by Leroy Douresseaux a.k.a. "I Reads You"
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ENTERTAINMENT NEWS:
ACADEMY AWARDS - From YahooUSA: Academy exceeds inclusion goal after #OscarsSoWhite: New voters are 45% female, 36% diverse.
CELEBRITY-BLM - From YahooEntertainment: John Wayne was not a racist says the late actor's son, Ethan Wayne.
MOVIES - From Collider: The site has several images from David Ayers' upcoming thriller, "The Tax Collector," starring Shia LaBeouf and Bobby Soto.
BLM-CRIME-HISTORY - From Alabama.com: 16th Street Baptist Church bomber Thomas Blanton dies in prison. The bombing, which occurred in 1963, is known for the "Four Little Girls."
MOVIES - From YahooMoviesUK: "John Wick" director, Chad Stahelski, says that a reboot of the 1980s action-fantasy movie cult classic, "Highlander," is "in heavy development mode."
CELEBRITY-POLITICS - From TheDailyBeast: How Mary Trump (President Donald's niece) Found Herself in the Hot Mess of a William Faulkner Novel
MUSIC-STREAMING - From Variety: The streaming service, Disney+, will releases Beyonce's new visual album, "Black is King," July 31st. The LP is inspired by "The Lion King," and its released date is just after the one-year anniversary of the 2019 release of Disney's live-action version of "The Lion King."
LGBTQ - From YahooLifestyle: Gay ER doctor who survived COVID-19 says he can't donate plasma because he’s sexually active
POLITICS - From RSN: "Saint Donald and the Dragon" - Donald Trump and the China!
SPORTS - From YahooSports: Bubba Wallace on Confederate flag ban protests: 'We won’t see cops pepper-spraying them and shooting them with rubber bullets'
MOVIES - From THR: Actor Margot Robbie and writer Christina Hodson, who teamed up on "Birds of Prey," are reunited on a new "Pirates of the Caribbean" movie. It is separate from the other reboot being developed "Pirates" scribe, Ted Elliot," and "Chernobyl" writer Craig Mazin.
MOVIES - From THR: The release date of Christopher Nolan's "Tenet" has been delayed again, from July 31st to August 12th, 2020.
MOVIES - From THR: Inside "Hollywood's nastiest producer feud," the story of Roy Lee vs. John Middleton.
POLITICS - From TheGuardian: How the US military has failed to address white supremacy in its ranks. This is in the wake of an alleged plot by a young solider to coordinate with a neo-Nazi group to attack and kill members of his own army unit.
BLM-ANIMATION - From TVGuide: Jenny Slate will no longer voice Missy on Netflix's "Big Mouth": 'Black Characters on an Animated Show Should be Played by Black People'
From BuzzFeed: Voice actor Mike Henry has retired from providing the voice of "Family Guy" African-American character, "Cleveland Brown." He is the latest white voice performer to announce that he is exiting the voice role of a Black character, following Jenny Slate leaving Big Mouth and Kristen Bell shifting to a different role on Central Park.
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MOVIES - From Deadline: Oscar winners Leonardo DiCaprio ("The Revenant") and Barry Jenkins ("Moonlight") have united to make a film adaptation of the documentary, "Virunga," about rangers who risk their lives to protect an African national park and its endangered gorillas.
BOX OFFICE - From Deadline: 27 years after it first hit movie theaters, "Jurassic Park" was the #1 movie at the Father's Day weekend box office. Steven Spielberg, who directed "Jurassic Park," had a big weekend as his 1975 classic, "Jaws" was a close second.
TRAILERS - From Deadline: Disney+ releases the first trailer for the live-action version of the Broadway smash, "Hamilton." The film arrives on Disney+ July 3rd, 2020.
CULTURE-BLM - From THR: African-American Hollywood attorney, Nina Shaw, writes a guest column on being "the Only Black Person in the Room" for 30-plus years.
CELEBRITY - From YahooDailyBeast: Actress Bryce Dallas Howard talks about having Oscar-winning producer-director, Ron Howard, as her father. The interview is done in conjunction with Bryce's new documentary film, "Dads," which debuted on Apple TV+.
MUSIC - From YahooEntertainment: An acoustic guitar belonging to the late Kurt Cobain of the band, Nirvana, sold for a record 6-plus million dollars at auction. That is the highest auction price ever paid for a guitar. The 1959 Martin D-19E is the guitar Cobain played for the entirety of his "MTV Unplugged" performance.
CELEBRITY-COVID-19 - From ABCNews: Comedian D.L. Hughley passed out while performing on stage in Nashville TN. Afterwards, he tested positive for COVID-19 at a local hospital.
MOVIES - From YahooGMA: Jamie Foxx shows off his body transformation for his starring role in a biopic of champion boxer, Mike Tyson.
OBITS:
From Deadline: Pioneering television comedy writer and director, Carl Reiner has died at the age of 98, Monday, June 29, 2020. Reiner is best known as the creator and writer-director and actor on "The Dick Van Dyke Show (1961-66). Five of the 9 Primetime Emmy Awards Reiner won were for his work on the show. He first came to big TV fame and acclaim working on Sid Ceasar's TV series, "Your Show of Shows" (NBC, 1950-54) and "Ceasar's Hour" (NBC, 1954-57). Reiner was also famous for being the son of television and film writer, director, and actor, Rob Reiner.
From Variety: Animator and director, Kelly Asbury, has died at the age of 60, Friday, June 26, 2020. Asbury co-directed "Spirit: Stallion of the Cimarron" (2002) and directed "Shrek 2" (2004). He began his career with Walt Disney Feature Animation and, he worked on such films as "The Black Cauldron" (1985) and "Toy Story" (1995).
From Deadline: Noted film director, Joel Schumacher, has died at the age of 80, Monday, June 22, 2020. Schumacher was known for a number of films, including "St. Elmo's Fire" (1985), "The Lost Boys" (1987), "Flatliners" (1990), "The Client" (1994), and "A Time to Kill" (1996). He caused ire among comic book fans with his two contributions to the Batman film franchise, "Batman Forever" (1995) and "Batman and Robin" (1997).
From Deadline: American businessman and film financier, Steve Bing, has died at the age of 55, Monday, June 22, 2020. In the film business, Bing invested in two animated films by director Robert Zemeckis, "The Polar Express" (2004) and "Beowulf." He founded Shangri-La Entertainment, which had interests in property, construction, entertainment, and music.
BLACK LIVES MATTER NEWS:
From RSN: The four corners of police violence
From TheIntercept: Black Lives Matter Wants to End Police Brutality. History Suggests It Will Go Much Further.
From YahooNews: "The Confederacy of California": life in the valley where Robert Fuller was found hanged
From CNN: Colorado police officers involved in the death of Elijah McClain reassigned for safety reasons.
From Truthout: " Three North Carolina Police Fired for Racist Rants, Threats to Kill Black People" - and what they said is crazy and scary
From Truthout: Bryant Gumbel Gives Powerful Commentary on the 'Black Tax,' the 'Added Burden' of Being Black
From YahooEntertainment: Oscar-nominated songwriter and Grammy Award-winning recording artist, Ray Parker, Jr., may be best known for writing the theme to the film, "Ghostbusters," but when he was a teenager, Parker was beaten by Detroit police officers.
From RSNewYorker: Jelani Cobb: An American Spring of Reckoning.
From NBCNews: Baton Rouge, LA activist, Gary Chambers, makes an impassioned speech about changing the name of Robert E. Lee High School in Baton Rouge.
From YahooNews: Racial violence and a pandemic: How the Red Summer of 1919 relates to 2020
From DemocracyNow: Fear Grows of Modern-Day Lynchings as Five People of Color Are Found Hanged
CORONAVIRUS/COVID-19 NEWS:
From CDC: The Centers for Disease Control has a "COVID Data Tracker."
From YahooNews: Why does COVID-19 kill some people and hardly affects others?
From YahooNews: Yahoo has a dedicated page of links updating news about COVID-19.
From Deadline: The news site "Deadline" has a dedicated page for news about coronavirus and the film, TV, and entertainment industries.
From TheNewYorker: The venerable magazine has a dedicate COVID-19 page free to all readers.
From YahooNews: Re: the federal government's response to COVID-19: What if the most important election of our lifetime was the last one - 2016?
From YahooLife: What is "happy hypoxia?" And do you have this COVID-19 symptom?
From JuanCole: Remeber when President Donald went crazy and suggested that we ingest household cleaning supplies and UV light to fight COVID-19. Here is the video and commentary from Juan Cole.
From TheIntercept: The federal government has ramped up security and police-related spending in response to the COVID-19/coronavirus pandemic, including issuing contracts for riot gear, disclosures show. The purchase orders include requests for disposable cuffs, gas masks, ballistic helmets, and riot gloves...
