Home Movies (1953)

GORDON MOSS ington, D. C. This shrine was the last home of Frederick Douglass, an American orator, statesman and editor who was born a slave in Tuckahoe, Maryland, 1817. The two major challenges in translating this subject to the screen were: A. To give meaning and vibrancy to the stiff life of the Memorial Home. B. To find within the Home, those symbols which would re-create the spirit and substance of the occupant I Douglass I and thus delineate his contribution. "A" was solved by putting a modern human being in the house and letting her discover for herself the symbols which represent the man. "B" was solved by photographing drawings, prints and documents depicting high points in history — and bv optical effects and narration, Douglass was related to these historical documents— thereby dramatizing his vital role in the shaping of events. SHOOTING The rooms of the Home were about average in size for the period, but like GORDON ...independent As Told to HAROLD GIBBONS GORDON MOSS is an independent producer who is making something more than the usual run-of-the mill motion pictures. "House on Cedar Hill" was an especially difficult film to make because it is essentially the story of a series of historical events, gathered together to form a simple message. And it is a difficult job to do because Moss must be especially convincing or else his films have no effect. In "Cedar Hill"' he records his story with flawless technique and the story infuses such subtle nuances that the viewer is with the story and believes in it right from the start. The photography is outstanding — most of it so well done that sequences seem to have been made in daylight in a shady courtyard. Actually, the entire picture consists of interiors and many inanimate objects. By continual movement and subtle changes of light. Moss has managed a smooth flowing continuity, coupled with a unique treatment. A review of his film follows below: THE HOUSE ON CEDAR HILL Previewed by FILM WORLD, September 1953. EDUCATIONAL. Sound, 15 min., b&w. Apply. Produced by Artisan Productions. Users: General audiences, American history classes, church groups, and groups studying the Negro problems. Content: Traces the life and achievements of Frederick Douglass (1817-1895) through a camera tour of his Washington home, drawings, and photographs. A young Negro woman is shown as she visits rooms in the Frederick Douglass Memorial House and she explains the items .she sees through narration, including books, paintings, Lincoln's walking cane, and general interior views of rooms. Through drawings, Douglass' story is told: he was born a slave, seeing his mother infrequently since she worked in the fields, and never knowing who his father was. His mistress taught him to read until his master interfered. When he was 21, he escaped to the North and joined the antislave movement, writing and speaking fluently. An expose of his master and the crimes of slavery forced him to go to England where he continued his fight with English financing. When he returned to the U. S., he founded a newspaper, fighting for "We, the people," rather than "We, the white people." He was active in the underground railroad for escaping slaves. When war broke out, he cried for the emancipation and arming of the slaves. After Lincoln's emancipation, Douglass helped enlist 200,000 slaves. At the end of the war, he continued his fight for 25 years, against the Ku Klux Klan. Comment: A particularly dramatic portrayal of a man, even though the action is depicted through drawings and photographs with sound effects. Lighting on interior views is excellent. Altogether an interesting and well-done film. Distributor: Artisan Productions, Box 1827, Hollywood 28, California. NOTES ON "HOUSE ON CEDAR HILL" AIM This film was conceived to focus attention on an almost unknown shrine and the immortal spirit in whose name it is preserved. The scene of the film is the Frederick Douglass Memorial Home in Wash most homes they were not ideal for camera purposes. In addition, the frail, aging furnishings could not be moved without risking damage to them. Except for the hanging pictures, everything had to be shot where it was. The plan was simple and direct. Slow pans, long shots of hallways and rooms, close shots detailing Dougless' personal belongings, were used to capture the qualitv of the man. Though we carried a dolly, lack of adequate space prevented its effective use. Only twice could we find the room to use it. The lack of space and the inability to move things, created a complicated lighting problem. Further, many objects stood in or near windows and we were unable to control the daylight. Then there was always the problem of interfering shadows. Our lighting equipment consisted of: 2 Duces— 1000 Watt 1 Broad 2 Inkie Dinkies 5 Baby Spots l 750 Watt ) The footage in the Home was shot with a standard Mitchell 35mm camera — 18.5mm lens (French) and 25-40-5075100mm Baltar lenses. The retakes and inserts i including close shots of • See GORDON on Page 424 416