"B&W: views of Arrow Lakes scenery from a sternwheeler; arrival; the "Minto" at dock. Two men travelling by packhorse in the Lardeau. The steam tug "Beaton". Sequence on gold mining in the Cariboo, with footage of a hydraulic mining operation. COLOUR: Vancouver; Lions Gate Bridge and Stanley Park approach; city skyline. Trip on the steamship S.S. "Catala": views at sea; approaching settlement; people meeting the boat; log boom and sawmill adjacent to the dock. Alert Bay: views of village, store, homes, etc.; Indian children at play; schoolgirls in red sweaters [from St. Michael's Indian Residential School]; steamboat arriving; many shots of totem poles, graveyard, etc. Fishing fleet in harbour, preparing nets, and heading out to sea. Fishboat crew hauling in net full of thrashing salmon, and brailing them onto boat. Other fishboats setting their nets, hauling in salmon. Fishboat crew unloading salmon onto conveyor; shots of cannery wharf, female cannery workers. Savary Island: family vacation scenes; lodge; children at play; adults playing golf on beach at low tide; departing on a boat trip." (BC Archives)
"This fascinating film from the early 1930s is all the more remarkable because it was made by a woman filmmaker, Enid Briggs. First we meet the Mullett family in Hythe before seeing early footage of the Romney. Hythe and Dymchurch Railway. Then we see family and friends on the pier at Deal, on a steamer to Margate and at play on the sands at Joss Bay. This is followed by horse-riding scenes around Broadstairs, on quiet streets still unaffected by cars. We also get a glimpse of a coastal tram" (BFI Player online).
"This film opens when Ann’s swastika necklace arrives back from the jewelers. Next we see Jim and Ann spoon at a beach party, until a jealous tiff causes her to walk off into the arms of a car-owning Lothario. On a nearby heath, Ann escapes from her randy driver and walks off alone. Next day, Jim, learning that Ann is missing, grabs his pistol. On the heath, he finds Ann's swastika on the ground and sees her bound and gagged by gypsies. They get their comeuppance and Jim gets his Ann. Robert G Torrens, the producer, makes a cameo appearance as a gypsy kidnapper in the latter part of this film" (BFI Player Online).
An avant-garde city symphony film set in the Bronx, New York.
"It was based on Tennyson's poem and the scenes were made to fit the poem. This was very evident from the smoothness of the continuity. His photography secured a very high marking." American Cinematographer, Dec. 1934, 376.
"The very great faculty of Robert P. Kehoe for seeing natural beauty and giving it an individual and entirely original expression in film enables him, in Brookside, to reach a new height in cinematography, because he has added to that faculty an attention to the business of continuity. Like Tennyson's Brook, Mr. Kehoe"s film starts to go somewhere, keeps going and gets there, while we who watch the going see, by the brookside, some of the loveliest — but tripodless — footage of water, flowers and woodland that any landscapist could want to come by. The final sequence of Mr. Kehoe's picture has a tragic tenderness that is almost too poignant, since he has filmed the funeral progress down the darting brook of a lustrous butterfly that ventured too close to the water and was sucked into it. With wings outspread, the little body goes past us into '"yesterday's ten thousand years" as the film ends." Movie Makers, Dec. 1941, 565.
"Short sequences of film taken during a trip to Würzburg" (EAFA Database).
"More than 1,000 years ago there was founded in Flanders a hamlet called in Flemish Brug-ge but today known as Bruges. It is one of the best preserved medieval towns in Europe. Esther Cooke visits beautiful Bruges in the season of its celebration of the events of the crucifixion. The music rests like a benediction, leaving the town to its memories of a glorious past" PSA Journal, Nov. 1958, 46.
"In a land that abounds in colorful formations, Frank Gunnell's discerning camera has recorded in appealing detail the less usual, as well as the familiar, views of Bryce Canyon. This thorough coverage of a popular national park is enhanced by pleasant scenes of a pack trip, closeups of the darting antics of a chipmunk and a "running gag" of the hungry cameraman, whose equipment .cases carry edibles with film and filters. Bryce Canyon Trails provides the audience with a wholly entertaining tour of this famous and awesome natural wonder. Mr. Gunnell, as always, presents breath taking camera work in his integrated and admirable reproduction of a vast canvas." Movie Makers, Dec. 1947, 514.
"A most workmanlike travelog of the West is Bryce Canyon Wonderland, a Kodachrome accomplishment of Frank Gunnell. Even, careful exposures make the film a delight on the screen, while interesting touches portraying the personal angle provide the cinematic punctuation. Gorgeous color rendition obtained in this wonderland was the result of experience and good judgment. The use of a tripod for every shot, coupled with finished technique and a dramatic subject, accounts for this film's photographic excellence." Movie Makers, Dec. 1936, 549.
Total Pages: 203
Amateur Cinema