From NPR: A sad milestone: over 100,000 American have died due to COVID-19.
From TheAtlantic: The Coronavirus Was an Emergency Until Trump Found Out Who Was Dying. The pandemic has exposed the bitter terms of our racial contract, which deems certain lives of greater value than others.
From ProPublica: Hospital's Secret COVID-19 Policy Separated Native American Mothers From Their Newborns
From Truthout: Trump Moves to End Federal Support for Testing Sites Amid Record COVID Spikes
From TheGuardian: More than 20 million Americans could have contracted COVID-19, experts say.
From RSN/WashPost: The COVID-19 mutation that has taken over the world.
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Showing posts with label John Wayne. Show all posts
Showing posts with label John Wayne. Show all posts
Tuesday, June 30, 2020
Monday, March 14, 2016
John Wayne's Life Gets Comic Book Tribute in "Tribute: John Wayne"
Storm Entertainment released a new comic book biography on the legendary John Wayne. Tribute: John Wayne was released in both print and digital.
Few actors achieve the level of fame afforded silver screen icon John Wayne. Born Marion Mitchell Morrison, his distinct vocal cadence, intimidating physical presence, and signature look made him a box office draw for 30 years. Although he's been gone for 36 years, his legacy remains.
The 24-page comic book, written by Steve Urena, illustrated by Vincenzo Sansone. It will feature two collectible covers.
The Tribute line of comic books tells the stories of the classic entertainers that have passed on,” says Storm Entertainment’s publisher, Darren G. Davis “It is a way for us to honor these people who have made a difference in the world.
Previous classic Hollywood subjects that have been featured in the “Tribute” line include Elizabeth Taylor, Frank Capra, George Reeves, Lucille Ball, Marilyn Monroe and James Dean.
Print copies of the book can be ordered at Comic Flea Market for $3.99.
Tribute: John Wayne is available on your e-reader from iTunes, Kindle, Nook, ComiXology, DriveThru Comics, Google Play, My Digital Comics, Overdrive, Iverse, Biblioboard, Flipkart, ComicBin, Axis360, Blio, Entitle, Comicblender, Kobo and wherever eBooks are sold.
The “Tribute” series serves as a pop culture companion to Storm Entertainment’s successful “Female Force,” “Political Power,” “Orbit,” and “Fame” series. The biography comic form allows Storm’s talented writers to delve into the history of certain newsworthy figures and explore what shaped them. Storm Entertainment’s biographical comic books have been featured on CNN, Politico, Roll Call, The Today Show, FOX News, and in People Magazine among thousands of others.
About Storm Entertainment
Formerly known as Bluewater Comics, Storm delivers a multimedia experience unparalleled in the burgeoning graphic fiction and nonfiction marketplace. Dynamic storytelling coupled with groundbreaking art delivers an experience like no other. Stories are told through multiple platforms and genres, gracing the pages of graphic novels, novelizations, engaging audio dramas, cutting-edge film projects, and more. Diversity defines Storm’s offerings in the burgeoning pop culture marketplace, offering fresh voices and innovative storytellers.
As one of the top independent publishers of comic book and graphic novels, Storm Entertainment unites cutting-edge art and engaging stories produced by the publishing industry’s most exciting artists and writers. Its extensive catalog of comic book titles includes the bestsellers “10th Muse” and “The Legend of Isis,” complimented by a line of young adult books and audiobooks. Storm’s publishing partnerships include entertainment icon William Shatner (“TekWar Chronicles”), legendary filmmaker Ray Harryhausen (“Wrath of the Titans,” “Sinbad: Rogue of Mars,” “Jason and the Argonauts,” and more), novelists S.E. Hinton (“The Puppy Sister”) and William F. Nolan (“Logan’s Run”), and celebrated actors Vincent Price (“Vincent Price Presents”), Dirk Benedict of the original “Battlestar Galactica” (“Dirk Benedict in the 25th Century”), and Adam West of 1966’s “Batman” fame (“The Mis-Adventures of Adam West”). Storm also publishes a highly-successful line of biographical comics under the titles “Orbit,” “Fame,” “Beyond,” “Tribute,” “Female Force,” and “Political Power.”
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Friday, June 13, 2014
New Broadcast Networks, "Escape" and "Grit," Sign Deal with Warner Bros.
Escape & Grit Announce First Programming Agreement, Acquire Rights To 135 Motion Pictures From Warner Bros. Domestic Television Distribution
ATLANTA, June 10, 2014 /PRNewswire/ -- The country's first-ever female-centric and male-centric over-the-air broadcast television networks -- Escape (For Women) and Grit (For Men) -- have acquired the television rights to 135 demo-targeted motion pictures in a multi-year licensing agreement with Warner Bros. Domestic Television Distribution (WBDTD), it was announced today.
Katz Broadcasting, a new company established by Bounce TV founder/COO and former Turner Broadcasting executive Jonathan Katz, will own and operate the ESCAPE and GRIT broadcast television networks launching this summer. Katz will serve as President and CEO while continuing as COO of Bounce TV.
Escape will target women 25-54 with a brand of programming anchored in stories of crime and mystery. Warner Bros. drama and thriller titles earmarked for Escape include: The contemporary classic Body Heat starring Kathleen Turner; Demi Moore in Disclosure; the Nicole Kidman thrillers Dead Calm and Malice; Kathy Bates creating Misery for James Caan, based on the Stephen King story; Bates in another King tale, Dolores Claiborne with Jennifer Jason Leigh; Copycat starring Sigourney Weaver; Blink with Madeline Stowe and Cate Blanchett as Charlotte Gray; John Grisham's Presumed Innocent; Michelle Pfeiffer in Tequila Sunrise; Star 80 and more.
Action-oriented Grit will reach men 25-54 and be built around the classic male hero archetype with a focus on western, war and action theatrical motion pictures. Among the stars and titles headed to Grit in the WBDTD agreement: Clint Eastwood - As Dirty Harry in Sudden Impact, leading the charge in Kelly's Heroes and also Bronco Billy; Arnold Schwarzenegger in Eraser; Sylvester Stallone in Cobra, Demolition Man and Victory; Jackie Chan starring in Rumble in the Bronx and Jackie Chan's First Strike; Steven Seagal (Hard to Kill, Fire Down Below, On Deadly Ground and Out of Reach); Denzel Washington (Fallen) and more.
Grit also lands such westerns as the John Wayne classics Cahill, U.S. Marshall, Chisum and The Cowboys; Young Guns and Young Guns 2; The Assassination of Jessie James by the Coward Robert Ford starring Brad Pitt and such war and military movies as Stanley Kubrick's Full Metal Jacket, Memphis Belle and Purple Hearts.
Univision Television Group, which owns and/or operates television stations in major U.S. markets, will carry both Escape and Grit on stations representing more than 35% of U.S. television households, including in New York, Los Angeles, Chicago, Dallas, Houston and Miami. More distribution will be announced shortly.
The two new networks are part of Katz Broadcasting, a new company established by former Turner Broadcasting executive Jonathan Katz.
ATLANTA, June 10, 2014 /PRNewswire/ -- The country's first-ever female-centric and male-centric over-the-air broadcast television networks -- Escape (For Women) and Grit (For Men) -- have acquired the television rights to 135 demo-targeted motion pictures in a multi-year licensing agreement with Warner Bros. Domestic Television Distribution (WBDTD), it was announced today.
Katz Broadcasting, a new company established by Bounce TV founder/COO and former Turner Broadcasting executive Jonathan Katz, will own and operate the ESCAPE and GRIT broadcast television networks launching this summer. Katz will serve as President and CEO while continuing as COO of Bounce TV.
Escape will target women 25-54 with a brand of programming anchored in stories of crime and mystery. Warner Bros. drama and thriller titles earmarked for Escape include: The contemporary classic Body Heat starring Kathleen Turner; Demi Moore in Disclosure; the Nicole Kidman thrillers Dead Calm and Malice; Kathy Bates creating Misery for James Caan, based on the Stephen King story; Bates in another King tale, Dolores Claiborne with Jennifer Jason Leigh; Copycat starring Sigourney Weaver; Blink with Madeline Stowe and Cate Blanchett as Charlotte Gray; John Grisham's Presumed Innocent; Michelle Pfeiffer in Tequila Sunrise; Star 80 and more.
Action-oriented Grit will reach men 25-54 and be built around the classic male hero archetype with a focus on western, war and action theatrical motion pictures. Among the stars and titles headed to Grit in the WBDTD agreement: Clint Eastwood - As Dirty Harry in Sudden Impact, leading the charge in Kelly's Heroes and also Bronco Billy; Arnold Schwarzenegger in Eraser; Sylvester Stallone in Cobra, Demolition Man and Victory; Jackie Chan starring in Rumble in the Bronx and Jackie Chan's First Strike; Steven Seagal (Hard to Kill, Fire Down Below, On Deadly Ground and Out of Reach); Denzel Washington (Fallen) and more.
