James A. Fitzpatrick sends the Technicolor cameras to exotic Utah under the supervision of cinematographer Charles Boyle. There, they are used to capture images of Monument Valley, well before John Ford could get there for his own cowboy movies.
Something about the Second World War seems to have calmed down Fitzpatrick. True, he spouts sesquipedalian blather, and random facts as freely as he ever did, but now he merely speaks loudly, and rather jovially, rather than shouting. Perhaps earlier he had been worrying about all that expensive equipment being shipped around the globe.; however would he pay for the loss should it be sunk at sea or stolen by sacred monkeys in Katmandu. Or perhaps the new ear trumpet meant he could hear other people and didn't feel a need to be so loud himself.
Even today, the pictures in this short are startling in their beauty. The copy I looked at this morning on TCM was one of the well-preserved ones.