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8115	dbpedia	2	96	https://encyclopediaofalabama.org/article/lionel-richie/	en	Encyclopedia of Alabama	https://bunny-wp-pullzon…ie-at-ALMHOF.jpg	https://bunny-wp-pullzon…ie-at-ALMHOF.jpg	[ "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/agriculture-260x260.jpeg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/art-literature-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/business-industry-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/education-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/folklife-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/geography-environment-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/government-politics-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/history-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/12/womad-260x260.jpeg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/religion-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/science-technology-260x260.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2022/11/sports-recreation-260x260.jpg", "https://api.qrserver.com/v1/create-qr-code/?size=75x75&data=https%3A%2F%2Fencyclopediaofalabama.org%2Farticle%2Flionel-richie%2F", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/04/Lionell-Richie-at-ALMHOF-553x600.jpg?theia_smart_thumbnails_file_version=2", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/02/m-4871.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/04/Lionel-Ritchie-2006-397x600.jpg?theia_smart_thumbnails_file_version=2", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/04/Lionel-Richie-in-Montgomery-600x398.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/05/Signature-detail-edited-626x360.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/02/m-3913-626x360.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/02/m-5666-626x360.jpg", "https://bunny-wp-pullzone-5vqgtgkbhi.b-cdn.net/wp-content/uploads/2023/02/m-5847-626x360.jpg" ]	[]	[]	[ "" ]	null	[]	2010-07-02T17:37:27+00:00	Musician and composer Lionel Richie (1949- ) is an internationally known and respected performer. His long and successful career began at Tuskegee University with the chart-topping rhythm and blues (R&B) and soul and funk group The Commodores and continued with his solo career, which he embarked upon in 1980. Lionel Brockman Richie, was born on […]	en	/apple-touch-icon.png	Encyclopedia of Alabama	https://encyclopediaofalabama.org/article/lionel-richie/	Musician and composer Lionel Richie (1949- ) is an internationally known and respected performer. His long and successful career began at Tuskegee University with the chart-topping rhythm and blues (R&B) and soul and funk group The Commodores and continued with his solo career, which he embarked upon in 1980. Lionel Richie Lionel Brockman Richie, was born on June 20, 1949, in Tuskegee, Macon County, to Lyonel Brockman Richie Sr., a retired Army captain, and Alberta Foster Richie, an elementary school teacher and graduate of Tuskegee University. His family lived just across the street from the campus of the university, where his grandmother served as choir director, and he spent much of his childhood on the campus. Richie was raised in a strict, religious middle-class family. Young Lionel, thus, had early ambitions of entering the ministry. He also had a fondness and talent for music, however, with his musical roots coming not only from his grandmother, but also from an uncle who was a big band player and former musical arranger for Edward Kennedy "Duke" Ellington and who gave Lionel his first saxophone. Lionel's grandmother encouraged his musical interests as well, ensuring that he practiced piano daily and attended all of Tuskegee's musical events. These experiences, along with his increasing interest in jazz, pop, and country music, all played a role in shaping his future career. During a brief move from Alabama to Illinois with his family, Richie graduated from Joliet Central High School East in Joliet, Illinois. Upon completing high school in 1967, Richie enrolled in Tuskegee University on a tennis scholarship and graduated in 1974 with a Bachelor of Science degree in economics. While there, he joined a musical trio with fellow students Thomas McClary and William King called The Mystics. The group played local proms and dances in Tuskegee, then merged with another local group called The Jays in 1968. Using a dictionary to choose a new name, the members came up with The Commodores, based on the old naval term for the rank between captain and admiral. Commodores The original Commodores consisted of Richie, who played saxophone, Thomas McClary (lead guitar), William King (trumpet, synthesizer, and rhythm guitar), Andre Callaghan (drums), and a bass player known as "Railroad," who was their earliest lead singer. Callaghan left the band in 1969 to join the U.S. Navy and was replaced by Ronald La Pread. The most successful lineup with Richie included McClary, King, La Pread (bass and trumpet), Milan Williams (keyboards, trombone, and rhythm guitar), and Walter Orange (drums and vocals). The ensemble aimed to reach large audiences and surmount the limits placed on many African American musical groups in the South, most of which were limited to performing for black audiences in small venues on what was known as the "chitlin circuit." The group also strove to become a tight-knit and charismatic ensemble, researching the successes and failures of other performers, black and white, around the Tuskegee area. The Commodores spent weekends and holidays performing around Alabama and in neighboring Mississippi and Louisiana. The Commodores' first studio recording took place in New York in February 1969. It was arranged by R&B producer Jerry Williams, who had heard them perform in Tuskegee the year before. The recording session produced only one single, however—"Keep on Dancin',"—that did not garner much interest. The group later met Benny Ashburn, a marketing executive in New York, who became their manager and together with them formed the Commodores Entertainment Corporation. In 1970, Ashburn arranged for the Commodores to play at a black lawyers' convention in New York, where they were noticed by Suzanne De Passe of Motown Records. De Passe, who was working with the Jackson Five at the time, signed the group to open for the Jackson Five for a number of concert dates, beginning a long association with Motown Records and exposing the group to larger audiences. In 1971, they toured again with the Jackson Five, playing in stadiums across the United States. The group was then signed by MoWest Records, a subsidiary of Motown, to capitalize on the growing popularity of funk. The group's first hit was "Machine Gun," an instrumental written by Milan Williams and released on their debut album Machine Gun in 1974. In 1975, Richie married his college sweetheart, Brenda Harvey. The couple would adopt daughter Nicole in 1983. Lionel Richie, 2006 The Commodores achieved considerable commercial success with love ballads written and sung by Richie. These songs included the number one R&B singles "Slippery When Wet" (1975), "Just to Be Close to You" (1976), and "Easy" (1977), and the number one U.S. Billboard magazine Hot 100 and R&B hits "Three Times a Lady" (1978) and "Still" (1979). In 1980, he wrote and produced "Lady" for country singer Kenny Rogers; the song was a Billboard magazine number one for six weeks and remains one of Rogers' most popular hits. The following year, Richie wrote and recorded (with Diana Ross) the title song for the film Endless Love. One of Motown Records' best-selling singles, it earned Richie an Academy Award nomination, five Grammy nominations, an American Music Award, and a People's Choice Award. In 1982, Richie ended his association with the Commodores in order to focus on his burgeoning career as a solo artist, songwriter, and producer working with a variety of record companies. That year, Richie released his first solo album, Lionel Richie, which sold more than two million copies. His first single from that album, "Truly," topped the Billboard chart for two weeks and reached the Top Ten in several other charts. His second album, Can't Slow Down (1983), featured the chart-topping singles "Hello," "Penny Lover," and "All Night Long," which marked a significant departure from his typical love ballad style for its use of Caribbean rhythms. It sold more than two million copies and won a Grammy Award for Record of the Year. Responding to famine in Ethiopia in 1986, Richie and pop star Michael Jackson wrote "We Are the World," which was recorded and produced by Quincy Jones. The record featured numerous famous musicians known collectively as United Support of Artists for Africa and raised millions of dollars for famine relief and earned five Grammy awards. Also in 1986, Richie won an Oscar for his song, "Say You, Say Me," for the film White Nights, starring Gregory Hines and Mikhail Baryshnikov; he was also nominated that year for the song "Miss Celie's Blues" from the film The Color Purple. Richie continued to tour and perform with great success in the 1980s but released only one other studio album in that decade, Dancing on the Ceiling, in 1986. In 1990, Richie returned to Alabama to care for his ailing father, who passed away that year. In 1993, Ritchie divorced Harvey and two years later married Diane Alexander, with whom he had two children, Miles Brockman and Sofia. The couple would divorce in 2004. Lionel Richie at Tuskegee Airmen Gala Richie continued to record and tour throughout the 1990s and 2000s, but he did not maintain his past broad commercial success in the United States. He did, however, find new audiences and success overseas, including six Top 40 singles in the United Kingdom since 2004. He has also achieved great popularity in recent years in the Arabic-speaking world, performing in Morocco, Qatar, Dubai, and Libya. Richie regularly tours and performs, including appearances on American Idol, and at the Grammy Awards. In 2009, he released the album Just Go, and in 2012, he released Tuskegee, a collection of hits recorded as duets with various country music stars that went platinum. In early 2010, Richie teamed up again with producer Quincy Jones to record a new version of "We Are the World" for relief efforts following the devastating January 2010 Haiti earthquake. His philanthropic work also includes support for breast cancer awareness in honor of his grandmother, who survived the disease and lived to the age of 104. In 2017, Richie was honored at the Kennedy Center Honors and in 2022 was awarded the Library of Congress Gershwin Prize for Popular Song. Richie lives in Los Angeles, California, and has a home in Tuskegee.