Grit also lands such westerns as the John Wayne classics Cahill, U.S. Marshall, Chisum and The Cowboys; Young Guns and Young Guns 2; The Assassination of Jessie James by the Coward Robert Ford starring Brad Pitt and such war and military movies as Stanley Kubrick's Full Metal Jacket, Memphis Belle and Purple Hearts.
Univision Television Group, which owns and/or operates television stations in major U.S. markets, will carry both Escape and Grit on stations representing more than 35% of U.S. television households, including in New York, Los Angeles, Chicago, Dallas, Houston and Miami. More distribution will be announced shortly.
The two new networks are part of Katz Broadcasting, a new company established by former Turner Broadcasting executive Jonathan Katz.
Sunday, December 29, 2013
"Pulp Fiction," "The Right Stuff" Among 2013 National Film Registry Additions
Press release:
Cinema with the Right Stuff Marks 2013 National Film Registry
“Pulp Fiction,” “Mary Poppins,” “Roger & Me” Among Registry Additions
Heroes of the space race, a pop cult classic; the age-old battle between the sexes; and a record of Native-American traditions are among a cadre of films being recognized as works of great cultural, historic or aesthetic significance to the nation’s cinematic heritage. The Librarian of Congress, James H. Billington, announced today the annual selection of 25 motion pictures to join the National Film Registry of the Library of Congress. They will be preserved as cinematic treasures for generations to come.
"The National Film Registry stands among the finest summations of more than a century of extraordinary American cinema," said Billington. "This key component of American cultural history, however, is endangered, so we must protect the nation’s matchless film heritage and cinematic creativity."
Spanning the period 1919-2002, the films named to the registry include Hollywood classics, documentaries, silent films, independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 625, a small part of the Library’s vast moving-image collection of 1.2 million items.
The 2013 registry list includes such movie classics as "Mary Poppins," featuring Julie Andrews’ Academy Award-winning performance, and John Ford’s "The Quiet Man," starring John Wayne and Maureen O’Hara. Films that catapulted the cinematic careers of their directors include Quentin Tarantino’s "Pulp Fiction," a fusion of film noir and hardboiled crime storytelling; and Mike Nichols’ "Who’s Afraid of Virginia Woolf?" which starred Elizabeth Taylor and Richard Burton, then married, as an explosively espoused couple.
The list also includes "Forbidden Planet," one of the seminal science-fiction films of the 1950s; "The Right Stuff," an epic tribute to the pioneers of the space program; and "Judgment at Nuremberg," which earned actor Maximilian Schell and screenwriter Abby Mann Academy Awards.
Among the documentaries named to the registry are "Roger and Me," Michael Moore’s advocacy film about the human effects of the failing auto industry; "Cicero March," the confrontation between blacks and whites on the streets of an Illinois town in 1966; "Decasia," which was created from scraps of decades-old, decomposing film; and female filmmaker Lee Dick’s "Men and Dust."
The silent films tapped for preservation are "Daughter of Dawn," featuring an all-Native-American cast of Comanches and Kiowas; "A Virtuous Vamp," starring Constance Talmadge, from 1919; and the 1926 Cinderella story, "Ella Cinders." The Library of Congress recently released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant. The films must be at least 10 years old. The Librarian makes the annual registry selections after reviewing hundreds of titles nominated by the public and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for next year’s registry at the NFPB’s website (www.loc.gov/film).
For each title named to the registry, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film is preserved for future generations, either through the Library’s motion-picture preservation program or through collaborative ventures with other archives, motion-picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation).
The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound.
Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at www.loc.gov.
2013 National Film Registry:
Bless Their Little Hearts (1984)
Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Rebellion. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film’s understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail."
Brandy in the Wilderness (1969)
This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride’s "David Holzman’s Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking.
Cicero March (1966)
During the summer of 1966, the Chicago Freedom Movement, led by Dr. Martin Luther King, Jr., targeted Chicago in a drive to end de facto segregation in northern cities and ensure better housing, education and job opportunities for African Americans. After violent rioting and a month of demonstrations, the city reached an agreement with King, in part to avoid a threatened march for open housing in the neighboring all-white town of Cicero, Ill., the scene of a riot 15 years earlier when a black couple tried to move into an apartment there. King called off further demonstrations, but other activists marched in Cicero on Sept. 4, an event preserved on film in this eight-minute, cinema-vérité-styled documentary. Using lightweight, handheld equipment, the Chicago-based Film Group, Inc. filmmakers situated themselves in the midst of confrontations and captured for posterity the viciousness of northern reactions to civil-rights reforms.
Daughter of Dawn (1920)
A fascinating example of the daringly unexpected topics and scope showcased by the best regional, independent filmmaking during the silent era, "Daughter of Dawn" features an all-Native-American cast of Comanches and Kiowas. Although it offers a fictional love-story narrative, the film presents a priceless record of Native-American customs, traditions and artifacts of the time. The Oklahoma Historical Society recently rediscovered and restored this film with a grant from the National Film Preservation Foundation.
Decasia (2002)
Errol Morris, the director of such highly acclaimed documentary features as "The Thin Blue Line," "Fast, Cheap and Out of Control" and "Mr. Death," is noted to have sat drop-jawed watching "Decasia" and stammering, "This may be the greatest movie ever made." Created from scraps of decades-old decomposing "found film," "Decasia" hypnotizes and teases with images that fade and transform themselves right before the viewer’s eyes. Culling footage from archives across the country, filmmaker Bill Morrison collected nitrate film stock on the very brink of disappearance and distilled it into a new art form capable of provoking "transports of sublime reverie amid pangs of wistful sorrow," according to New York Times writer Lawrence Weschler. Morrison wedded images to the discordant music of composer Michael Gordon—a founding member of the Bang on a Can Collective—into a fusion of sight and sound that Weschler called "ravishingly, achingly beautiful."
Ella Cinders (1926)
With her trendsetting Dutch bob haircut and short skirts, Colleen Moore brought insouciance and innocence to the flapper image, character and aesthetic. By 1926, however, when she appeared in "Ella Cinders," Moore’s interpretation of the flapper had been eclipsed by the more overtly sexual version popularized by Clara Bow or Joan Crawford. In "Ella Cinders," Ella (Colleen Moore) wins a beauty contest sponsored by a movie magazine and is awarded a studio contract. New York Times reviewer Mordaunt Hall observed that the film was "filled with those wild incidents which are seldom heard of in ordinary society," and noted "Miss Moore is energetic and vivacious." The film is an archetype of 1920s comedy, featuring a star whose air of emancipation inspired her generation.
Forbidden Planet (1956)
Directed by Fred M. Wilcox, MGM’s "Forbidden Planet" is one of the seminal science-fiction films of the 1950s, a genre that found itself revitalized and empowered after World War II and within America’s newly created post-nuclear age. Loosely based upon William Shakespeare’s "The Tempest," "Forbidden Planet" is both sci-fi saga and allegory, a timely parable about the dangers of unlimited power and unrestrained technology. Since its production, the movie has proved inspirational to generations of speculative fiction visionaries, including Gene Roddenberry. Along with its literary influence, highly influential special effects and visual style, the film also pushed the boundaries of cinematic science fiction. For the first time, all action happened intergalatically (not on Earth) and humans are depicted as space travelers, regularly jetting off to the far reaches of the cosmos. Additionally, "Forbidden Planet" is remembered for its innovative score—or lack thereof. No music exists on the film’s soundtrack; instead, all ambient sounds are "electronic tonalities" created by Louis and Bebe Barren. Walter Pidgeon, Leslie Nielsen, Anne Francis and, in his debut, Robbie the Robot make up the film’s cast.
Gilda (1946)
With the end of World War II came a dark edge in the American psyche and a change in the films it produced. Film noir defined the 1940s and "Gilda" defined the Hollywood glamorization of film noir—long on sex appeal but short on substance. Director Charles Vidor capitalizes on the voyeuristic and sadomasochistic angles of film noir—and who better to fetishize than Rita Hayworth, poured into a strapless black satin evening gown and elbow-length gloves, sashaying to "Put the Blame on Mame." George Macready and Glenn Ford round out the tempestuous triangle, but "Gilda" was and, more than 65 years later, still is all about Hayworth.
