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MOVIE MAKERS
121
ClOSeupS— What filmers are doing
Any time that you feel harassed, hurried and a bit overworked, you might care to contemplate the existence of Carl Pehlman, ACL, co-owner with his wife Polly of Studio El Meru in Colorado Springs, Colo.
Carl is, by profession, a portrait photographer, and, as you should know, portrait photographers face their busiest season in the four or five weeks preceding Christmas. It was, therefore, somewhat of a challenge to Mr. P. when the only television station in the Pike's Peak area chose to open at exactly the same season. For the undaunted boss of Studio El Meru, ready and equipped to do his own reversal or neg-pos film processing, wanted "In" on this TV era.
And in he got. During the height of the holiday portrait rush he also produced, processed and had telecast no less than five special event and local newsreels, all with optical sound tracks of his own recording. The films ranged in coverage from a ten minute study of community carol singing, sponsored by the city's Jaycees, to three minutes of spot news on a local fire. Carl's fastest job to date was the shooting of a special event at 10:30 one morning and its delivery— edited and sounded — for showing at 1:00 that same afternoon.
Again we are saddened by the passing of another of the truly creative picture makers of our hobby's earliest years. Now it is Theodore Huff who has died, on the fifteenth of March and at the age of forty-eight.
Twenty or so years before that, in Englewood, N. J., Ted Huff was the softspoken, quiet-smiling producer of such epic satires of theatrical screen fare as Hearts of the Golden West, a Ten Best winner in 1931, and Little Geezer, a Ten Bester in 1932. The former film was, of course, a take-off of the classic Western, while the latter made mock of the machine gun era epitomized in Little Caesar. But what these titles do not tell you is that both of these pictures were played by children — no one of them over thirteen — and played by them with
AN UP ANGLE makes this pleasing composition for So You're Going To High School, produced by Frank E. Gunnell, FACL, a school teacher, for the Board of Education of New York City.
an engaging seriousness which served only to sharpen the films' satiric thrusts.
Outside of our own circle Mr. Huff probably was best known as the author of Charlie Chaplin, a recent biography of the film comedian. He had served also, from 1935 to 1940, as assistant curator of the Museum of Modern Art Film Library, in New York City, and was a member of the board of directors of the National Board of Review and of The Film Society.
Mr. Huff was writing a history of the motion picture industry at the time of his death. With Hearts and Little Geezer he had already written his name into our own expanding history.
Take a deep breath. It says here (for immediate release) that So You're Going To High School, a 29 minute 16mm. sound on color film, was produced by the Division of Curriculum Development, Bureau of Educational and Vocational Guidance, Board of Education of the City of New York — period.
Besides being verbose, this statement is a lot of nonsense. SYGTHS was produced single-handedly by Frank E. Gunnell, FACL, vicepresident of the ACL and, in his spare time, a teacher in New York City's school system. The Board of Education, with a directness of action rare in any such temple of red tape, simply borrowed him from his school room in P. S. 45 and put him to work making movies.
George Merz, ACL, a director of the League and a quondam Ten Best winner, continues his good works in putting on picture shows for the people of Hollywood, Fla., in that community's open-air bandshell and amphitheatre.
In a recent screening, before an audience of nearly 1000 persons, he presented A Tramp in the Park, 16mm. award winner by members of the Miami Movie Makers Club, ACL; The Gannets, 1950 Maxim Award winner by Warren A. Levett, ACL, of West Hartford, Conn., as well as Sanibel and Mahi from his own extensive works.
The avant garde films of Maya Deren and Willard Maas, two leaders in this specialized field of filming, will be presented on Monday and Tuesday evenings, May 11 and 12, at the Theatre de Lys, 121 Christopher Street, New York City.
Alternated at 7:00, 8:45 and 10:30 o'clock screenings on both evenings will be, from Miss Deren, Meshes of the Afternoon, Choreography for Camera, At Land, Ritual in Transfigured Time and Meditation on Violence. Mr. Maas will be represented by Image in the Snow at all screenings. Tickets are priced at $1.20, tax included.
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