8115	dbpedia	2	79	https://www.theguardian.com/music/lionel-richie	en	Lionel Richie	https://static.guim.co.uk/images/favicon-32x32.ico	https://static.guim.co.uk/images/favicon-32x32.ico	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Lionel+Richie", "https://i.guim.co.uk/img/media/4bd5c54c626a1a2cd34e0205b41cb8a688f1dd42/469_692_3209_1925/master/3209.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/18aba5a0339e708f39f934e8ec76a9e9d947d8d9/0_154_4523_2716/master/4523.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/8d678732a28a04e045e57d840056bd86ce5e278f/220_0_2017_1211/master/2017.jpg?width=120&dpr=1&s=none", "https://i.guim.co.uk/img/media/8d678732a28a04e045e57d840056bd86ce5e278f/264_0_2018_1211/master/2018.jpg?width=120&dpr=1&s=none", "https://i.guim.co.uk/img/media/8c4d606bb1569f24e67eaef58ea4651c9c6c71a7/834_1223_2849_1709/master/2849.jpg?width=120&dpr=1&s=none", "https://i.guim.co.uk/img/media/ec87e5be6c0dcbcb296460c5adc4a58f603eb906/0_232_3500_2099/master/3500.jpg?width=120&dpr=1&s=none", "https://i.guim.co.uk/img/media/a2f27af02ae836c151a2f680d6bb2332cd63cf04/0_196_3000_1800/master/3000.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/909d8283a502b6535647f113c9c640817652c237/281_459_3213_1928/master/3213.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/536cd277f78972495ead30ee8d901c16ab309947/0_0_2400_1441/master/2400.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/895eda76e57980bcd583ebd46be37f73ebf3b495/0_40_4178_2508/master/4178.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/72b9cf53a2b468c8893196c8be6d2f0a829efc6c/0_6_1654_992/master/1654.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/a43f19191348d318c1e0041c66366dd3dbb9c874/0_312_5472_3283/master/5472.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/ec389625fff4dbdecaf33aef0d210809ed43a375/0_192_3000_1800/master/3000.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2022/11/29/Helen_Pidd.png?width=75&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2018/01/20/Barbara_Ellen,_L.png?width=75&dpr=1&s=none", "https://i.guim.co.uk/img/media/d406e485a78c9ed452c0143757d3c383019cf6f6/0_169_2782_1670/master/2782.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/9a57d0ad1b694bd904c66e9e987912795cd045eb/0_0_2560_1536/master/2560.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/1bffc2519788b3d33bb8678ea078133ad816c00c/0_780_2667_1600/master/2667.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/206c28bb9a384dd54d099bb131cbcafa0ae33468/259_552_5060_3035/master/5060.jpg?width=240&dpr=1&s=none", "https://i.guim.co.uk/img/media/8a503c0b48eee5839900eb4172da494174cd6067/0_197_4200_2520/4200.jpg?width=240&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[]	2024-02-16T08:00:38+00:00	Latest news, sport, business, comment, analysis and reviews from the Guardian, the world's leading liberal voice	en	https://assets.guim.co.u…e-touch-icon.svg		https://www.theguardian.com/music/lionel-richie	‘A sense of Ocean’s 11’: the fascinating true story behind We Are the World In the Netflix documentary The Greatest Night in Pop, A-listers from Stevie Wonder to Michael Jackson come together for the recording of an iconic song Sheila E: 'I'm mad that Prince isn't here any more' Following childhood abuse, music saved the musician’s life – and led to a creative and romantic partnership with Prince. Now she’s passing on her skills and beating the drum for Biden We Are the World for coronavirus: why charity single reboots are suspect Chris Molanphy Revisiting his kitsch anthem proves Lionel Richie’s heart is in the right place. But are the motives of such celebrity singalongs always entirely pure? By gum, that Britney’s coming to Scarborough! If only we could afford a ticket… Helen Pidd The Yorkshire seaside town eagerly awaits the US pop princess, but many local people won’t be singing along Lost in showbiz Don’t want to lose you: how Lionel Richie keeps track of his girl No need for the singer to call his 18-year-old daughter Sofia to say hello. He just uses her phone tracker to see what she’s doing
8115	dbpedia	3	42	https://www.facebook.com/NickiSwiftCeleb/videos/why-lionel-richies-relationship-is-causing-a-stir/780154115953839/	en	Why Lionel Richie's Relationship Is Causing A Stir	https://scontent.xx.fbcd…Yhog&oe=66C7CE78	https://scontent.xx.fbcd…Yhog&oe=66C7CE78	[]	[]	[]	[ "" ]	null	[]	null	Why Lionel Richie's Relationship Is Causing A Stir	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/NickiSwiftCeleb/videos/why-lionel-richies-relationship-is-causing-a-stir/780154115953839/
8115	dbpedia	2	4	https://www.alamhof.org/lionelrichie	en	Biography — Alabama Music Hall of Fame	http://static1.squarespace.com/static/5af2084a85ede1521a2990fa/t/5ceedb72652deae4f56983cf/1559157619479/aee5e54067bd8cc74dc6a1e93228e920%2B%281%29.jpg?format=1500w	http://static1.squarespace.com/static/5af2084a85ede1521a2990fa/t/5ceedb72652deae4f56983cf/1559157619479/aee5e54067bd8cc74dc6a1e93228e920%2B%281%29.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5af2084a85ede1521a2990fa/3e760d95-95b3-44ad-9a90-8bda93c7f49b/AMHFlogoFinal.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/5af2084a85ede1521a2990fa/1526498049558-D51WXA06L8UTZ5BZYM8S/aee5e54067bd8cc74dc6a1e93228e920+%281%29.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/5af2084a85ede1521a2990fa/14bedbcb-e251-464f-b786-06cb7baf0bf7/favicon.ico?format=100w	Alabama Music Hall of Fame	https://www.alamhof.org/lionelrichie	Lionel Richie June 20, 1949 1997 Inductee Lionel Richie "now stands at the pinnacle of pop music, recognized around the world as the most successful singer/songwriter working today," Charles Whitaker announced in a 1987 Ebony article. "His string of nine No. 1 hits," Whitaker continued, "in nine consecutive years, is a music business record." Richie began as a lead singer with the Commodores, a funk/pop group that came to the attention of music fans in the early 1970s, and started forging his distinguished solo career in 1982. Since that time he has garnered many awards, including three Grammys, several American Music Awards, and a 1986 Oscar for Best Original Song with his hit theme to the film White Knights, "Say You, Say Me." Richie was born in Tuskegee, Alabama. His mother and father, a school principal and a systems analyst for the U.S. Army, respectively, lived on the campus of Tuskegee Institute (now Tuskegee University), where his grandfather had worked with the college's founder, black leader Booker T. Washington. As a child, Richie was exposed to many different kinds of music, particularly by his maternal grandmother, Adlaide Foster, who taught him piano and preferred classical composers such as Johann Sebastian Bach and Ludwig van Beethoven. Even then, Richie showed signs of the talent he would later become, though his grandmother did not then appreciate this fact: "During my lessons," Richie recalled for Todd Gold in People, "I kept trying to make up my own songs, and it annoyed her." The fledgling artist was also influenced by the ballets and