The Hole (1962)
With "The Hole," legendary animators John and Faith Hubley created an "observation," as the opening title credits state, a chilling Academy Award-winning meditation on the possibility of an accidental nuclear catastrophe. Jazz great Dizzy Gillespie and actor George Mathews improvised a lively dialogue that the Hubleys and their animators used as the voices of two New York construction workers laboring under Third Avenue. Earlier in his career, while he worked as an animator in the Disney studios, John Hubley viewed a highly stylized Russian animated film—brought to his attention by Frank Lloyd Wright—that radically influenced his ideas about the possibilities of animation. With his new vision realized in this film, the Hubleys ominously, yet humorously, commented on the fears of nuclear devastation ever-present in cold war American culture during the year that the Cuban Missile crisis unfolded.
Judgment at Nuremberg (1961)
Selecting as its focus the "Justices Trial" of the post-World War II Nuremberg war crimes tribunal, rather than the more publicized trials of major Nazi war criminals, "Judgment at Nuremberg" broadened its scope beyond the condemnation of German perpetrators to interrogate the concept of justice within any modern society. Conceived by screenwriter Abby Mann during the period of McCarthyism, the film argues passionately that those responsible for administering justice also have the duty to ensure that human-rights norms are preserved even if they conflict with national imperatives. Mann’s screenplay, originally produced as a Playhouse 90 teleplay, makes "the value of a single human being" the defining societal value that legal systems must respect. "Judgment at Nuremberg" startled audiences by including in the midst of its narrative seven minutes of film footage documenting concentration camp victims, thus using motion-picture evidence to make its point both in the courtroom and in movie theaters. Mann and actor Maximilian Schell received Academy Awards and the film boasted fine performances from its all-star cast.
King of Jazz (1930)
A sparkling example of a musical in the earliest days of two-color Technicolor, "The King of Jazz" is a fanciful revue of short skits, sight gags and musical numbers, all with orchestra leader Paul Whiteman—the self-proclaimed "King of Jazz" — at the center. Directed by John Murray Anderson and an uncredited Paul Fejos, it attempted to deliver "something for everyone" from a Walter Lantz cartoon for children to scantily-clad leggy dancers and contortionists for the male audience to the crooning of heartthrob Bing Crosby in his earliest screen appearance. "King of Jazz" also featured an opulent production number of George Gershwin's "Rhapsody in Blue."
The Lunch Date (1989)
Adam Davidson’s 10-minute Columbia University student film examines the partial erosion of haughty self-confidence when stranded outside one’s personal comfort zone. A woman has a slice-of-life, train-station chance encounter with a homeless man, and stumbles through several off-key reactions when they share a salad she believes is hers. Winner of a 1990 Student Academy Award, "The Lunch Date" stands out as a simple, yet effective, parable on the vicissitudes and pervasiveness of perception, race and stereotypes.
The Magnificent Seven (1960)
The popularity of this Western, based on Akira Kurosawa’s "Seven Samurai" (1954), has continued to grow since its release due in part to its role as a springboard for several young actors on the verge of successful careers: Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn and Horst Buchholz. The film also gave a new twist to the career of Yul Brynner. Brynner bought the rights to Kurosawa’s original story and hand-picked John Sturges as its director. Sturges had earned a reputation as a solid director of Westerns such as "Bad Day at Black Rock" (1955) and "Gunfight at the O.K. Corral" (1957). Transporting the action from Japan to Mexico, where it was filmed on location, the story portrays a gang of paid gunslingers hired by farmers to rout the bandits pillaging their town. Contributing to the film’s popular appeal through the decades is Elmer Bernstein’s vibrant score, which would go on to become the theme music for Marlboro cigarette commercials from 1962 until cigarette advertising on television was banned in 1971.
Martha Graham Early Dance Films (1931-1944)
("Heretic," 1931; "Frontier," 1936; "Lamentation," 1943; "Appalachian Spring," 1944)
Universally acknowledged as the preeminent figure in the development of modern dance and one of the most important artists of the 20th century, Martha Graham formed her own dance company in 1926. It became the longest continuously operating school of dance in America. With her company’s creation, Graham codified her revolutionary new dance language soon to be dubbed the "Graham Technique." Her innovations would go on to influence generations of future dancers and choreographers, including Twyla Tharp and Merce Cunningham. This quartet of films, all silent and all starring Graham herself, document four of the artist’s most important early works. They are "Heretic," with Graham as an outcast denounced by Puritans; "Frontier," a solo piece celebrating western expansion and the American spirit; "Lamentation," a solo piece about death and mourning; and "Appalachian Spring," a multi-character dance drama, the lyrical beauty of which is retained even without the aid of Aaron Copland’s famous and beloved music.
Mary Poppins (1964)
Alleged to be Walt Disney’s personal favorite from all of his many classic films, "Mary Poppins" is based upon a book by P.L. Travers. With Travers’ original tale as a framework, screenwriters Bill Walsh and Don DaGradi, with the aid of songwriters the Sherman Brothers (Richard M. and Robert B.), fashioned an original movie musical about a most unusual nanny. Weaving together a witty script, an inventive visual style and a slate of classic songs (including "A Spoonful of Sugar" and "Chim Chim Cher-ee"), "Mary Poppins" is a film that has enchanted generations. Equal parts innocent fun and savvy sophistication, the artistic and commercial success of the film solidified Disney’s knack for big-screen, non-cartoon storytelling and invention. With its seamless integration of animation with live action, the film prefigured thousands of later digital and CGI-aided effects. With its pitch-perfect cast, including Julie Andrews, Dick Van Dyke, Jane Darwell, Glynis Johns and Ed Wynn, "Mary Poppins" has remained a "supercalifragilisticexpialidocious" achievement.
Men and Dust (1940)
Produced and directed by Lee Dick—a woman pioneer in the field of documentary filmmaking—and written and shot by her husband Sheldon, this labor advocacy film is about diseases plaguing miners in Kansas, Missouri and Oklahoma. Sponsored by the Tri-State Survey Committee, "Men and Dust" is a stylistically innovative documentary and a valuable ecological record of landscapes radically transformed by extractive industry.
Midnight (1939)
Claudette Colbert, Don Ameche and John Barrymore light up the screen in this Mitchell Leisen romantic comedy. Liesen is often described as a "studio contract" director—a craftsman with no particular aesthetic vision or social agenda who is efficient, consistent, controlled, with occasional flashes of panache. Leisen’s strength lay in his timing. He claimed he established the pace of a scene by varying the tone and cadence of his voice as he called "ready…right…action!" This technique served to give the actors a proper "beat" for the individual shot. In addition to Leisen’s timing, "Midnight" also boasts a screenplay by the dynamic duo of Billy Wilder and Charles Brackett. Hilarity ensues when penniless showgirl Colbert impersonates a Hungarian countess, aided by the aristocratic Barrymore, until, despite her best efforts, she falls for a lowly taxi driver (Ameche) —all this amidst a Continental sumptuousness abundant in Paramount pictures of that era. The staggering number of exceptional films released in 1939 has caused this little gem to be overlooked. However, in its day, the New York Times called "Midnight" "one of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season." Reportedly unhappy with Leisen’s script changes, Wilder found the motivation to assert more creative control by becoming a director himself.
Notes on the Port of St. Francis (1951)
When Frank Stauffacher introduced the Art in Cinema film series at the San Francisco Museum of Art in 1947, he was on his way to becoming a significant influence on a generation of West Coast filmmakers. Through the series, he cultivated his knowledge of San Francisco surrealist films of the 1940s as well as the "city symphonies" produced by European filmmakers in the 1920s and 1930s. "Notes on the Port of St. Francis" is the natural progression of Stauffacher’s appreciation for the abstract synthesis of film and place. Impressionistic and evocative, the film is shaped by the director’s organization of iconic imagery, such as seascapes and city scenes, and by the juxtaposition of these visuals and the soundtrack comprised both of music and narration by Vincent Price of excerpts from Robert Louis Stevenson's 1882 essay on San Francisco. Independent film scholar Scott MacDonald speculated that the "notes" in the film’s title may refer to "both the informality of his visuals and his care with sound that may have been a subtle way of connecting his film with the European city symphonies of the twenties." Throughout the film, Macdonald observed, Stauffacher echoes Stevenson’s theme of the "City of Contrasts" by shooting from both San Francisco Bay and from the hills.
Pulp Fiction (1994)
By turns utterly derivative and audaciously original, Quentin Tarantino’s mordantly wicked Möbius strip of a movie influenced a generation of filmmakers and stands as a milestone in the evolution of independent cinema in the United States, making it one of the few films on the National Film Registry as notable for its lasting impact on the film industry as its considerable artistic merits. Directed by Tarantino from his profane and poetic script, "Pulp Fiction" is a beautifully composed tour-de-force, combining narrative elements of hardboiled crime novels and film noir with the bright widescreen visuals of Sergio Leone. The impact is profound and unforgettable.
