Nurses with young patients

Dormitory-style room full of young children in beds and nurses. Nurses read. The children listen, look at the pictures, and play with toys in bed. Girl runs out to balcony, a nurse follows. LS of pond and trees. The nurse and the patient look out at the view together and chat. Patient is wheeled down a hallway, the plaster cast on her leg is cut off. She practices walking without her cast and gets a piece of candy. Child writes on a paper with a Christmas tree on it. Children bundled up on deck chairs outdoors on a balcony. A nurse helps tuck them in. They close their eyes or read. Brief shot of ornate crucifix and statuary. CU nurse and a girl. Little girls share their drawings and pass around a doll baby. Julien Hequembourg Bryan (1899-1974) was an American documentarian and filmmaker. Bryan traveled widely taking 35mm film that he sold to motion picture companies. In the 1930s, he conducted extensive lecture tours, during which he showed film footage he shot in the former USSR. Between 1935 and 1938, he captured unique records of ordinary people and life in Nazi Germany and in Poland, including Jewish areas of Warsaw and Krakow and anti-Jewish signs in Germany. His footage appeared in March of Time theatrical newsreels. His photographs appeared in Life Magazine. He was in Warsaw in September 1939 when Germany invaded and remained throughout the German siege of the city, photographing and filming what would become America's first cinematic glimpse of the start of WWII. He recorded this experience in both the book Siege (New York: Doubleday, Doran, 1940) and the short film Siege (RKO Radio Pictures, 1940) nominated for an Academy Award in 1940. In 1946, Bryan photographed the efforts of the United Nations Relief and Rehabilitation Agency in postwar Europe. Eugene Cenkalski was a screenwriter and director. During the war, Cenkalski worked for the Polish government in England and the United States, producing and editing war film for Poland. After the war, he and his wife Christina settled In Lodz and collaborated on rebuilding the Polish film industry. https://www.jstor.org/stable/pdf/1209418.pdf