symphonies he attended at Tuskegee, but he preferred listening to gospel, rhythm and blues, and country. Richie eventually enrolled in Tuskegee Institute; his initial goal was to become an Episcopal priest. He brought with him a saxophone that an uncle had given him as a child, though he did not know how to play it--according to Gold, "he thought it would help him meet girls." Regardless, it helped Richie to meet five other Tuskegee freshmen who were forming a musical group and sought him out because they heard he had a saxophone. Apparently, Richie's lack of prowess on the instrument proved no obstacle--he told Robert E. Johnson in Ebony that the men who would later become the Commodores "took ... two years to find out that I'd had no training on the sax." While Richie and the group practiced, aspiring to, as he put it for interviewer Lynn Van Matre of the Chicago Tribune, "revolutionize the music business," or "come out with a new sound, you know, and kill them," he also gave up his clerical ambitions in favor of an economics major and an accounting minor, which helped both the Commodores and himself in later business dealings. The Commodores first began to gather a following when they won the opportunity to open for the Jackson Five's concerts in the early 1970s. Around the same time, they signed a contract with Motown Records, and after a two-year period of searching for the right producer and arranger, began to put out albums. At first the Commodores gained a reputation for party and dance music with disco-oriented hits like the instrumental "Machine Gun," and the song responsible for the dance craze of the same name, "Bump." Another of their most popular singles was "Brickhouse." But by the mid-1970s, most of the Commodores, including Richie, started to feel that funky dance tunes were too ephemeral. They wanted to move towards writing and recording ballads, which they thought more likely to become timeless standards. In the same period, Richie worked more intensely on his songwriting skills than previously. The Commodores' 1975 album Caught in the Act contained their first ballad hits, "Sweet Love," and "Just to Be Close to You." They followed these up with more slow songs, which gained popularity in large measure due to Richie's romantic lyrics and smooth singing voice. "Easy," "Three Times a Lady," "Sail On," and "Still" confirmed Richie and the Commodores' change of style. Richie was already working on other projects in 1980, including producing an album and writing the song "Lady" for country artist Kenny Rogers. In 1982 Richie decided to leave the Commodores to pursue a solo career, though his decision was not due to conflicts within the group. His first album on his own, Lionel Richie, gained him a hit with "Truly," which also won him his first Grammy, as Best Male Vocalist, in 1983. His string of hits, some of which helped Richie earn his music business record, includes 1983's "All Night Long," "Penny Lover," and "Hello"; and 1987's "Dancing on the Ceiling." Richie has also had great success with film themes such as "Endless Love" and the Oscar-winning "Say You, Say Me." Perhaps his most far-reaching and influential musical project, however, was the song "We Are the World," which Richie co-wrote with pop superstar Michael Jackson. The disc was recorded by U.S.A. for Africa, and its profits were donated to the cause of famine relief in Ethiopia. Richie believes his success as a songwriter comes from God, whom he told Johnson was his "co-composer." He explained further: "I give credit to my co-writer because all I did was write down what He told me to write down." Richie also revealed to Johnson that he prefers to collaborate during the night. "In other words," he said, "from about eleven to about seven in the morning is a very wonderful time because ... God ain't worried with too many other folks ... I know He is very busy during the day, so I wait for late night, and it works for me." Regardless of the authorship of Richie's songs, along with the phenomenal mainstream popularity that he enjoys come accusations from some critics that he has abandoned his black musical roots, especially after the hit he recorded with the country group Alabama, "Deep River Woman." Richie responded to this issue for Whitaker in Ebony: "I'm trying through my music to break the stereotype that says to satisfy Black people you have to play something funky. I'm broadening the base, trying to show that Black artists are capable of playing all kinds of music." ~~ Elizabeth Thomas Awards Winner of three Grammy Awards;, six American Music Awards; two American Black Achievement Awards from Ebony magazine and one People's Choice Award; Academy Award for best original song in a motion picture (White Knights), 1986, for "Say You, Say Me."
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"https://www.biography.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/network-logo.04aa008.svg?primary=%2523ffffff" ]	[]	[]	[ "Explainer" ]	null	[ "Daisy Hernandez" ]	2023-07-20T14:04:09.617582+00:00	Singer Lionel Richie has a sprawling family that includes two ex-wives; children Nicole Richie, Miles Richie, and Sofia Richie; famous son-in-laws; and more.	en	/_assets/design-tokens/biography/static/images/favicon.3635572.ico	Biography	https://www.biography.com/musicians/a44567352/how-nicole-sofia-richie-are-related-to-lionel-richie-family-tree	Soul and R&B crooner Lionel Richie is well-known for hits like “Hello” and “All Night Long (All Night),” as well as for being a judge on American Idol. Due to a fruitful career and long-standing industry relationships, Richie has cemented himself as a musical icon having been inducted into the Rock & Roll Hall of Fame. He’s also known for being the father of pop culture mainstays Nicole, Sofia, and Miles Richie. During his first marriage, Richie adopted daughter Nicole and would go on to have two more children with his second wife years later. As Richie’s children have gotten married and started families of their own, you might be surprised how many celebrities have ties to the Richie family. Here’s a brief guide to help you keep the Richie family tree in order. Lionel Richie Lionel Richie performs in concert on July 6, 2023. Born on June 20, 1949, in Tuskegee, Alabama, Lionel Richie got his musical start in the 1960s and would eventually help form a musical group called the Commodores alongside five other classmates at the Tuskegee Institute (now known as Tuskegee University). The group was wildly popular, producing seven No. 1 hits and even opened for the Jackson 5 in 1971. By 1982, though, Richie was ready to venture out on his own in pursuit of a solo career and released a self-titled album via Motown Records. Richie married Brenda Harvey, his college sweetheart, in 1975, and the two took over guardianship of young Nicole Richie in the 1980s. The couple officially adopted Nicole when she was 9 years old, before divorcing in 1993. Two years later, Lionel married Diane Alexander with whom he had his