequately planned film of the youngsters' enjoyment of the holiday. Exposure for interior Kodacolor seems to be no problem to Mr. Barnard, for the majority of his scenes have perfect color rendition as well as very effective and interesting lighting. Some of the studies of his small daughter have an appealing loveliness that is impossible to get in black and white, for they present the very delicate flesh tones with perfect faith as well as the colors of costumes and incidental Christmas background. This film marks a new step in personal indoor filming and leads the way to more extensive use of the color medium by artificial light." Movie Makers, Dec. 1934, 546.
"Among the Ten Best, A Christmas at Home, by Edmund Zacher, II. ACL. is a lovely mine of bright gems which glows with all the warmth and color so surely associated with this festive season. Although essentially of slow pace, the film never once loses appeal, as it presents with loving and tender enthusiasm the countless minutiae of beauty which blend into the charm of Christmas at home. Mr. Zacher's color photography, predominantly interior, is crisp and delicately beautiful, while his sensitive selection of material and cunning choice of angles are an unfailing delight. Multiple exposures of such charm and flawless craftsmanship as almost to defy detection adorn his opening and closing sequences, and the entire production is pleasantly scored with appropriate music and sound effects. More than once a previous winner in these annual selections, Mr. Zacher seems not yet to have reached the full measure of his fine skill with camera and film." Movie Makers, Dec. 1935, 534.
"Christmas at our House reflects the joy that Mrs. Olaf M. Olsen must have experienced in making it. It is an utterly sincere and delightful record of old Norwegian Christmas customs, carried over and observed in the United States by second generation Americans. It presents, in minute detail, the elaborate cookery and decorations of Christmas in Norway. The recipe for each dish and the kitchen utensils required are shown in closeup at the beginning of the individual sequences. Each step in preparing the particular food is then presented in orderly fashion from start to finish. This pattern may sound prosaic, but there is a charm about this film that defies any feeling of monotony. The choice of camera viewpoint and the lighting and exposure in this movie leave nothing to be desired. In fact, the camera handling is so fine that mechanical factors cease to exist, and the spectator feels as if he were actually present within the scene, to watch the action. This movie's titles, done in color, are most attractive, while the editing of the entire picture is smooth and interesting." Movie Makers, Dec. 1941, 541, 563.
"The recipe for a film like Dad and I Took a Walk sounds simple enough. You take equal parts of Father and Son, add a cupful of scenery, season with judicious pinches of natural science — and cook till done. The secret, apparently, lies with the "cook till done" section; so much depends on the cook. But W. W. Vincent, jr., is a good chef, to judge by the results from his cinematic oven. In clean cut, tripod steady Kodachrome, he and his son are seen roaming the pleasant Wisconsin landscape, with nicely timed pauses to point out, one to the other, a nesting robin, a praying mantis or a bright snake asleep in the warming sun. As the two men discuss their finds, spoken titles are double exposed against appropriate backgrounds or the pages of a bird manual are inserted naturally in full frame closeups. Dad and I Took a Walk is an attractive blend of personal filmdom's most popular subjects — field, family and fauna." Movie Makers, Dec. 1942, 508.
"To make a family film of youngsters that is entertaining to a stranger is quite an achievement, but to make a family picture that is, at the same time, an almost perfect record of the really human qualities of children and parents is a truly notable accomplishment. This is what John Martin has done in his picture, A Day with the Young Martins. His theme is the "from dawn to dusk" story of the Martin family, and he wisely has avoided emphasizing the clock or other obvious methods of holding the picture together. Instead, the story seems to tell itself, and the little episodes that must have been planned, or they could not have been caught with the aid of lighting equipment and camera, have a natural, sincere quality that is very welcome. The picture rates chiefly because of its delightful treatment, but technically it is entirely adequate." Movie Makers, Dec. 1936, 542.
"Dear Boys is a personal motion picture which might have been made in many an American home this past year. Looking about him, C. Manley DeBevoise found his two sons in the Army and his once lovely flower garden changing into a Victory vegetable patch, well tended but mundane. It was from these materials, mixed with imagination and technical competence, that Mr. DeBevoise compiled his film. Mother is discovered (as the picture begins) writing the familiar greeting to her service sons. Her comments during the course of the letter provide the subtitles and the continuity for this attractive record of domestic doings, while Mr. DeBevoise's carefully sequenced scenes tell the story. Dear Boys is simple, sincere and a family film story which any movie maker would be proud to produce — and to own." Movie Makers, Dec. 1943, 477.
"In July 1956, the five-member Barstow family of Wethersfield, Connecticut, won a free trip to newly-opened Disneyland in Anaheim, California, in a nationwide contest. This 30-minute amateur documentary film tells the fabulous story of their fun-filled, dream-come-true, family travel adventure, filmed on the scene at Walt Disney's 'Magic Kingdom' by Robbins Barstow." Archive.org
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