The Quiet Man (1952)
Never one to shy away from sentiment, director John Ford used "The Quiet Man" with unadulterated adulation to pay tribute to his Irish heritage and the grandeur of the Emerald Isle. With her red hair ablaze against the enveloping lush green landscapes, Maureen O’Hara embodies the mystique of Ireland, as John Wayne personifies the indefatigable American searching for his ancestral roots, with Victor Young’s jovial score punctuating their escapades. The film and the locale are populated with characters bordering on caricature. Sly, whiskey-loving matchmaker Michaleen O’Flynn (Barry Fitzgerald), the burly town bully Will Danaher (Victor McLaglen) and the put-upon but patient Widow Tillane (Mildred Natwick) are the most vivid. Beautifully photographed in rich, saturated Technicolor by Winton C. Hoch, with picturesque art direction by Frank Hotaling, "The Quiet Man" has become a perennial St. Patrick’s Day television favorite.
The Right Stuff (1983)
At three hours and 13 minutes, Philip Kaufman’s adaptation of Tom Wolfe’s novel is an epic right out of the Golden Age of Hollywood, but thanks to its assortment of characters and human drama, it rarely drags. Director/screenwriter Kaufman ambitiously attempts to boldly go where few epics had gone before as he recounts the nascent Space Age. He takes elements of the traditional Western, mashes them up with sophisticated satire and peppers the concoction with the occasional subversive joke. As a result, Kaufman (inspired by Wolfe) creates his own history, debunking a few myths as he creates new ones. At its heart, "The Right Stuff" is a tribute to the space program’s role in generating national pride and an indictment of media-fed hero worship. Remarkable aerial sequences (created before the advent of CGI) and spot-on editing team up to deliver a movie that pushes the envelope.
Roger & Me (1989)
After decades of product ascendancy, American automakers began facing stiff commercial and design challenges in the late 1970s and 1980s from foreign automakers, especially the Japanese. Michael Moore’s controversial documentary chronicles the human toll and hemorrhaging of jobs caused by these upheavals, in this case the firing of 30,000 autoworkers by General Motors in Moore’s hometown of Flint, Michigan. As a narrative structure, Moore uses a comic device sometimes found in political campaign commercials, weaving a message around trying to find the person responsible for a wrong, in this case General Motors Chairman Roger Smith. "Roger & Me" is take-no-prisoners, advocacy documentary filmmaking, and Moore makes no apologies for his brazen, in-your-face style—he would argue the situation demands it. The themes of unfairness, inequality and the unrealized attainment of the American Dream resonate to this day, while the consequences of ferocious auto-sector competition continue, playing a key long-term role in the city of Detroit’s recent filing for bankruptcy protection.
A Virtuous Vamp (1919)
Employing a title suggested by Irving Berlin, screenwriter Anita Loos, working with husband John Emerson, crafted this charming spoof on romance in the workplace that catapulted Constance Talmadge, the object of Berlin’s unrequited affection, into stardom. During the silent era, women screenwriters, directors and producers often modified and poked fun at stereotypes of women that male filmmakers had drawn in harsher tones. The smiles of Loos’ "virtuous vamp"—as embodied by Talmadge—lead to havoc in the office, but are not life-threatening, as were the hypnotizing stares of Theda Bara’s iconic caricature that defined an earlier era. In this satire of male frailties, the knowing innocence of Loos’ character captured the imagination of poet Vachel Lindsay, who deemed the film "a gem" and called Talmadge "a new sweetheart for America."
Who’s Afraid of Virginia Woolf? (1966)
Edward Albee’s 1962 stage triumph made a successful transfer to the screen in this adaption written by Ernest Lehman. The story of two warring couples and their alcohol-soaked evening of anger and exposed resentments stunned audiences with its frank, code-busting language and depictions of middle-class malaise-cum-rage. Elizabeth Taylor and Richard Burton—who were both Academy Award nominees for their work (with Taylor winning)—each achieved career high-points in their respective roles as Martha and George, an older couple who share their explosive evening opposite a younger husband and wife, portrayed by George Segal and Sandy Dennis. "Woolf’s" claustrophobic staging and stark black-and-white cinematography, created by Haskell Wexler, echoed its characters’ rawness and emotionalism. Mike Nichols began his auspicious screen directing career with this film, in which he was already examining the absurdities and brutality of modern life, themes that would become two of his career hallmarks.
Wild Boys of the Road (1933)
Historians estimate that more than 250,000 American teens were living on the road at the height of the Great Depression, criss-crossing the country risking life, limb and incarceration while hopping freight trains. William Wellman’s "Wild Boys of the Road" portrays these young adults as determined kids matching wits and strength in numbers with railroad detectives as they shuttle from city to city unable to find work. Wellman’s "Wild Bill" persona is most evident in the action-packed train sequences. Strong performances by the young actors, particularly Frankie Darrow, round out this exemplary model of the gritty "social conscience" dramas popularized by Warner Bros. in the early 1930s.
END
Cinema with the Right Stuff Marks 2013 National Film Registry
“Pulp Fiction,” “Mary Poppins,” “Roger & Me” Among Registry Additions
Heroes of the space race, a pop cult classic; the age-old battle between the sexes; and a record of Native-American traditions are among a cadre of films being recognized as works of great cultural, historic or aesthetic significance to the nation’s cinematic heritage. The Librarian of Congress, James H. Billington, announced today the annual selection of 25 motion pictures to join the National Film Registry of the Library of Congress. They will be preserved as cinematic treasures for generations to come.
"The National Film Registry stands among the finest summations of more than a century of extraordinary American cinema," said Billington. "This key component of American cultural history, however, is endangered, so we must protect the nation’s matchless film heritage and cinematic creativity."
Spanning the period 1919-2002, the films named to the registry include Hollywood classics, documentaries, silent films, independent and experimental motion pictures. This year’s selections bring the number of films in the registry to 625, a small part of the Library’s vast moving-image collection of 1.2 million items.
The 2013 registry list includes such movie classics as "Mary Poppins," featuring Julie Andrews’ Academy Award-winning performance, and John Ford’s "The Quiet Man," starring John Wayne and Maureen O’Hara. Films that catapulted the cinematic careers of their directors include Quentin Tarantino’s "Pulp Fiction," a fusion of film noir and hardboiled crime storytelling; and Mike Nichols’ "Who’s Afraid of Virginia Woolf?" which starred Elizabeth Taylor and Richard Burton, then married, as an explosively espoused couple.
The list also includes "Forbidden Planet," one of the seminal science-fiction films of the 1950s; "The Right Stuff," an epic tribute to the pioneers of the space program; and "Judgment at Nuremberg," which earned actor Maximilian Schell and screenwriter Abby Mann Academy Awards.
Among the documentaries named to the registry are "Roger and Me," Michael Moore’s advocacy film about the human effects of the failing auto industry; "Cicero March," the confrontation between blacks and whites on the streets of an Illinois town in 1966; "Decasia," which was created from scraps of decades-old, decomposing film; and female filmmaker Lee Dick’s "Men and Dust."
The silent films tapped for preservation are "Daughter of Dawn," featuring an all-Native-American cast of Comanches and Kiowas; "A Virtuous Vamp," starring Constance Talmadge, from 1919; and the 1926 Cinderella story, "Ella Cinders." The Library of Congress recently released a report that conclusively determined that 70 percent of the nation’s silent feature films have been lost forever and only 14 percent exist in their original 35 mm format.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant. The films must be at least 10 years old. The Librarian makes the annual registry selections after reviewing hundreds of titles nominated by the public and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for next year’s registry at the NFPB’s website (www.loc.gov/film).
For each title named to the registry, the Library of Congress Packard Campus for Audio Visual Conservation works to ensure that the film is preserved for future generations, either through the Library’s motion-picture preservation program or through collaborative ventures with other archives, motion-picture studios and independent filmmakers. The Packard Campus is a state-of-the-art facility where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation).
The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board, the National Recording Preservation Board and the National Registries for film and recorded sound.
Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its vast collections, programs and exhibitions. Many of the Library’s rich resources can be accessed through its website at www.loc.gov.
2013 National Film Registry:
Bless Their Little Hearts (1984)
Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Rebellion. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film’s understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail."
Brandy in the Wilderness (1969)
This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride’s "David Holzman’s Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking.
Cicero March (1966)
During the summer of 1966, the Chicago Freedom Movement, led by Dr. Martin Luther King, Jr., targeted Chicago in a drive to end de facto segregation in northern cities and ensure better housing, education and job opportunities for African Americans. After violent rioting and a month of demonstrations, the city reached an agreement with King, in part to avoid a threatened march for open housing in the neighboring all-white town of Cicero, Ill., the scene of a riot 15 years earlier when a black couple tried to move into an apartment there. King called off further demonstrations, but other activists marched in Cicero on Sept. 4, an event preserved on film in this eight-minute, cinema-vérité-styled documentary. Using lightweight, handheld equipment, the Chicago-based Film Group, Inc. filmmakers situated themselves in the midst of confrontations and captured for posterity the viciousness of northern reactions to civil-rights reforms.