other two children, Miles and Sofia. Lionel and Diane were together for close to a decade before divorcing. In 2022, Richie was inducted into the Rock & Roll Hall of Fame and even performed in the ceremony alongside Dolly Parton, Pat Benatar, Duran Duran, and others. Currently, the 74-year-old is on an international tour that concludes with a final performance at the end of November. Read More about Lionel Richie Brenda Harvey Richie Relation to Lionel: Ex-wife Brenda Harvey Richie adopted Nicole Richie with ex-husband Lionel Richie. Brenda Harvey Richie, 70, was Lionel’s first wife and met the singer while they both attended the Tuskegee Institute (now Tuskegee University) and as Lionel’s musical career was taking off. The couple was were married for nearly 20 years, during which time they adopted Nicole Richie, before divorcing in 1993. It was a messy break. Brenda made headlines after she discovered Lionel was cheating on her with dancer Diane Alexander. Harvey showed up at Alexander’s Beverly Hills apartment and got into an altercation with both Lionel and Alexander before being booked on several charges. According to her Twitter profile, Harvey has a music publishing company Brenda Richie Publishing. Nicole Richie Relation to Lionel: Daughter Nicole and Lionel Richie in April 2012 Nicole Richie, 41, was born September 21, 1981, and is Lionel’s adopted daughter. Her birth parents, Karen Moss and Peter Escovedo, were friends with Lionel and granted him and his then-wife Brenda Harvey Richie guardianship of Nicole as a young child due to financial hardship and their strained romantic relationship. Nicole is also the niece of famous drummer and singer Sheila E, who is her biological father’s sister. Nicole became a household name when starring on reality TV show The Simple Life alongside pal Paris Hilton. Nicole’s famous circle extends past her dad and Hilton, however, as she is married to Joel Madden of the pop-punk band Good Charlotte and is the goddaughter of Michael Jackson. Since her Simple Life days, Nicole has dabbled in acting and writing in addition to creating the jewelry line House of Harlow 1960 and a clothing line called Winter Kate. Nicole has two children with Madden, Harlow and Sparrow. Read More about Nicole Richie Joel Madden Relation to Lionel: Son-in-law Joel Madden and Nicole Richie, seen here in 2019, have been married for nearly 13 years. Joel Madden, 44, is the lead singer of the band Good Charlotte, which he started with his twin brother, Benji, in 1996. The Madden brothers were born on March 11, 1979, and grew up in Maryland. Their band has produced hits that include “The Anthem,” “Lifestyles Of The Rich and Famous,” and “I Just Wanna Live.” Madden began dating Nicole Richie in 2006, and the pair got married in December 2010. They had their first child, a daughter named Harlow, in January 2008. Nearly two years later, the couple welcomed their second-born, a son named Sparrow, in September 2009. Nicole and Joel prefer to keep the kids out of the spotlight, rarely posting either kid on their social media accounts. Diane Alexander Richie Relation to Lionel: Ex-wife Miles Richie with his mother, Diane Alexander Richie, in April 2012 Diane Alexander Richie, 56, is Lionel’s second wife, whom he married in 1995 and subsequently divorced in 2004. Diane and Lionel share two children: Miles and Sofia. Diane’s relationship with Lionel can be traced back to an appearance she made as a dancer in his 1986 hit “Dancing On The Ceiling.” Although specifics are murky, Diane and Lionel allegedly began seeing each other while the singer was still married to Brenda Harvey Richie. Their 2004 divorce was costly for Lionel, as Diane earned an estimated $20 million due, in part, to expenses that included a monthly clothing allowance of $15,000 and an annual plastic surgery budget of $20,000. Miles Richie Relation to Lionel: Son Miles Richie attends an event in February 2020 Miles Richie is the son of Lionel and his second wife, Diane Alexander Richie. The 29-year-old model, who made his runway debut in Philipp Plein’s Fall/Winter 2018 show, was born on May 27, 1994, and is a self-professed “mama’s boy.” Speculation of a rift between Miles and his younger sister, Sofia, arose after Miles was missing from Sofia’s April 2023 wedding photos. But really, a bout of COVID-19 kept Miles from being able to attend. Miles told Essence that he enjoys listening to alt-rock and hip-hop and that his favorite R&B song is none other than his dad’s “Three Times A Lady.” Sofia Richie Grainge Relation to Lionel: Daughter Sofia Richie Grainge in May 2023 Sofia Richie Grainge, 24, is Lionel’s youngest child and shares close relationships with her older brother, Miles, and older sister, Nicole. Born August 24, 1998, to Diane Alexander Richie and Lionel, Sofia is currently a model, having shot her first campaign at 16 years old for Madonna’s Material Girl juniors’ clothing line, and Chanel ambassador. She is also the beauty director of the cosmetics brand Nudestix.
8115	dbpedia	2	18	https://festivalnapavalley.org/artists/lionel-richie/	en	Lionel Richie	https://festivalnapavall…E2D2_635x429.jpg	https://festivalnapavall…E2D2_635x429.jpg	[ "https://festivalnapavalley.org/sites/default/themes/festivalnapavalley_v3/images/FNVLogo_Grey.png", "https://festivalnapavalley.org/sites/default/cache/file/3B55DD82-4C3D-49BB-A433D3438439E2D2.jpg", "https://festivalnapavalley.org/sites/default/themes/festivalnapavalley_v3/images/festival-napa-valley-logo_white.png" ]	[]	[]	[ "" ]	null	[]	null	International superstar Lionel Richie boasts a discography of albums and singles that is second to none. With more than 125 million albums sold worldwide, an Oscar®, Golden Globe®, and four Grammy Awards®, Richie has been honored with distinctions including 2016 MusicCares Person of the Year, 2017 Kennedy Center Honors, and the 2022 Gershwin Prize for Popular Song by the Library of Congress.	en	/sites/default/themes/festivalnapavalley_v3/images/ico/favicon.ico	Festival Napa Valley	https://festivalnapavalley.org/artists/lionel-richie/	International superstar Lionel Richie boasts a discography of albums and singles that is second to none. With more than 125 million albums sold worldwide, an Oscar®, Golden Globe®, and four Grammy Awards®, Richie has been honored with distinctions including 2016 MusicCares Person of the Year, 2017 Kennedy Center Honors, and the 2022 Gershwin Prize for Popular Song by the Library of Congress. In 2022, he was both inducted into the Rock & Roll Hall of Fame and received the 2022 American Music Awards Icon Award, his 18th AMA award. In September 2023, Richie concluded his acclaimed 20-city “Sing a Song All Night Long” arena tour featuring special guests Earth, Wind & Fire. Now completed his 6th season, Richie serves as a judge on ABC’s “American Idol.” His 7th season on the panel is set to debut in spring 2024. Also in 2024, Richie continues his longtime residency, now at the Wynn Encore Theater, in “Lionel Richie: King of Hearts.”
