"Harriet Gerry shot this film during an automobile journey from Rosedale to Williams Lake and Soda Creek on the Cariboo Highway, and part of the return trip via the Dog Creek Road, in the summer of 1941" British Columbia Archives.
"Our Friendly Enemies: This unique title has its origin in the fact that the Seminoles are the only native American Indians who have never signed a peace treaty with the government. Ralph E. Gray has chronicled in color with his 16mm Cine Special camera the contemporary life of the Seminoles living in Florida, picturing their activities against the backdrop of modern-day living and habits. Gray's reputation for camera and good editing has resulted in very professional results on the screen. Narration and sound effects on the recorded track round out the superior treatment of this better than average amateur effort." American Cinematographer, May 1951, 190.
"Porpoise Oil presents a cleverly planned and charming story that shows how the Indians of the upper St. Lawrence region live today and how their ancestors obtained oil from the porpoise of the neighboring bays. Dr. Leighton was fortunate enough to find an old Indian who, in his younger days, had been a champion porpoise hunter and the picture tells in Kodachrome how the fish was shot and the oil tried. This constitutes an important document of Indian craft that, otherwise, in time would be lost to the world. A touch of humor throughout and a surprise ending serve to spice the film and to make it the excellent study that it is instead of a routine record film. The continuity is well developed and the photography is of good quality." Movie Makers, Dec. 1937, 630.
"One comes from a screening of Primitive Patzcuaro, by Ralph E. Gray, with an overwhelming impression of pure beauty. Here, in compositions which often echo the Old Masters in their warmth of color and satisfying balance, an amateur movie maker has turned his camera on the simple life about him and found it pleasing. One after another, the magnificent scenes and sequences bring from the spectator that involuntary expression of deep pleasure which is ambrosia even to the great of amateur movies. In Primitive Patzcuaro, Mr. Gray has portrayed, with leisure, the life of the Tarascan Indians, remote from civilization in a rarely visited section of Mexico. Although magnificent in its color studies, the film is abundant in human interest as well; in portions devoted to the bright native dances and religious ceremonies, it presents a series of tableaux that are breath taking in their effectiveness." Movie Makers, Dec. 1937, 626-627.
"'Red Clouds Rides Again,' the 8mm picture by Dr. Loscher which was given first prize, was based on a poem that dealt with the pioneers crossing the desert. Its main action had to do with a wagon train being attacked by Indians. The manner in which Dr. Loscher handled this sequence would have done credit to a studio production. With only one wagon, three horses and six people at his command, he made it look like a production employing more in the way of properties and talent. His angles, his composition and his cutting are things for every amateur to observe. His story could have easily become hackneyed by poor cutting and editing, but he kept it moving at a fine tempo." American Cinematographer, Jan. 1936, 24.
"Alan Probert has confined his study of Mexico to the primitive Otomi Indians. With startling clarity and a fine cinematic eye for detail, he presents the tribal group in a series of sketches that reveal the age old customs of their forefathers still in daily use — sowing and reaping, spinning and weaving, trading and worshipping. Remnants Of The Past is an expertly filmed factual account of the subject, which would have gained considerably from greater unity and a stronger ending." Movie Makers, Dec. 1948, 494.
"Florida's colorful Seminole Indians, who never have taken kindly to the white man's rule, generally are no more responsive to visiting filmers. Thus it is a rare and rewarding pleasure when an understanding amateur cameraman gains both their confidence and their cooperation. Such is the stimulating accomplishment of Elmer W. Albinson in his picture called simply Seminole Indians. Among the film's outstanding achievements are its detailed studies of the Indians' arts and crafts, its exceptional work in ultra closeups, and its pictorial probing of the Indian character and customs. An extraordinarily good musical score enhances the appeal of this informative ethnic documentary. The picture needs, however, a somewhat stronger ending, the present one impressing these reviewers as artistically indecisive." Movie Makers, Dec. 1950, 466.
"Documentary: Illustrates plight of leprosy victims before and after the opening of the Bibanga Leper Camp by missionaries." National Archives.
"The Story of Bamba is a drama filmed in Africa by Ray L. Garner for the Harmon Foundation in New York. This reviewer calls the production a film drama advisedly, for, although it is made as a report of the medical work of a missionary group in Africa, the picture is, in itself, an entertaining photoplay. The boy, Bamba, is the nephew of the tribal witch doctor who cures sickness with his fetishes. Bamba is to become the medicine man's successor, but he falls ill with the fever and is deserted by the tribe when they hurriedly flee their village to rid themselves of a plague. Rescued and cured by the native representative of the missionary medical center, Bamba is sent to school so that he too, can cure in the white man's way. An adult, he returns to his own tribe, where he meets and finally overcomes the resistance of his uncle. Thus, the plot unfolds clearly and entertainingly, yet the story does not interfere with a complete exposition of the medical work of missionaries. Skillful handling of native actors is apparent in every scene, for there is scarcely an unconvincing piece of business in the whole film. Camera treatment is matter of fact but adequate." Movie Makers, Dec. 1939, 637.
"Through the eyes and experiences of Matsela, a statuesque native of Basutoland, South Africa, Lewis Lewis reveals a stirring story of the triumph of modern agricultural science over the warring elements of nature. The account of how Matsela and his people all but perish in the dust bowl created by malevolent storms and drought, how he studies under a government program of soil reclamation and triumphantly puts his new training to work, provides an absorbing drama and an enlightening document on one of the world's grave problems. Although dealing with literal facts, Mr. Lewis dramatizes the incidents in his story with telling skill. Superb camera work and an attractive variety of viewpoints aid the dramatic effect, while a fascinating score of native songs further enhances the presentation. Save as a scientific record, the film is somewhat overlong, with the second of three 900 foot reels regrettably slow paced after the swift excitement of the opening chapter." Movie Makers, Dec. 1949, 455.
Total Pages: 5
Amateur Cinema