Daughter of Dawn (1920)
A fascinating example of the daringly unexpected topics and scope showcased by the best regional, independent filmmaking during the silent era, "Daughter of Dawn" features an all-Native-American cast of Comanches and Kiowas. Although it offers a fictional love-story narrative, the film presents a priceless record of Native-American customs, traditions and artifacts of the time. The Oklahoma Historical Society recently rediscovered and restored this film with a grant from the National Film Preservation Foundation.
Decasia (2002)
Errol Morris, the director of such highly acclaimed documentary features as "The Thin Blue Line," "Fast, Cheap and Out of Control" and "Mr. Death," is noted to have sat drop-jawed watching "Decasia" and stammering, "This may be the greatest movie ever made." Created from scraps of decades-old decomposing "found film," "Decasia" hypnotizes and teases with images that fade and transform themselves right before the viewer’s eyes. Culling footage from archives across the country, filmmaker Bill Morrison collected nitrate film stock on the very brink of disappearance and distilled it into a new art form capable of provoking "transports of sublime reverie amid pangs of wistful sorrow," according to New York Times writer Lawrence Weschler. Morrison wedded images to the discordant music of composer Michael Gordon—a founding member of the Bang on a Can Collective—into a fusion of sight and sound that Weschler called "ravishingly, achingly beautiful."
Ella Cinders (1926)
With her trendsetting Dutch bob haircut and short skirts, Colleen Moore brought insouciance and innocence to the flapper image, character and aesthetic. By 1926, however, when she appeared in "Ella Cinders," Moore’s interpretation of the flapper had been eclipsed by the more overtly sexual version popularized by Clara Bow or Joan Crawford. In "Ella Cinders," Ella (Colleen Moore) wins a beauty contest sponsored by a movie magazine and is awarded a studio contract. New York Times reviewer Mordaunt Hall observed that the film was "filled with those wild incidents which are seldom heard of in ordinary society," and noted "Miss Moore is energetic and vivacious." The film is an archetype of 1920s comedy, featuring a star whose air of emancipation inspired her generation.
Forbidden Planet (1956)
Directed by Fred M. Wilcox, MGM’s "Forbidden Planet" is one of the seminal science-fiction films of the 1950s, a genre that found itself revitalized and empowered after World War II and within America’s newly created post-nuclear age. Loosely based upon William Shakespeare’s "The Tempest," "Forbidden Planet" is both sci-fi saga and allegory, a timely parable about the dangers of unlimited power and unrestrained technology. Since its production, the movie has proved inspirational to generations of speculative fiction visionaries, including Gene Roddenberry. Along with its literary influence, highly influential special effects and visual style, the film also pushed the boundaries of cinematic science fiction. For the first time, all action happened intergalatically (not on Earth) and humans are depicted as space travelers, regularly jetting off to the far reaches of the cosmos. Additionally, "Forbidden Planet" is remembered for its innovative score—or lack thereof. No music exists on the film’s soundtrack; instead, all ambient sounds are "electronic tonalities" created by Louis and Bebe Barren. Walter Pidgeon, Leslie Nielsen, Anne Francis and, in his debut, Robbie the Robot make up the film’s cast.
Gilda (1946)
With the end of World War II came a dark edge in the American psyche and a change in the films it produced. Film noir defined the 1940s and "Gilda" defined the Hollywood glamorization of film noir—long on sex appeal but short on substance. Director Charles Vidor capitalizes on the voyeuristic and sadomasochistic angles of film noir—and who better to fetishize than Rita Hayworth, poured into a strapless black satin evening gown and elbow-length gloves, sashaying to "Put the Blame on Mame." George Macready and Glenn Ford round out the tempestuous triangle, but "Gilda" was and, more than 65 years later, still is all about Hayworth.
The Hole (1962)
With "The Hole," legendary animators John and Faith Hubley created an "observation," as the opening title credits state, a chilling Academy Award-winning meditation on the possibility of an accidental nuclear catastrophe. Jazz great Dizzy Gillespie and actor George Mathews improvised a lively dialogue that the Hubleys and their animators used as the voices of two New York construction workers laboring under Third Avenue. Earlier in his career, while he worked as an animator in the Disney studios, John Hubley viewed a highly stylized Russian animated film—brought to his attention by Frank Lloyd Wright—that radically influenced his ideas about the possibilities of animation. With his new vision realized in this film, the Hubleys ominously, yet humorously, commented on the fears of nuclear devastation ever-present in cold war American culture during the year that the Cuban Missile crisis unfolded.
Judgment at Nuremberg (1961)
Selecting as its focus the "Justices Trial" of the post-World War II Nuremberg war crimes tribunal, rather than the more publicized trials of major Nazi war criminals, "Judgment at Nuremberg" broadened its scope beyond the condemnation of German perpetrators to interrogate the concept of justice within any modern society. Conceived by screenwriter Abby Mann during the period of McCarthyism, the film argues passionately that those responsible for administering justice also have the duty to ensure that human-rights norms are preserved even if they conflict with national imperatives. Mann’s screenplay, originally produced as a Playhouse 90 teleplay, makes "the value of a single human being" the defining societal value that legal systems must respect. "Judgment at Nuremberg" startled audiences by including in the midst of its narrative seven minutes of film footage documenting concentration camp victims, thus using motion-picture evidence to make its point both in the courtroom and in movie theaters. Mann and actor Maximilian Schell received Academy Awards and the film boasted fine performances from its all-star cast.
King of Jazz (1930)
A sparkling example of a musical in the earliest days of two-color Technicolor, "The King of Jazz" is a fanciful revue of short skits, sight gags and musical numbers, all with orchestra leader Paul Whiteman—the self-proclaimed "King of Jazz" — at the center. Directed by John Murray Anderson and an uncredited Paul Fejos, it attempted to deliver "something for everyone" from a Walter Lantz cartoon for children to scantily-clad leggy dancers and contortionists for the male audience to the crooning of heartthrob Bing Crosby in his earliest screen appearance. "King of Jazz" also featured an opulent production number of George Gershwin's "Rhapsody in Blue."
The Lunch Date (1989)
Adam Davidson’s 10-minute Columbia University student film examines the partial erosion of haughty self-confidence when stranded outside one’s personal comfort zone. A woman has a slice-of-life, train-station chance encounter with a homeless man, and stumbles through several off-key reactions when they share a salad she believes is hers. Winner of a 1990 Student Academy Award, "The Lunch Date" stands out as a simple, yet effective, parable on the vicissitudes and pervasiveness of perception, race and stereotypes.
The Magnificent Seven (1960)
The popularity of this Western, based on Akira Kurosawa’s "Seven Samurai" (1954), has continued to grow since its release due in part to its role as a springboard for several young actors on the verge of successful careers: Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn and Horst Buchholz. The film also gave a new twist to the career of Yul Brynner. Brynner bought the rights to Kurosawa’s original story and hand-picked John Sturges as its director. Sturges had earned a reputation as a solid director of Westerns such as "Bad Day at Black Rock" (1955) and "Gunfight at the O.K. Corral" (1957). Transporting the action from Japan to Mexico, where it was filmed on location, the story portrays a gang of paid gunslingers hired by farmers to rout the bandits pillaging their town. Contributing to the film’s popular appeal through the decades is Elmer Bernstein’s vibrant score, which would go on to become the theme music for Marlboro cigarette commercials from 1962 until cigarette advertising on television was banned in 1971.
Martha Graham Early Dance Films (1931-1944)
("Heretic," 1931; "Frontier," 1936; "Lamentation," 1943; "Appalachian Spring," 1944)
Universally acknowledged as the preeminent figure in the development of modern dance and one of the most important artists of the 20th century, Martha Graham formed her own dance company in 1926. It became the longest continuously operating school of dance in America. With her company’s creation, Graham codified her revolutionary new dance language soon to be dubbed the "Graham Technique." Her innovations would go on to influence generations of future dancers and choreographers, including Twyla Tharp and Merce Cunningham. This quartet of films, all silent and all starring Graham herself, document four of the artist’s most important early works. They are "Heretic," with Graham as an outcast denounced by Puritans; "Frontier," a solo piece celebrating western expansion and the American spirit; "Lamentation," a solo piece about death and mourning; and "Appalachian Spring," a multi-character dance drama, the lyrical beauty of which is retained even without the aid of Aaron Copland’s famous and beloved music.
