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Photographs by Vernon Castleton
CELLOPHANE and metallic paper make up one background for In Fancy Free. Louis Schardine and Dick Myers are lighting aids.
DANCERS (I. to r.) Jean Williams, Norma Arrington and Rene Labrum watch as Glen Turner and crew film garden background.
ARE MOVIES ART?
WHERE to begin, and what to say? Our editor has asked me to tell you how In Fancy Free first came to be, a task which I tend to find more difficult than producing the film itself. For who knows truly where a certain movie had its beginnings — or any creative thing for that matter? Perhaps, with In Fancy Free, it happened this way . . .
It was nearly five years ago, and I had been invited — as an art instructor, not a photographer — to a meeting of our local camera club. I was to discuss, I believe, what they called "table tops," or. in art parlance, still-life arrangements. 1 have forgotten long since what I might have said that evening. But I was never to forget what I saw that evening. Personally made movies!
A NEW ART MEDIUM
The possibilities of the personal movie camera as a creative instrument began to unfold for me from that evening forward. To me, here was a new art medium, with all the color, line and mass of a fine oil painting — plus the magic of movement, emotion and extended time. Here, in the movie camera, was a tool to challenge the best in us. And here, in In Fancy Free, is simply my latest attempt at using this movie camera as freely and creatively as possible.
The film, as you may know from its December review, is concerned primarily with ballet dancing. And the how or why of that subject brings up the second reason-forbeing of In Fancy Free.
RECORD FILM NO LURE Last February the modern dance class at Brigham Young University was presenting a revue. Entitled Solution to Peace, it was created by Norma Rae Arrington and had an original musical score by Dr. Leon Dallin. The dance evolutions were handled beautifully and the music fit perfectly. And at Mrs. Arrington's request, I
"That's up to each of us,"
says the Maxim Award winner for 1951, hailing
the movie camera as a creative challenge to all
GLEN H. TURNER, ACL
attended with an eye to the possibility of filming it.
After the program I told Norma Rae I thought it would make a fine movie, and suggested that she get our AudioVisual Aids unit to take the pictures. For to me it seemed a routine job of recording. And the filming of an already completed work, no matter how good, did not have for me the appeal of delving into the unknown realm of films that are yet-to-be.
But, though I decided against filming Solution to Peace,
ORIENTAL MOTIF, for a ballet prompted by a Chinese figurine, is furthered by this closeup of a glittering Chinese dragon.