8115	dbpedia	1	36	https://lukesrecords.com/collections/80s-new-wave/lionel-richie	en	80s & Beyond	http://lukesrecords.com/cdn/shop/collections/Collection_80s_New_Wave_small_c3994836-5801-467d-b19d-692a642a8ce0_1200x1200.jpg?v=1607639036	http://lukesrecords.com/cdn/shop/collections/Collection_80s_New_Wave_small_c3994836-5801-467d-b19d-692a642a8ce0_1200x1200.jpg?v=1607639036	[ "https://lukesrecords.com/cdn/shop/files/LukesRecords_Logo_md_144x.png?v=1614316434", "https://lukesrecords.com/cdn/shop/files/LukesRecords_Logo_md_144x.png?v=1614316434", "https://lukesrecords.com/cdn/shop/files/LukesRecords_Logo_md_144x.png?v=1614316434", "https://lukesrecords.com/cdn/shop/files/LukesRecords_Logo_md_144x.png?v=1614316434", "https://lukesrecords.com/cdn/shop/t/9/assets/ajax-loader.gif?v=83335857307597093571682626889" ]	[]	[]	[ "Shopify Template" ]	null	[ "p-themes" ]	null	I went to England and brought you back some records!	en	//lukesrecords.com/cdn/shop/files/lr_fav_32x32_d5995732-84f0-4551-a3de-4883445859ab_32x32.png?v=1614317207	Luke's Records	https://lukesrecords.com/collections/80s-new-wave/lionel-richie	Please login and you will add product to your wishlist
8115	dbpedia	0	6	https://en.wikipedia.org/wiki/Lionel_Richie_(album)	en	Lionel Richie (album)	https://upload.wikimedia…cover_art%29.jpg	https://upload.wikimedia…cover_art%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/90/Lionel_Richie_%28self-titled_album_-_cover_art%29.jpg/220px-Lionel_Richie_%28self-titled_album_-_cover_art%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Star_half.svg/11px-Star_half.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Star_full.svg/11px-Star_full.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Star_empty.svg/11px-Star_empty.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-04-24T14:43:41+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Lionel_Richie_(album)	1982 studio album by Lionel Richie Lionel RichieStudio album by ReleasedOctober 6, 1982Recorded1981–1982StudioA&M (Hollywood)GenrePop soul[1]Length38:27LabelMotownProducerJames Anthony Carmichael, Lionel RichieLionel Richie chronology Lionel Richie (1982) Can't Slow Down (1983) Singles from Lionel Richie Released: September 1982 Released: January 1983 Released: April 1983 Professional ratingsReview scoresSourceRatingAllMusic[2]Robert ChristgauC+[3]Rolling Stone[4] Lionel Richie is the debut solo studio album by American singer Lionel Richie, released on October 6, 1982, on Motown Records. Originally intended as a side project at the suggestion of Motown, it was recorded and released while Richie was still a member of the Commodores; he left the group shortly after the album's release. The first single from the album, "Truly", topped the Billboard Hot 100. Follow-up single "You Are" reached number four, and "My Love" reached number five. The album reached number one on the Cashbox albums chart on December 11, 1982.[5] In 2003, Lionel Richie was re-released as part of a remaster series that saw two additional tracks added: a solo version of "Endless Love" and an instrumental version of "You Are". Eagles member Joe Walsh provided the guitar solo for the song "Wandering Stranger". Track listing [edit] Personnel [edit] Musicians Lionel Richie – lead vocals, vocal arrangements, backing vocals (1, 2, 3, 5-8), acoustic piano (4, 6, 8), Fender Rhodes (7), rhythm arrangements (7) Greg Phillinganes – Fender Rhodes (1), Roland Jupiter 8 (1), Minimoog (1), arrangements (1) Clarence McDonald – Fender Rhodes (2) Michael Lang – acoustic piano (2, 9), Fender Rhodes (9) David Cochrane – Prophet-5 (3), electric guitar (3, 7), synthesizer bass (3, 7), backing vocals (3, 7), arrangements (3, 5), acoustic piano (5), bass guitar (5), saxophone solo (5) Michael Boddicker – synthesizers (3, 5, 8), vocoder (3, 5, 8) Bill Payne – Fender Rhodes (6) Thomas Dolby [uncredited] – synthesizer programming (7), backing vocals (7) Paul Jackson Jr. – electric guitar (1, 2, 6) Fred Tackett – acoustic guitar (2) Joe Walsh – guitar solo (2) Richie Zito – guitar solo (3) Darrell Jones – electric guitar (4, 5, 7), acoustic guitar (8) Tim May – acoustic guitar (6) Nathan Watts – bass guitar (1) Joe Chemay – bass guitar (2, 6, 8) Nathan East – bass guitar (4) John Robinson – drums (1, 5, 7) Leon "Ndugu" Chancler – drums (2, 4) Paul Leim – drums (3, 6, 8) Lenny Castro – percussion (1) Paulinho da Costa – percussion (2, 5, 7) Rick Shlosser – percussion (5) Gene Page – arrangements (2, 6, 9) Harry Bluestone – concertmaster (2-9) James Anthony Carmichael – arrangements (3, 4, 5, 8), string arrangements (3, 7), horn arrangements (7), rhythm arrangements (7), celeste (8) Howard Kenney – backing vocals (1, 5, 7) Richard Marx – backing vocals (1, 2, 7, 8) Deborah Thomas – backing vocals (2, 3, 5, 7) Jimmy Connors – backing vocals (3) Kenny Rogers – backing vocals (4), BGV arrangement (4) Kin Vassy – backing vocals (4) Terry Williams – backing vocals (4) Horns, strings and woodwinds Louise Di Tullo – flute (3, 6, 9) Art Maebe – French horn (3, 4, 6, 8, 9) Richard Perissi – French horn (3, 6, 9) Henry Sigismonti – French horn (3, 6, 9) Jim Atkinson – French horn (4, 8) David Duke – French horn (4, 8) Brian O'Connor – French horn (4, 8) William Green – saxophone (5, 7) Ernie Watts – saxophone (5, 7) Lew McCreary – trombone (4, 5, 7, 8) Bill Reichenbach, Jr. – trombone (4, 5, 7, 8) Gary Grant – trumpet (4, 5, 7, 8) Jerry Hey – trumpet (4, 5, 7, 8) Walter Johnson – trumpet (4, 5, 7, 8) Warren Luening – trumpet (4, 5, 7, 8) Bob Findley – trumpet (5, 7) Don Ashworth – woodwinds (4, 8) Gene Cipriano – woodwinds (4, 8) Gary Herbig – woodwinds (4, 8), saxophone (5, 7) Larry Williams – woodwinds (4, 8) Jesse Ehrlich – cello (2, 3, 6, 9) Armand Kaproff – cello (2, 3, 6, 9) Paula Hochhalter – cello (2, 6, 9) Dennis Karmazyn – cello (2, 6, 9) Arni Egilsson – double bass (2, 6, 9) Buell Neidlinger – double bass (2, 6, 9) Ray Brown – double bass (4, 5, 7, 8) Morty Corb – double bass (4, 5, 7, 8) Gayle Levant – harp (2, 4-9) Alan DeVeritch – viola (2, 3, 6, 9) Allan Harshman – viola (2, 3, 6, 9) Virginia Majewski – viola (2, 3, 6, 9) Gareth Nuttycombe – viola (2, 3, 6, 9) Bonnie Douglas – violin (2, 3, 6, 9) Assa Drori – violin (2, 3, 6, 9) Endre Granat – violin (2, 3, 6, 9) Joy Lyle – violin (2, 3, 6, 9) Donald Palmer – violin (2, 3, 6, 9) Henry Roth – violin (2, 3, 6, 9) Sheldon Sanov – violin (2, 3, 6, 9) Jack Shulman – violin (2, 3, 6, 9) Paul Shure – violin (2, 3, 6, 9) Mari Tsumura-Botnick – violin (2, 3, 6, 9), strings (4, 5, 7, 8) Charles Veal, Jr. – violin (2, 3, 6, 9) Rollice Dale – strings (4, 5, 7, 8) Henry Ferber – strings (4, 5, 7, 8) Ronald Folsom – strings (4, 5, 7, 8) William Henderson – strings (4, 5, 7, 8) William Kurasch – strings (4, 5, 7, 8) Erno Neufeld – strings (4, 5, 7, 8) Nathan Ross - strings (4, 5, 7, 8) Myron Sandler – strings (4, 5, 7, 8) David Schwartz – strings (4, 5, 7, 8) Fred Seykora – strings (4, 5, 7, 8) David Speltz – strings (4, 5, 7, 8) Tibor Zelig – strings (4, 5, 7, 8) Production [edit] Producers – James Anthony Carmichael and Lionel Richie Production Assistant – Brenda Harvey-Richie Recorded and Mixed by Calvin Harris Second Recording Engineer – Jim Cassell Second Mix Engineers – Michael Johnson, Fred Law and Stephan Smith. Additional Mixing – Jane Clark Mastered by Bernie Grundman at A&M Studios (Los Angeles, CA). Creative Assistant – Rita Leigh Art Direction – Johnny Lee Photography – David Alexander Charts [edit] Certifications and sales [edit]