Mary Poppins (1964)
Alleged to be Walt Disney’s personal favorite from all of his many classic films, "Mary Poppins" is based upon a book by P.L. Travers. With Travers’ original tale as a framework, screenwriters Bill Walsh and Don DaGradi, with the aid of songwriters the Sherman Brothers (Richard M. and Robert B.), fashioned an original movie musical about a most unusual nanny. Weaving together a witty script, an inventive visual style and a slate of classic songs (including "A Spoonful of Sugar" and "Chim Chim Cher-ee"), "Mary Poppins" is a film that has enchanted generations. Equal parts innocent fun and savvy sophistication, the artistic and commercial success of the film solidified Disney’s knack for big-screen, non-cartoon storytelling and invention. With its seamless integration of animation with live action, the film prefigured thousands of later digital and CGI-aided effects. With its pitch-perfect cast, including Julie Andrews, Dick Van Dyke, Jane Darwell, Glynis Johns and Ed Wynn, "Mary Poppins" has remained a "supercalifragilisticexpialidocious" achievement.
Men and Dust (1940)
Produced and directed by Lee Dick—a woman pioneer in the field of documentary filmmaking—and written and shot by her husband Sheldon, this labor advocacy film is about diseases plaguing miners in Kansas, Missouri and Oklahoma. Sponsored by the Tri-State Survey Committee, "Men and Dust" is a stylistically innovative documentary and a valuable ecological record of landscapes radically transformed by extractive industry.
Midnight (1939)
Claudette Colbert, Don Ameche and John Barrymore light up the screen in this Mitchell Leisen romantic comedy. Liesen is often described as a "studio contract" director—a craftsman with no particular aesthetic vision or social agenda who is efficient, consistent, controlled, with occasional flashes of panache. Leisen’s strength lay in his timing. He claimed he established the pace of a scene by varying the tone and cadence of his voice as he called "ready…right…action!" This technique served to give the actors a proper "beat" for the individual shot. In addition to Leisen’s timing, "Midnight" also boasts a screenplay by the dynamic duo of Billy Wilder and Charles Brackett. Hilarity ensues when penniless showgirl Colbert impersonates a Hungarian countess, aided by the aristocratic Barrymore, until, despite her best efforts, she falls for a lowly taxi driver (Ameche) —all this amidst a Continental sumptuousness abundant in Paramount pictures of that era. The staggering number of exceptional films released in 1939 has caused this little gem to be overlooked. However, in its day, the New York Times called "Midnight" "one of the liveliest, gayest, wittiest and naughtiest comedies of a long hard season." Reportedly unhappy with Leisen’s script changes, Wilder found the motivation to assert more creative control by becoming a director himself.
Notes on the Port of St. Francis (1951)
When Frank Stauffacher introduced the Art in Cinema film series at the San Francisco Museum of Art in 1947, he was on his way to becoming a significant influence on a generation of West Coast filmmakers. Through the series, he cultivated his knowledge of San Francisco surrealist films of the 1940s as well as the "city symphonies" produced by European filmmakers in the 1920s and 1930s. "Notes on the Port of St. Francis" is the natural progression of Stauffacher’s appreciation for the abstract synthesis of film and place. Impressionistic and evocative, the film is shaped by the director’s organization of iconic imagery, such as seascapes and city scenes, and by the juxtaposition of these visuals and the soundtrack comprised both of music and narration by Vincent Price of excerpts from Robert Louis Stevenson's 1882 essay on San Francisco. Independent film scholar Scott MacDonald speculated that the "notes" in the film’s title may refer to "both the informality of his visuals and his care with sound that may have been a subtle way of connecting his film with the European city symphonies of the twenties." Throughout the film, Macdonald observed, Stauffacher echoes Stevenson’s theme of the "City of Contrasts" by shooting from both San Francisco Bay and from the hills.
Pulp Fiction (1994)
By turns utterly derivative and audaciously original, Quentin Tarantino’s mordantly wicked Möbius strip of a movie influenced a generation of filmmakers and stands as a milestone in the evolution of independent cinema in the United States, making it one of the few films on the National Film Registry as notable for its lasting impact on the film industry as its considerable artistic merits. Directed by Tarantino from his profane and poetic script, "Pulp Fiction" is a beautifully composed tour-de-force, combining narrative elements of hardboiled crime novels and film noir with the bright widescreen visuals of Sergio Leone. The impact is profound and unforgettable.
The Quiet Man (1952)
Never one to shy away from sentiment, director John Ford used "The Quiet Man" with unadulterated adulation to pay tribute to his Irish heritage and the grandeur of the Emerald Isle. With her red hair ablaze against the enveloping lush green landscapes, Maureen O’Hara embodies the mystique of Ireland, as John Wayne personifies the indefatigable American searching for his ancestral roots, with Victor Young’s jovial score punctuating their escapades. The film and the locale are populated with characters bordering on caricature. Sly, whiskey-loving matchmaker Michaleen O’Flynn (Barry Fitzgerald), the burly town bully Will Danaher (Victor McLaglen) and the put-upon but patient Widow Tillane (Mildred Natwick) are the most vivid. Beautifully photographed in rich, saturated Technicolor by Winton C. Hoch, with picturesque art direction by Frank Hotaling, "The Quiet Man" has become a perennial St. Patrick’s Day television favorite.
The Right Stuff (1983)
At three hours and 13 minutes, Philip Kaufman’s adaptation of Tom Wolfe’s novel is an epic right out of the Golden Age of Hollywood, but thanks to its assortment of characters and human drama, it rarely drags. Director/screenwriter Kaufman ambitiously attempts to boldly go where few epics had gone before as he recounts the nascent Space Age. He takes elements of the traditional Western, mashes them up with sophisticated satire and peppers the concoction with the occasional subversive joke. As a result, Kaufman (inspired by Wolfe) creates his own history, debunking a few myths as he creates new ones. At its heart, "The Right Stuff" is a tribute to the space program’s role in generating national pride and an indictment of media-fed hero worship. Remarkable aerial sequences (created before the advent of CGI) and spot-on editing team up to deliver a movie that pushes the envelope.
Roger & Me (1989)
After decades of product ascendancy, American automakers began facing stiff commercial and design challenges in the late 1970s and 1980s from foreign automakers, especially the Japanese. Michael Moore’s controversial documentary chronicles the human toll and hemorrhaging of jobs caused by these upheavals, in this case the firing of 30,000 autoworkers by General Motors in Moore’s hometown of Flint, Michigan. As a narrative structure, Moore uses a comic device sometimes found in political campaign commercials, weaving a message around trying to find the person responsible for a wrong, in this case General Motors Chairman Roger Smith. "Roger & Me" is take-no-prisoners, advocacy documentary filmmaking, and Moore makes no apologies for his brazen, in-your-face style—he would argue the situation demands it. The themes of unfairness, inequality and the unrealized attainment of the American Dream resonate to this day, while the consequences of ferocious auto-sector competition continue, playing a key long-term role in the city of Detroit’s recent filing for bankruptcy protection.
A Virtuous Vamp (1919)
Employing a title suggested by Irving Berlin, screenwriter Anita Loos, working with husband John Emerson, crafted this charming spoof on romance in the workplace that catapulted Constance Talmadge, the object of Berlin’s unrequited affection, into stardom. During the silent era, women screenwriters, directors and producers often modified and poked fun at stereotypes of women that male filmmakers had drawn in harsher tones. The smiles of Loos’ "virtuous vamp"—as embodied by Talmadge—lead to havoc in the office, but are not life-threatening, as were the hypnotizing stares of Theda Bara’s iconic caricature that defined an earlier era. In this satire of male frailties, the knowing innocence of Loos’ character captured the imagination of poet Vachel Lindsay, who deemed the film "a gem" and called Talmadge "a new sweetheart for America."
Who’s Afraid of Virginia Woolf? (1966)
Edward Albee’s 1962 stage triumph made a successful transfer to the screen in this adaption written by Ernest Lehman. The story of two warring couples and their alcohol-soaked evening of anger and exposed resentments stunned audiences with its frank, code-busting language and depictions of middle-class malaise-cum-rage. Elizabeth Taylor and Richard Burton—who were both Academy Award nominees for their work (with Taylor winning)—each achieved career high-points in their respective roles as Martha and George, an older couple who share their explosive evening opposite a younger husband and wife, portrayed by George Segal and Sandy Dennis. "Woolf’s" claustrophobic staging and stark black-and-white cinematography, created by Haskell Wexler, echoed its characters’ rawness and emotionalism. Mike Nichols began his auspicious screen directing career with this film, in which he was already examining the absurdities and brutality of modern life, themes that would become two of his career hallmarks.
