"Black and white and color film that shows a day in the life of a First Nation family in Utah." Church History Library.
"Nineteen thirties holiday film of the Harrison family at a number of Suffolk coastal holiday hotspots; including Southwold, Lowestoft, the Broads (Beccles), and Thorpeness. This reel, with scenes in both Dufaycolor and black and white, shows the family having a jolly old time bathing, picnicking at their beach hut, horse riding, and sailing. Intertitles include “Susan on the li-lo” and “tea with the mater” (BFI.org.uk)
"Item is a film of a trip Dr. Willinsky took to the Spanish Moroccan city of Tetuan with his wife, Sadie. In the form of a travelogue, footage of the sights along city streets, landmarks, markets and the local population are accompanied by music and Dr. Willinsky's commentary. Sadie is occassionally spotted sight-seeing." Ontario Jewish Archives.
"Item is a production of Dr. Willinsky's trip to Spain with his wife, Sadie. In the form of a travelogue, footage of landmarks, historic sites, and the local population is interspersed with captions and maps that were added in by Dr. Willinsky to denote locations and provide context. The production includes footage from Madrid, Cordoba, Segovia and Valencia. Sadie is occassionally spotted exploring sites and interacting with locals and travel companions who are probably family friends or relatives." Ontario Jewish Archives.
"Speedy May tells a pleasant tale about two boys who try to earn enough money to buy wheels for a new soapbox hot rod, a dreamboat which Dad has promised he will build for them if they will but supply the wheels. Failing in their financial efforts, the boys nevertheless are befriended by a neighborhood fireman who, with only two girls in his family, gives the lads four gleaming cart wheels he had been husbanding. The rest is up to Dad, and he fulfills his promise in a sparkling sequence of construction patterns filmed in his cellar workshop. Technically, this film is excellent, although its cinematic virtues are somewhat dimmed in its earlier passages by too deliberate a story pace. The appeal of the production, however, is more than assured by the sincere, natural portrayals of all hands, Harold Platt, the producer, plays his own role of father with ease and good grace. Dennis and Steve, the two youngsters, are artless and unaffected in their determined crusade for the new hot rod. And Captain Leonard Dobson as (and in fact) the fireman, tugs one's heartstrings with just the right appeal to make his son-less state seem credible. It is for his wife May that the new dreamboat - and this charmingly competent picture - are named" PSA Journal, Jan. 1955, 51.
"Amateur filmmaker, cinema historian and railway engineer H.A.V. Bulleid presents a tale of paternal foreboding and rural tragedy. When a man dies, his widow seeks a suitable replacement to care for her and their son. Torn between two rival suitors - Dr. Vincent Moire and the mysterious Richard Grafton - the mother is unable to make a decision, despite her son expressing a clear preference for the doctor. When he is called away to town, Grafton seizes his opportunity and, wanting rid of the boy so that he might live with the mother in peace, shoves him over a cliff to his death. But when Grafton returns to the village, he spots the doctor - who has made an unexpected return - walking arm in arm with the widow. Distraught and defeated, Grafton claws at his neck and face in desperation, reaches into his jacket, pulls out a gun and kills himself." (EAFA Database)
"Working still in the same lyric mood which inspired In The Beginning and Consider The Lilies (place winners of earlier years), Fred C. Ells has turned this year to the Twenty Third Psalm for the theme of Still Waters. In it, to use his own words, he has tried "to bring to mind some of the beauties of the natural world, and to make the spectator conscious in some small way of the mysterious, wonderfully planned creation in which we live. The picture is pure lyric from start to finish, with no more continuity than a love song." Mr. Ells has, on occasion, been thrillingly successful in fulfilling this high charge, bringing to the screen some of the most stirring beauty it would seem possible to recreate. The cumulative effect of the relatively short study, however, is weakened by imperfect technique in the preparation of the Biblical title wordings." Movie Makers, Dec. 1938, 620.
"Stillborn, also winner of the MPD Student Film award for the best film made by a student enrolled in a college course in cinematography, is an experimental film at times abstract in its execution. It tells the story of a boy and girl who meet out in the middle of nowhere. As he looks upon the young girl's face he imagines what life with her might be like. His imagination runs wild as he thinks of the blissful episodes such as marriage would bring, as well as the entrapment he could suffer. At film's end he makes his decision. Use of the negative image for one sequence is extremely effective" PSA Journal, Sept. 1966, 34.
"Although there is no actual violence portrayed in this psychological thriller, Storm Due — in which a young wife discovers her husband to be a murderer — is instinct with mounting tension and terror. Francis J. Barrett's film is a potent combination of several related elements. Wedded almost as one are dramatic, hard-hitting camera angles and the visual stimulus of brilliant, low-key lighting. Acting of theatrical calibre by the young wife is accented by an off-stage voice which underlines her fears — a technique that suggests a loan from the best in modern radio. A taut continuity only hints at the story line as it hurries through this exciting evocation of violence. This very economy of dramatic exposition, in fact, will make Storm Due an unpopular and often misunderstood production. For these reviewers, however, it remains creative cinema of a very high order." Movie Makers, Dec. 1949, 454-455.
"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.
Total Pages: 39
Amateur Cinema