American cinematographer (Jan-Dec 1952)

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In Fancy Free — Like John Cowart, mentioned above, Glen Turner has, in a remarkable short time, established a reputation for turning out prize-winning films. Although he entered American Cinematographer’s annual competition for the first time this year, he has twice during the past three years won top awards in the annual Ten Best competi¬ tion of the Amateur Cinema League. Like Cowart, Turner also is fortunate in being surrounded by enthusiastic and capable associates who gladly lend their time to the production of his serious 16mm films. “In Fancy Free” is a fantasy, imagi¬ natively planned, photographed, and edited, which pictures the day-dreams of a young woman as she sits by the window looking out on her garden. Nearby objects, such as a Buddah, a porcelain figure of a dancer, a flower, and the passing of friends by her house set her to reflecting on her greatest wish — to be a dancer. She becomes absorbed in these dreams as a participant and the dances she imagines are laid against colorful and symbolic backgrounds. As the picture unfolds, narration by a young woman with a remarkable appeal¬ ing voice tells the story of the young girl’s desires, and then in the closing sequence, we learn in a brief hearttugging climax that the girl, a cripple, can never take part in the activities of her dreams. The production is replete with effect lighting and special photographic effects a forte which Turner ably established in his earlier productions. The dance numbers demanded skill, both in direc¬ tion and execution; and the musical score, especially prepared by members of the student orchestra of the college where Turner is an instructor, is a vital and moving contribution to the picture. Make Mine Magic — George A. Valen¬ tine long has been one of the nation’s leading 8mm movie makers, because of his knack for consistently turning out capsule movies with a punch, which have won numerous awards. In “Make Mine Magic” Valentine has scored again with an appealing story of a lad who comes into possession of a magic wand, and thereafter brings to reality numer¬ ous wishes of his and those of his brother and sister. Valentine has a slick way of injecting humor and also a sur¬ prise last-minute gag into his movies. His 8mm color photography is con¬ sistently good and his editing and titl¬ ing, as always, is skillfully done. Philadelphia Story — Sam Fass, having captured some remarkable foot¬ age of the Ice Follies in 16mm Kodachrome, set about to weave these shots into an interesting continuity with a logical story line. The director of the ice show summons to his office two likely prospects for one of his ice numbers. When the young women arrive, he pro¬ jects 16mm movies of his show in order to demonstrate the numbers in which he wishes the girls to take part. When the film ends, the girls agree to join the show and sign contracts — a simple story thread on which the shots of the Ice Follies were deftly strung. The camera work on the Follies num¬ bers is just about tops. Exposure is all anyone could ask for and each number is carefully chronicled and later edited in a slick manner that gives the illusion it all was carefully planned production. Romance Of Gloucester — Bert Seckendorf is at his best documenting interesting places and events of this land of ours, and in editing and titling such films to impart sustaining interest on the screen. In “Romance of Gloucester” he has focused his camera on both the interesting places and much of the con¬ temporary life of Gloucester. His dis¬ cerning lens brings satisfying multi¬ scene sequences of activities of Glou¬ cester natives, instead of the one-shot treatment so often accorded such material by the uninitiated cine filmer. Result is, one experiences something in viewing this picture on the screen. Seckendorf’s photography is clear-cut, discerning, and shows good taste in composition. The Sad Duckling — Denny Plumlee credits Hy Knaack as associate camera¬ man on this unusual film, which demon¬ strates excellent miniature settings, lighting, and camera treatment. To¬ gether, the two have given cine filmers something new to top in amateur movies. A sound-on-film production in 16mm Kodachrome, the narration is a master¬ ful job and contributes considerably to building and sustaining interest in the picture. At the picture unfolds, the narrator tells of the barnyard hen with a lone egg that failed to hatch. But presently the egg stirs, cracks open and out steps a young duckling, to the consternation of both the mother hen and her barnyard associates. The unhappy duckling im¬ mediately takes to the farmyard pond and sets off at once to explore it. A mighty storm comes up and lightning sets fire to the trees and shrubs sur¬ rounding the pond. The duckling, now thoroughly frightened, is caught in the 222 American Cinematographer May, 1952