Wild Boys of the Road (1933)
Historians estimate that more than 250,000 American teens were living on the road at the height of the Great Depression, criss-crossing the country risking life, limb and incarceration while hopping freight trains. William Wellman’s "Wild Boys of the Road" portrays these young adults as determined kids matching wits and strength in numbers with railroad detectives as they shuttle from city to city unable to find work. Wellman’s "Wild Bill" persona is most evident in the action-packed train sequences. Strong performances by the young actors, particularly Frankie Darrow, round out this exemplary model of the gritty "social conscience" dramas popularized by Warner Bros. in the early 1930s.
END
2013 National Film Registry Selections - Complete List
by Amos Semien
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant.
Annual selections to the registry are finalized by the Librarian after reviewing hundreds of titles nominated by the public (this year 2,228 films were nominated) and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for the registry at NFPB’s website (www. loc.gov/film).
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the National Film Registry that are "culturally, historically or aesthetically" significant.
Annual selections to the registry are finalized by the Librarian after reviewing hundreds of titles nominated by the public (this year 2,228 films were nominated) and conferring with Library film curators and the distinguished members of the National Film Preservation Board (NFPB). The public is urged to make nominations for the registry at NFPB’s website (www. loc.gov/film).
Films Selected for the 2013 National Film Registry:
Bless Their Little Hearts (1984)
Brandy in the Wilderness (1969)
Cicero March (1966)
Daughter of Dawn (1920)
Decasia (2002)
Ella Cinders (1926)
Forbidden Planet (1956)
Gilda (1946)
The Hole (1962)
Judgment at Nuremberg (1961)
King of Jazz (1930)
The Lunch Date (1989)
The Magnificent Seven (1960)
Martha Graham Early Dance film (1931-44)
Mary Poppins (1964)
Men & Dust (1940)
Midnight (1939)
Notes on the Port of St. Francis (1951)
Pulp Fiction (1994)
The Quiet Man (1952)
The Right Stuff (1983)
Roger & Me (1989)
A Virtuous Vamp (1919)
Who’s Afraid of Virginia Woolf (1966)
Wild Boys of the Road (1933)
END
Tuesday, January 10, 2012
Review: "Seven Men from Now" Rises Above B-Movie Pedigree
Seven Men From Now (1956)
Running time: 78 minutes (1 hour, 18 minutes)
DIRECTOR: Budd Boetticher
WRITER: Burt Kennedy, from a story by Burt Kennedy
PRODUCERS: Andrew V. McLaglen and Robert E. Morrison
CINEMATOGRAPHER: William H. Clothier
EDITOR: Everett Sutherland
WESTERN
Starring: Randolph Scott, Gail Russell, Lee Marvin, Walter Reed, Donald Barry, and John Larch
Sometimes a “B” Western (a Western that wasn’t the main feature when it was released) makes such a lasting impression on some of its audience that they never see it as just another movie, and the film takes on a life of its own and never really dies. As time passes, this kind of movie comes to be seen a classic or, in retrospect, a great film. Director Budd Boetticher and writer Burt Kennedy’s Seven Men from Now is that kind of B-movie Western. The film was produced by John Wayne’s production company (Batjac Productions), and The Duke was one of the movie’s producers, although he did not receive a screen credit as a producer.
Ben Stride (Randolph Scott) was a man of the law when he was sheriff of Silver Springs for 12 years until he lost an election. Now, he’s just a man on a mission of revenge – looking for the seven men who robbed the Silver Springs express office. They stole a Well’s Fargo box holding $20,000 in gold and unknowingly killed Stride’s wife. Along his journey to retribution, he encounters and befriends a young Kansas City couple John and Annie Greer (Walter Reed and Gail Russell) who are also heading to Flora Vista, the place where Stride plans to settle scores. The trio eventually crosses paths with a criminal who has a past with Stride, the scoundrel Bill Masters (Lee Marvin) and his partner, Clete (Donald Barry), both of whom may know something about the men who killed Stride’s wife. Things, however, aren’t quite what they seem, and then, there’s the thing about Stride with his eyes on John Greer’s fetching wife, Annie.
The two things that make Seven Men from Now stand out are Budd Boetticher’s direction and Burt Kennedy’s script – in particular their quirky choices that make their film seem different from the standard Western while still looking like a standard Western. Here, Boetticher would focus on the loser in a gunfight instead of the shooter, which makes a duel sudden and jarring. Instead of only being some epic moment in a film, it heightens the sense of danger and gives the audience the idea that in this movie anything goes, which in turn makes the film’s central plotline (the quest for vengeance) an epic contest. This lets the audience know that these proceedings are serious business, and that Seven Men from Now is not just another by-the-numbers gun-slinging cowboy opera.
Boetticher also makes excellent use of the nicely written characters and vivid inter-character dynamics, motivations, and conflicts that Burt Kennedy wrote. Kenney uses a love triangle (John Greer, Annie Greer, and Ben Stride), an old rivalry (Stride and Bill Masters), and personal failure (Stride believing that his pride directly led to the death of his wife) to give Seven Men from Now a sense of drama and purpose that went beyond mere entertainment and into epic storytelling for what is basically a short, feature-length film. Boetticher was also keen on transforming Kennedy’s well-developed characters into players that made each other strong. A strong woman instead of a shrinking violent (Annie Greer) and a wily, eccentric villain who shows no fear of, but has respect for the hero instead of a standard bad guy (Bill Masters) actually makes Ben Stride appear more daring and gallant.
Boetticher also wrangled excellent performances from his cast. Southern gentleman Randolph Scott brings the stoic Ben Stride to life as the quintessential, more-action-than-talk hero. Gail Russell came back from a career beset by alcoholism to transform Annie Greer into a strong pioneer woman, while Walter Reed makes John Greer a genial determined man who is misunderstood by the kind of men who roamed the western outback. Lee Marvin is puckish as the crafty gunslinger manipulating his way to a super fortune in gold.
In Seven Men from Now, the viewer has the privilege of watching how Budd Boetticher employs his cast and transforms a superbly crafted script into an exceptional Western. Seven Men from Now looks like a Western, but it is also a fine drama cast in the Western mold. Too bad it isn’t a little longer.
8 of 10
A
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Thursday, May 26, 2011
Review: "Red River" is a Classic Western (Happy B'day, Duke)
Red River (1948)
Running time: 133 minutes (2 hours, 13 minutes)
DIRECTORS: Howard Hawks with Arthur Rosson
WRITERS: Charles Schnee and Borden Chase (from a story by Borden Chase)
PRODUCER: Howard Hawks
CINEMATOGRAPHER: Russell Harlan
EDITOR: Christian Nyby
Academy Award nominee
WESTERN with elements of action, adventure, romance
Starring: John Wayne, Montgomery Clift, Joanne Dru, Walter Brennan, Coleen Gray, Harry Carey, Sr., John Ireland, Noah Beery, Jr., and Harry Carey, Jr.
Thomas Dunson (John Wayne) is a powerful cattle baron who is on the precipice of bankruptcy, when he decided to take his nearly 10,000 head of cattle to Missouri for sale. However, Dunson chooses a trail to Missouri that is fraught with peril, and along the journey he begins to take out his frustrations on his men. Midway through the trip, Dunson’s foster son Matthew “Matt” Garth (Montgomery Clift) overthrows Dunson and takes the cattle along the Chisholm Trail to Kansas. As Garth and the men approach their destination, Dunson is hot on their trail and hungry for revenge.
Many film historians, critics, and fans consider Red River to be one of the greatest western films of all time, and it is indeed a rousing adventure filled with wonderful characters and engaging drama. I found a lot of the interplay between the characters quite exciting, and some of their disputes were stimulating. I felt like I was in the film, right in the middle of one of many fights.
In addition to the strong story and script, viewers will love the characters. The story is intense and certainly holds the attention, but the characters really sell it. The John Wayne of Red River is the classic American icon – a stoic, no-nonsense, Alpha male who gives commands and demands no questions. However, he is not without a sentimental side; his pride may be overwhelming, but his decency does show through his stubbornness.
Montgomery Clift was only supposed to be the film’s looker and matinee idol that gets the girl, but he also gives a performance that gives more depth to the character than even the story allowed. Perennial movie sidekick Walter Brennan is not only the film’s comic relief, but his Nadine Groot is essentially a moral compass. A frustrating fault of the film is John Ireland who plays the intriguing character Cherry Valance; Valance is a very good character that Ford chose to under-utilized. All said, fans of westerns should not miss this film, a great western and one of the best John Wayne movies.
8 of 10
A
NOTES:
1949 Academy Awards: 2 nominations: “Best Film Editing” (Christian Nyby) and “Best Writing, Motion Picture Story” (Borden Chase)
1990 National Film Preservation Board, USA – National Film Registry
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