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'The Greatest Night in Pop' is streaming now on Netflix	en	/img/favicons/apple-icon-57x57.png	Entertainment Tonight	https://www.etonline.com/media/videos/lionel-richie-takes-fans-behind-the-scenes-of-we-are-the-world-40-years-later-with-new
8115	dbpedia	3	97	https://totally80s.com/article/great-underrated-lionel-richies-outrageous-80s	en	The Great Underrated: Lionel Richie’s ‘Outrageous’ ‘80s	https://totally80s.com/s…-11/Lionel_0.png	https://totally80s.com/s…-11/Lionel_0.png	[ "https://totally80s.com/sites/totally80s.rock.tools/files/80s_Logo_12_5_19_no%20apostrophe.png", "https://totally80s.com/modules/contrib/social_media/icons/facebook_share.svg", "https://totally80s.com/modules/contrib/social_media/icons/twitter.svg", "https://totally80s.com/modules/contrib/social_media/icons/pinterest.svg", "https://totally80s.com/modules/contrib/social_media/icons/email.svg", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/site_width_image/public/2022-11/Lionel_0.png?itok=c09oKviM", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/540x540_square/public/2019-12/GettyImages-496785722.jpg?itok=fqkv4oTt", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/540x540_square/public/2020-03/USA-for-America.jpg?itok=b5VNFoog", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/540x540_square/public/2020-01/TIFFANY%20GettyImages-846299728.jpg?itok=QiS2aerV", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/medium/public/2020-08/CollinsTBPlaylist.png?itok=kSZARQk6", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/medium/public/2020-03/Screen%20Shot%202020-03-31%20at%201.40.14%20PM.png?itok=SfcWa0Q-", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/medium/public/2020-03/easyhits.png?itok=PvW3qSUd", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/medium/public/2020-03/greatday.png?itok=jiLtdT8X", "https://totally80s.com/sites/totally80s.rock.tools/files/styles/medium/public/2020-02/1988.png?itok=ZKH5uEdA", "https://analytics.rhinofy.com/pixel.png?app_key=7a5f21e86f896a6c3c6051a1d99167db0f6c3e8d&begin_session=1" ]	[ "https://www.youtube.com/embed/aUom0satAuQ?autoplay=0&start=0&rel=0", "https://www.youtube.com/embed/uLek1Xtp9q8?autoplay=0&start=0&rel=0", "https://www.youtube.com/embed/VMWJhmYRsqk?autoplay=0&start=0&rel=0", "https://www.youtube.com/embed/T5l0GjePGQM?autoplay=0&start=0&rel=0", "https://www.youtube.com/embed/FdWQXUV60M8?autoplay=0&start=0&rel=0" ]	[]	[ "" ]	null	[]	null	For a time in the ‘80s, it seemed like the most popular songs in the U.S. were being made by perhaps five people: Michael Jackson, Prince, Madonna, Whitney Houston, and Lionel Richie. Richie’s success was of particular interest considering where he’d come from – he’d gone from playing tremendous funk music with the Commodores, to plying audiences with soft balladry and mid-tempo pop songs, both in his latter days with his former band, and as a solo artist.	en	/themes/contrib/totally80s/favicon.ico	Totally 80's	https://totally80s.com/article/great-underrated-lionel-richies-outrageous-80s	For a time in the ‘80s, it seemed like the most popular songs in the U.S. were being made by perhaps five people: Michael Jackson, Prince, Madonna, Whitney Houston, and Lionel Richie. Richie’s success was of particular interest considering where he’d come from – he’d gone from playing tremendous funk music with the Commodores, to plying audiences with soft balladry and mid-tempo pop songs, both in his latter days with his former band, and as a solo artist. But there was more to the man – who turned the word outrageous into a catch phrase at the 1985 American Music Awards – than most listeners knew. Each of his solo albums was full with quality material, some of which never made a dent at radio or on the singles charts. There were also songs that he wrote and produced for other artists that helped them stand out. His induction into this year’s Rock & Roll Hall of Fame class was built on all of these things, not just the stuff that made him ubiquitous on Top 40 radio. Let’s listen now to a handful of the deep cuts, the rare stuff – Lionel Richie’s Great Underrated gems: “Love Will Find a Way”: Side 2 of Can’t Slow Down began with this six-minute slow-burner that acts as a reassurance – to a friend, or a former lover, or even just whoever had the song playing in their Walkman in 1983 or ‘84. On an album so crammed with hits, the track stands out not simply as filler, but as a strong album cut – a cool song you couldn’t hear on the radio. “Se La”: Though released as a single in 1987 and hitting the Top 20 (and serving as Richie’s final single of the ‘80s), one almost never hears “Se La” played on the radio anymore. It’s a shame – a quasi-reggae track about peaceful co-existence could be a useful thing, in this moment or just about any other. “The Good Life” (Kenny Rogers): At the beginning of Richie’s solo career – right around the time he was exiting the Commodores – he found an unlikely collaborator in country music legend Kenny Rogers. Richie wrote and produced Rogers’ No. 1 pop hit “Lady,” and then got the call to produce the singer’s follow-up album, 1981’s Share Your Love. That’s where this Richie-penned paean to fidelity can be found – a soulful piano ballad with gospel background vocals, something one can imagine Richie himself singing. “Serves You Right”: The first cut on Richie’s self-titled debut record still has remnants of the Commodores funk (particularly in Nathan Watts’ bass work), combined with the smooth vocal delivery that was quickly becoming Richie’s trademark. An auspicious beginning, all around.
8115	dbpedia	3	78	https://www.bet.com/photo-gallery/3qh7mr/music-legends/5tta7s	en	Lionel Richie - Selling - Image 25 from Music Legends	https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:1aef9c81-4974-11e7-a442-0e40cf2fc285?quality=0.7&gen=ntrn&format=jpg&width=1200&height=630&crop=true	https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:1aef9c81-4974-11e7-a442-0e40cf2fc285?quality=0.7&gen=ntrn&format=jpg&width=1200&height=630&crop=true	[ "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320", "https://images.paramount.tech/uri/mgid:arc:imageassetref:bet.com:ae35a36b-2948-420c-a922-c588f82ed8b6?format=webp&width=320" ]	[]	[]	[ "" ]	null	[]	null	Lionel Richie - Selling more than 100 million records worldwide, Lionel Richie is a music legend with a long solo career as well as a lasting legacy with his group the Commodores. - See the music legends of then and now.	en	/favicon.ico	BET	https://www.bet.com/photo-gallery/3qh7mr/music-legends/5tta7s	By clicking Subscribe, you confirm that you have read and agree to our Terms of Use and acknowledge our Privacy Policy. You also agree to receive marketing communications, updates, special offers (including partner offers) and other information from BET and the Paramount family of companies. You understand that you can unsubscribe at any time.
