"The refreshing story of a voyage by river into the Canadian wilds, presented by F. R. Crawley in Glimpses of a Canoe Trip, is really deserving of a less modest introduction than that implied by the word, "glimpses." Here, within one reel, is as comprehensive a movie tale of a trip by canoe as one could desire. The entertaining continuity, based on the natural sequence of events, is not loaded with unimportant detail; instead, footage is conserved for the more interesting episodes involved in paddling and portages. These are given a well rounded treatment that has genuine entertainment value coupled with a freshness of approach born of the enthusiasm of the maker. This sort of thing communicates itself to the audience, especially when photography, editing and titling are as well handled as they are here." Movie Makers, Dec. 1937, 629.
"A background film, to be used to 'point up' a lecture (or sermon) on the benefits Nature disposes upon us" American Cinematographer, May, 1938, 204.
"The Abbé Tessier, who is a lecturer at Laval University, Quebec, made this film for use in connection with his own educational work. The film should be viewed with this in mind" American Cinematographer, April, 1938, 170.
"Amateur stage play directed by Roger Clapp and starring Dorothy Stebbins." Northeast Historic Film.
"Louise M. Fetzner is a housewife who plainly likes the thrills of running the rapids down dangerous rivers while she makes movies that really move! In Green River, Mrs. Fetzner has a well paced, well photographed and altogether literate account of the adventures which she and her companions had on the Colorado's main tributary. The film is interesting and exciting, and tells its story concisely and without padding. The accompanying narrative is written and delivered effectively, although occasionally the level of the background music rises to overwhelm the narrator's voice." Movie Makers, Dec. 1953, 344.
"Al Morton has conquered another river. This time it is the unruly turbulence of the Green River in Utah. Not content to be simply a passenger, Mr. Morton built his own boat (and named it Movie Maker!) for shooting the rapids, one of three craft making up the river party. Green River Expedition is a record of lazy, sunny days on quiet stretches, of motor trouble and of scenery along the banks, of back breaking portages where the rapids are too dangerous to maneuver, and finally of the breath taking excitement of riding the tumultuous waters. To partake of this dangerous sport would seem accomplishment enough, but Mr. Morton puts it all on film as well, in about as sparkling, steady photography as one will ever see. The narrative accompaniment, while informative concerning the technique of river boating and the historical background of the surrounding country, seemed overfull. It is enough, in parts, to devote one's whole attention to the thrilling action on the screen." Movie Makers, Dec. 1950, 464.
"This film is a study of water in the new manner: A series of photographic shots of the reflections of boats, ferry houses, docks, etc., on water and the whole resulting in a chain of pure abstract patterns of shapes in water. Steiner achieves an astonishing tempo as his film advances. The picture is bound to attract wide attention and a great deal of discussion wherever is shown." Photoplay, Nov. 1929, 67
"To the production of Hail, British Columbia!, Leo J. Heffernan brought the filming talent and the fertile imagination that have marked his previous pictures. But, in this film, he has surpassed himself. He has produced a travelog, a scenic film or a record of British Columbia that covers all the diverse high lights of that province, but which still has unity. He has made a movie that is technically superior to the best theatrical travelogs, and certainly more entertaining. Mr. Heffernan has two great gifts — the capacity to improvise sequences during his travels and the ability to invent amusing and apparently natural episodes that fit the theme of his picture. This latter gift is a dual one, for it includes the ability to direct actors — people whom Mr. Heffernan meets here and there and persuades to "take a part" in his movie. The continuity of Hail, British Columbia! is ingenious and suavely followed. A girl gets off a Canadian train at a way station, where she finds a "Mountie." To him, she puts the problem, "What should I see in British Columbia?" The Mountie is somewhat taken aback, but he gradually recalls things to tell a tourist, and the picture unfolds his story. Heffernan like, there is a surprise twist at the end, which we shall not spoil by telling. Discussion of Hail, British Columbia! would be incomplete without at least a mention of the magnificent logging sequence, the clever camera work in presenting a story of a bicycle ride, the beautiful scenic shots and Canada's blondes! This picture has everything!" Movie Makers, Dec. 1941, 541.
"In the Home Movie field, Lawrenson submitted a fine document of a day with his little 2-year-old daughter. The main portion is given over to a day at the seashore. But he gives reasons for everything he does even to going home. He shows a storm coming up and after the family has arrived safely at home, the little looks out of the window while the raindrops patter on the windowpane." American Cinematographer, Jan. 1936, 24.
"From Australia James A. Sherlock sent 'Harbor,' a picture in Kodachrome. While the picture was well made, finely edited and cut, it suffered from uneven coloring and density. Undoubtedly much was taken with the earlier Kodachrome which darkened rapidly after it was exposed if it was not rushed to the processing plant." American Cinematographer, Feb. 1937, 73.
Total Pages: 11
Amateur Cinema