American cinematographer (Jan-Dec 1942)

16 MM BUSINESS MOVIES Correction! A very interesting letter from F. Balkin of the Chicago Film Laboratory, Inc., very pleasantly reminds us that in our review of the Caterpillar Tractor Company's most recent film in the last issue of this magazine, we inadvertently gave the title incorrectly. The film is properly titled "Forward for Freedom." We sincerely apologize for the slip, which was due to confusing the title of the film with that of a new booklet just published by the Caterpillar organization. The letter further takes us to task for our apparent bias in favor of direct16mm. for commercial films as compared to reductions of sound and picture from 35mm. originals, and points out that the film in question was a reduction-print, .both as to sound and picture, made in their laboratory. We cheerfully admit to the bias in favor of 16mm., the reason being strictly what we have seen and heard from the screen. To put it bluntly, the great majority of reduction-prints we have screened have been so decidedly inferior to direct-lfimm. at its best, both as to sound-quality and often picture-quality as well, that we feel justified in considering that the direct-16mm. is generally preferable. That this print showed such exceptionally excellent sound and picture quality as to convince not only our reviewer, but also several expert 16mm. soundengineers with whom we projected it, that it was direct-16 rather than a reduction, seems certainly a great compliment to the skill of the Chicago Laboratory's recording engineers and laboratory experts who were responsible for the achievement. We certainly look forward to screening more of this organization's work. CITIZENS OF TOMORROW Documentary, 1000 feet Kodachrome, sound. Presented by the Catholic Youth Organization. Produced and photographed by Dr. Richard A. Chesrow. Recording and Kodachrome duping by Geo. W. Coiburn Laboratory. Any picture which attempts to show, as this one does, a cross-section of the diversified children's welfare work done by an organization like Chicago's West Side Community Center, is tackling a subject almost too broad for one film. "Citizens of Tomorrow" attempts this with really surprising success. It conveys, though at times more sketchily than one could wish, an excellent impression of what this institution is doing for these future citizens. This strictly factual treatment of the subject is well enough, but when the subject, like this one, deals with human values, we can't help favoring a more personalized approach. A picture telling the story of how this center contacts one underprivileged child, or perhaps one boy and one girl, and helps feed, educate and care for them until finally they are ready to take their places in society, would be even more compelling propaganda in behalf of the institution and its work. It is to be hoped that Dr. Chesrow will some day make that picture, for the story is there, waiting for his camera. As regards the technical aspects of "Citizens of Tomorrow," Dr. Chesrow seems to have done a decidedly praiseworthy job. His lighting problems in the big kitchens, dining-halls and other rooms of the building must necessarily have been considerable. Here and there, this limitation is evidenced in the falling off in exposure-values toward the background of long-shots; but in most cases, he has wisely covered this technical shortcoming by the generous use of close-ups. His work on the exteriors is good, though a slightly fuller exposure would have made for better quality in the duplicate print. His compositions are often quite effective. The film would benefit decidedly by closer cutting; often there is distractingly incompleted action at the end of a scene, which would very well be eliminated. Here and there in the closing sequences showing the activities of the Scout camps, Dr. Chesrow's fondness for the pictorial runs away with him, and we see extreme long-shots of action which tend to be both repetitious and confusing. These long-shots should be supported by closer angles, for, as in the sequence of the flag-raising parade at the Scout Camp, we are not only interested in the general view of the marchers and their surroundings, but also in the boys themselves. We would be inclined to suggest, too, that in the opening sequences showing the slum district in which the Community Center is located, slower music would prove a more appropriate accompaniment, changing to the more sprightly music after the picture moves indoors to show the activities of the children in the happier, more healthful surroundings of the Communitv Center. HOME MO VI E S PREVIEWS OLIVER TWIST Scenario film, 4,000 feet, 16mm. blackand-white. Filmed by David Bradley. One of the most ditticult things any amateur or group of amateurs can attempt is the filming of a scenario picture, even if it is only one or two reels in length. The magnitude, therefore, of this young group's task in turning out a 10-reel feature-length film may be appreciated, especially when complicated by using a famous novel for the story, and the necessity for employing "period" sets and costumes. To say that Bradley and his young associates have completely succeeded in this would be a decided exaggeration. We have seen better, more finished amateur scenario films: but we haven't seen many which carried a greater stamp of sincerity and hard work. The shortcomings of this film are largely of a technical nature. The continuity is basically well handled, though the compression necessary to reduce it even to ten-reel length leave some unavoidable gaps. The photography could be very considerably improved; it shows considerable traces of inexperience. The lighting of the interiors is rather elementary, and the make-up could be subject to much improvement. However, such difficult and important details as sets, costumes, casting and performances go'far to make up for these other technical flaws. PEER GYNT Scenario film, 4,000 feet, 16mm. blackand-white. Filmed by David Bradley. This, apparently young Bradley's second major production, is a considerable improvement over his earlier production, "Oliver Twist," especially as regards technique. The technical details, especially of photography, lighting and make-up, show a tremendous improvement. Some of the photography, both exterior and interior, is remarkably good There are some excellent angles and lightings in close shots of the character players. The continuity is less praiseworthy, as might be expected from the rather impressionistic material with which Bradley worked. Several of the individual sequences, however, are excellent, especially the "hall of the Mountain King" sequence, which is excellently impressionistic in treatment. It is to be regretted that some of these more fanciful sequences could not have been filmed with distorting lenses, or against impressionistic sets like those used in "The Cabinet of Dr. Caligari." The acting and direction of this film are decidedly commendable, and the way the key sequences are edited to synchronize with records of the Greig "Peer Gynt" suites is noteworthy. MOUNTAIN WONDERLAND Scenic. 600 ft. 16mm. Kodachrome. Filmed by R. J. 0\erdale. This is a pretty fair scenic, with geneeally good composition, continuity and titling. However, the filmer was badly at fault with his exposure in many of the long-shots in the forest. Apparently he failed to realize the extreme differences in light-value in the sunlight and the shadows under the trees. This is the sort of a shot where it is absolutely necessary to take separate meter-readings of the sunlit and shadowed areas, and as a rule to balance exposure to favor the shadows. 414 September, 1942 American Cinematographer