8115	dbpedia	2	34	https://www.alabamaacademyofhonor.org/lionel-richie	en	academyofhonor	https://static.parastorage.com/client/pfavico.ico	https://static.parastorage.com/client/pfavico.ico	[ "https://static.wixstatic.com/media/e493c1_43ee9900c3ca40b38d033eef024533c5~mv2.jpg/v1/crop/x_0,y_0,w_5792,h_7455/fill/w_103,h_133,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/Richie.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://static.parastorage.com/client/pfavico.ico	academyofhonor	https://www.alabamaacademyofhonor.org/lionel-richie	The following biographical sketch was compiled at the time of induction into the Academy in 2021. Lionel Richie, a native of Tuskegee, is an international music icon whose career has spanned decades and defied genres. With more than 125 million albums sold worldwide, Richie’s work is part of the fabric of pop music. He is known for his mega-hits such as “Endless Love,” “Lady,” “Truly,” “All Night Long,” “Penny Lover,” “Stuck on You,” “Hello,” “Say You, Say Me,” and “Dancing on the Ceiling.” Richie also co-wrote one of the most important pop songs in history, “We Are the World,” for USA for Africa. Richie’s song catalog also includes his early work with the Commodores, where he developed a groundbreaking style, penning smashes such as “Three Times a Lady,” “Still,” and “Easy.” Richie wrote chart-topping songs for eleven consecutive years during the 1970s and 1980s. He sold out arenas worldwide with a setlist of his anthems on his All the Hits, All Night Long concert tour (2013—2015). In recent years, he has headlined festivals including Bonnaroo, Outside Lands, and Glastonbury. Richie has been a judge on ABC’s American Idol for the past four seasons and will return for the show’s landmark 20th season in spring 2022. He launched his Las Vegas headlining residency show, Lionel Richie—All the Hits, in April 2016. An unforgettable sold-out residency series, All the Hits took fans on a spectacular musical journey, featuring a variety of anthems that have defined the artist’s unparalleled career. Richie’s latest album, Live from Las Vegas, his first release on Capitol Records, was released August 16, 2019, and was #1 on the Billboard Artist 100 chart. His most recent tour, Hello, began in Summer 2019. Richie recently announced an extended 12-show series, Lionel Richie: Back to Las Vegas!, which will continue in early 2022. Richie holds an Oscar, a Golden Globe, and four Grammy Awards. He was named the MusicCares Person of the Year in 2016 and Kennedy Center Honoree in 2017. In March 2018, Richie put his handprints and footprints in cement at the TCL Chinese Theatre IMAX in Hollywood, one of the oldest awards in Hollywood. He recently received the Ivor Novello PRS for Music Special International Award.
8115	dbpedia	3	81	https://ultimateclassicrock.com/lionel-richie-hall-of-fame-reasons/	en	Five Reasons Lionel Richie Should Be in the Rock Hall	https://townsquare.media…c=1&s=0&a=t&q=89	https://townsquare.media…c=1&s=0&a=t&q=89	[ "https://townsquare.media/site/295/files/2021/04/logo256.png", "https://townsquare.media/site/295/files/2022/03/attachment-GettyImages-509878746.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2018/10/soundgarden.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2021/03/GettyImages-114569764.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2022/02/attachment-Tribe-Called-Quest-GettyImages-450971943.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2023/02/attachment-Spinners-1970-Redferns-GettyImages-85513936.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2023/02/attachment-Willie-Nelson-Alexandra-Wyman-GettyImages-162227453.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2022/02/attachment-rage_against_the_machine_1996.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2023/02/attachment-Joy-Division-New-Order-Jason-Kempin-YouTube.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2023/02/attachment-Lauper.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2023/02/attachment-missy-elliot.jpg?w=980&q=75" ]	[]	[]	[ "lionel richie hall of fame reasons", "original features", "rock & roll hall of fame" ]	null	[ "Gary Graff" ]	2022-03-02T16:59:57+00:00	Making a case for the Rock & Roll Hall of Fame candidacy of versatile hitmaker Lionel Richie.	en	https://townsquare.media…/04/favicon1.png	Ultimate Classic Rock	https://ultimateclassicrock.com/lionel-richie-hall-of-fame-reasons/	When Lionel Richie presented the Ahmet Ertegun Award to Clarence Avant during an expletive-laced speech at the 2021 Rock & Roll Hall of Fame ceremony, who could have guessed he'd be on the ballot for the first time a little more than three months later? Of course, Richie is an eyebrow-raiser for purists. The Tuskegee, Ala., native made his star in the R&B and MOR pop worlds, starting with the Commodores at Motown and setting up an enormously successful solo career that made him a major '80s artist. And while he's had up-tempo moments like the Commodores' "Brick House" and the solo party anthem "All Night Long (All Night)," Richie's main merit is as a contemporary crooner, bringing on the swoon with the likes of "Easy," "Still," "Endless Love" (with Diana Ross), "Hello," "Penny Lover," "Truly," "Stuck on You" and ... well, you get it. And being an American Idol judge for several seasons doesn't exactly engender great rock 'n' roll cred. So Richie would seem a hard sell for the Hall, despite having a daughter (Nicole Richie) married to Good Charlotte's Joel Madden and despite enjoying the company of Kid Rock, who brought a cake onstage for Richie's 65th birthday concert in suburban Detroit. And, lest we forget, the “Lady” man also popped up in Foo Fighters’ Studio 666 film. From the fringes, however, is the track record of an undeniably enormous star — one who may just fit the Rock Hall's ever-expanding embrace for reasons like these five. He's Got a "Brick House" of Hits (and Other Honors) With the Commodores and on his own, there's no questioning Richie's track record of album sales and hit singles. He's sold more than 100 million records worldwide and, as a solo artist, has notched 13 Top 10 hits on the Billboard Hot 100; one of those, "Say You, Say Me," from the 1985 film White Nights, won Academy and Golden Globe awards for Best Original Song. He was also the first artist to receive a Diamond Award from the Recording Industry Association of America, commemorating sales of more than 10 million copies of his 1983 album, Can't Slow Down. He received the Songwriters Hall of Fame's Johnny Mercer Award in 2016 and a Kennedy Center Honor the following year, among other laurels. He Has Friends in Rock's High Places Richie has demonstrated he knows whom to call when he needs to inject a little rock flavor into his music. That's Toto's Steve Lukather wailing on Richie's 1983 hit "Running With the Night" and "Say You, Say Me" three years later. Eric Clapton laid down licks on "Tonight Will Be Alright" from 1986's Dancing on the Ceiling. Peter Gabriel contributed backing vocals to "Ordinary Girl" in 1996. Former Steppenwolf guitarist Larry Byrom played on four tracks from 1998's Time. And Lenny Kravitz co-wrote, produced and featured on "Time of Our Life" from 2004's Just for You. He Heeded a Certain Call In the wake of Band Aid's "Do They Know It's Christmas?" to raise money for the long-running Ethiopian famine during the mid-'80s, Richie's manager Ken Kragen was approached by Harry Belafonte to come up with an American response. Kragen then recruited Richie to help write "We Are the World," which wound up being a collaboration with Michael Jackson and, to a lesser extent, Stevie Wonder. Richie and Jackson spent a week working on the song at the latter's family home in Encino, Calif., with the all-star recording session taking place on Jan. 22, 1985, in Los Angeles, just after that year's American Music Awards. Among the Rock Hall members on the project are Jackson and his brothers, Ross, Wonder, Paul Simon, Billy Joel, Tina Turner, Bruce Springsteen, Smokey Robinson, Bob Dylan, Ray Charles, Daryl Hall and John Oates, Journey's Steve Perry and Fleetwood Mac's Lindsey Buckingham. Released under the banner of USA for Africa, "We Are the World" came out March 7, 1985, and has sold more than 20 million copies worldwide and won three Grammy Awards. A companion album featured tracks by Springsteen, Perry, Turner, Chicago, Prince & the Revolution and Huey Lewis and the News, as well as "Tears Are Not Enough," co-written by Bryan Adams for the Canadian ad hoc troupe Northern Lights. Richie also led a performance of the song to conclude the Live Aid concert in Philadelphia. He Joined the Rock ‘n’ Roll Country Club For his 2012 album, Tuskegee, Richie took some of his old songs for a country spin, performing duets with old friends (Kenny Rogers, Willie Nelson) and Nashville's younger hitmakers, including Blake Shelton, Kenny Chesney, Tim McGraw, Shania Twain, Rascal Flatts and others. He even did a "Margaritaville"-flavored "All Night Long" with Jimmy Buffett and the Coral Reefer Band for good measure. Does this sound familiar? Eagles did it — or, rather, country did it for them — with Common Thread: The Songs of the Eagles in 1993. (They did join Travis Tritt as part of his "Take It Easy" video.) And the Doobie Brothers joined the country club for Southbound in 2014. Both of those bands are in the Rock Hall, so why not Richie? He Was Worthy of Worthy Farm Richie raised eyebrows at the 2015 Glastonbury Festival, drawing nearly 120,000 to his performance during the coveted Sunday Tea Time spot — reserved for music legends — June 28 on the Pyramid Stage. It was the prestigious fest's largest gathering of the weekend (beating out the Who, Kanye West, Florence and the Machine and Burt Bacharach), and Richie wowed the British faithful with a 15-song set that included solo favorites and Commodores hits ("Easy," "Three Times a Lady," "Lady [You Bring Me Up]") before ending with the one-two punch of "All Night Long (All Night)" and "We Are the World."
