Movie Makers (Jan-Dec 1947)

98 MARCH 1947 Closeups— What filmers are doing • FOR OUTDOORS KIN-O-LUX #1 50 ft. 16 mm. $2.30 100 ft. 16 mm. $3.60 KIN-O-LUX #2 25 ft. double 8 mm. $7.65 • FOR IND00RS-0UTD00RS KIN-O-LUX #3 25 ft. double 8 mm. $2.40 50 ft. 16 mm. $3.75 100 ft. 16 mm. $6.00 • FOR INDOORS ONLY KIN-O-LUX GOLD SEAL 25 ft. double 8 mm. $2.40 50 ft. 16 mm. $3.75 100 ft. 16 mm. $6.40 FOR THE MOST FOR YOUR MOVIE MONEY IT'S KIN-O-LUX Indoors, outdoors, for all around versatility and a quality that can't be equated at the price— or any price, it's the KIN-O-LUX FILM suited for your need of the moment. Convince yourself. Compare the ratings . . . compare the price . . . then compare the results. That's alll You'll return again and again for . . . FILM J05 WEST 40 ST., NEW YORK 18, N.Y. 7ou really have to see this one to believe it. But, with our right hand on a stack of ACL Movie Books, we can soberly swear that we have now witnessed a fishing film in which the fish's approach to and acceptance of the lure is pictured under water! Dale Clark, ACL, of New York City, is this new and Wondrous Walton, and the action takes place in a mountain pool in Idaho, not in one of those fancy Florida tanks. The sequence is really tripartite in its makeup. There is a camper seen fishing from the bank of the pool. Parked in a boat out in front of him is another camper who, peering through an underwater viewing box, apparently is directing the angler's actions. The third part — the movements of the fish as seen by this second character — are subsurface scenes of the victim, filmed, so help us, by Mr. Clark as he swam around after it. His camera, it seems almost needless to add, was securely housed in an underwater camera box of his own design. Movie Makers records with sincere regret the sudden passing, early in February, of Nelson L. Greene. 65, publisher and editor of Educational Screen, our Chicago contemporary. As founder editor of this audio visual aids journal, Mr. Greene guided its development from the first issue in January, 1922, to a gala Silver Anniversary number just published in January of this year. People and Places: Charles R. Dobbins, ACL, generally of Trenton, N. J., is, at the moment of writing, traipsing about Chichen Itza, in Yucatan, on the trail of the Mayan pyramids. . . . Leo J. HefTernan, FACL, not unknown around New York City, is at the same moment meandering about New Orleans, recording the dynamic doings of the annual Mardi Gras. That bearded party peering manfully out of this page is none other than Al Morton, FACL, normally one of the more gentle and retiring citizens of Salt Lake City. He reports getting five buckskin on this safari, whether by scaring them or shooting them we don't know. If you are one of the scores of individuals or club program chairmen who have written us asking how you might arrange a screening of the Ten Best and Maxim Award winning films by Ralph E. Gray, FACL, well, we now have good news for you. You can, if you're lucky, arrange same simply by writing Mr. Gray at Apartado 2747, Mexico, D. F. Here's the setup. It seems that the Great Gringo is planning an auto trip north in the spring, during the course of which he will pass through some fifteen or more metropolitan areas. He will have with him his own projector (adequate for anything up to a 120 foot throw) and a collection of some half dozen of his leading pictures. If you have an interested group, a hall and a screen, you may be in line for a treat. Mr. Gray will leave Mexico City early in May and will travel the following route northwards: Houston, New Orleans, Atlanta, Asheville, Raleigh, Washington, Philadelphia and New York City. His plans call for arrival in New York on May 20 and departure westward from Atlantic City on May 29. The route home will include Harrisburg, Pittsburgh, Cincinnati, Indianapolis, St. Louis, Tulsa, Oklahoma City, Dallas and Fort Worth. . . . When you write Mr. Gray, try to give as exact particulars as possible concerning your group, the prospective size of your audience and your preferred booking dates. We suggest using air mail only. '■"■''■■ ..." '*".-■:■".";'" ..';: HEtamm j ^H 1 1 1V'">^Hl JV^^aEnL m 'fHrr-'-i jt~ MM rl f -"dr * Al Morton, FACL, on Western safari. Covering what the baseball crowd would call the keystone sack, we took part recently in a filmic triple play which still delights us. The operation began with a phone call from Montreal. There, in the studios of Associated Screen News, Earl Clarke (1939 Ten Best winner with Then Came the King) was desperate for two, six foot Kodachrome scenes of New York City. Did we know where he might get them? We certainly did. Not five minutes later we were on the phone with Frederick G. Beach, FACL, who, as head of motion pictures for the New York Central System, ACL, said sure they had the footage and they'd rush it off air mail. That was on a Wednesday afternoon. By around eleven on Friday morning the two scenes were cut into Clarke's production — and the day was saved.