8115	dbpedia	1	98	https://www.umusicpub.com/latin/Digital-Music-Library/album/107464/lionel-richie	en				[]	[]	[]	[ "" ]	null	[]	null					null
8115	dbpedia	2	22	https://nationaltoday.com/birthday/lionel-richie/	en	Lionel Richie Birthday	https://nationaltoday.co…56841106-min.jpg	https://nationaltoday.co…56841106-min.jpg	[ "https://www.facebook.com/tr?id=315068065503197&ev=PageView&noscript=1", "https://nationaltoday.com/wp-content/uploads/2022/10/456841106-min-1200x834.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841109-min-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841121-min-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/4-Jill-Scott-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/15-HER-Birthday-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/30-Fantasia-Barrino-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/8-Alex-Guarnaschelli-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/04/45-Capri-Bryant-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/27-Dave-Hawks-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841106-min-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/04/44-Nicole-Kidman-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/25-Sage-The-Gemini-150x150.jpg", "https://nationaltoday.com/wp-content/plugins/wp-facebook-login/public/img/loading.svg" ]	[]	[]	[ "" ]	null	[]	2022-10-21T13:35:31+00:00	Are we not all fans of Lionel Richie, the all-time best-selling musician and Black Music & Entertainment Walk of Fame inductee? Let’s all celebrate his big day.	en	/apple-touch-icon-57x57.png	National Today	https://nationaltoday.com/birthday/lionel-richie/	Background Lionel Richie, the son of Lionel Brockman Richie, Sr., a U.S. Army system analyst, and Alberta R. Foster, a teacher, was born on June 20, 1949, in Tuskegee, Alabama. He started his musical journey by joining the Mystics, a campus band, as a saxophonist, songwriter, and singer in his first year at Tuskegee University. The Mystics later became the Commodores, a funk and rhythm-and-blues band, with Richie as the lead vocalist. In 1968, they signed a one-record deal with Atlantic Records and then moved on to Motown Records. Richie composed and sang numerous romantic, easy-listening ballads throughout his life. Richie’s first commercial hit as a songwriter came in 1974 when he co-wrote ‘Happy People’ with Jeffrey Bowen and Donald Baldwin. It was recorded by The Temptations, who achieved their second-to-last No. 1 R&B hit with the song, which was originally planned as a Commodores single. Richie also sang the title song for the film “Endless Love,” a duet with Diana Ross, in 1981. The song was released as a single and went on to become one of Motown’s biggest hits in Canada, Brazil, Australia, Japan, New Zealand, and the U.S. Richie’s solo career began in 1982 with the release of his album “Lionel Richie.” The following years were a blur, with multiple number-one hits and a Grammy Award for Album of the Year. Richie and pop icon Michael Jackson penned ‘We Are the World’ in 1985 to raise money for African famine relief; the song raised $50 million in donations and won a Grammy for song of the year. Richie’s late-90s albums, including “Louder Than Words” and “Time,” failed to equal his earlier commercial success. He reissued compilation C.D. of his career both with Commodores and as a solo act which propelled him back to the top of the U.K. albums list. Richie was revealed as a judge for the reboot of American Idol by A.B.C. in September 2017. He has served as a judge on the relaunch for five seasons, including its most recent edition, which premiered on February 27, 2022. In 2019, Richie announced a 33-city summer tour across North America. His ‘Hello Tour’ began on May 10 at the KAABOO Festival in Arlington and continued through August. Richie married his college sweetheart, Brenda Harvey, in 1975. The couple, in 1983, adopted Nicole Camille Escovedo (now Nicole Richie). The singer and Harvey divorced in 1993, and he married Diane Alexander in 1995. They have a son, Miles Brockman (28), and a daughter, Sofia Richie (24). The marriage ended in 2004.
8115	dbpedia	1	20	https://nationaltoday.com/birthday/lionel-richie/	en	Lionel Richie Birthday	https://nationaltoday.co…56841106-min.jpg	https://nationaltoday.co…56841106-min.jpg	[ "https://www.facebook.com/tr?id=315068065503197&ev=PageView&noscript=1", "https://nationaltoday.com/wp-content/uploads/2022/10/456841106-min-1200x834.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841109-min-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841121-min-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/4-Jill-Scott-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/15-HER-Birthday-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/30-Fantasia-Barrino-676x390.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/8-Alex-Guarnaschelli-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/04/45-Capri-Bryant-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/27-Dave-Hawks-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/456841106-min-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/04/44-Nicole-Kidman-150x150.jpg", "https://nationaltoday.com/wp-content/uploads/2022/10/25-Sage-The-Gemini-150x150.jpg", "https://nationaltoday.com/wp-content/plugins/wp-facebook-login/public/img/loading.svg" ]	[]	[]	[ "" ]	null	[]	2022-10-21T13:35:31+00:00	Are we not all fans of Lionel Richie, the all-time best-selling musician and Black Music & Entertainment Walk of Fame inductee? Let’s all celebrate his big day.	en	/apple-touch-icon-57x57.png	National Today	https://nationaltoday.com/birthday/lionel-richie/	Background Lionel Richie, the son of Lionel Brockman Richie, Sr., a U.S. Army system analyst, and Alberta R. Foster, a teacher, was born on June 20, 1949, in Tuskegee, Alabama. He started his musical journey by joining the Mystics, a campus band, as a saxophonist, songwriter, and singer in his first year at Tuskegee University. The Mystics later became the Commodores, a funk and rhythm-and-blues band, with Richie as the lead vocalist. In 1968, they signed a one-record deal with Atlantic Records and then moved on to Motown Records. Richie composed and sang numerous romantic, easy-listening ballads throughout his life. Richie’s first commercial hit as a songwriter came in 1974 when he co-wrote ‘Happy People’ with Jeffrey Bowen and Donald Baldwin. It was recorded by The Temptations, who achieved their second-to-last No. 1 R&B hit with the song, which was originally planned as a Commodores single. Richie also sang the title song for the film “Endless Love,” a duet with Diana Ross, in 1981. The song was released as a single and went on to become one of Motown’s biggest hits in Canada, Brazil, Australia, Japan, New Zealand, and the U.S. Richie’s solo career began in 1982 with the release of his album “Lionel Richie.” The following years were a blur, with multiple number-one hits and a Grammy Award for Album of the Year. Richie and pop icon Michael Jackson penned ‘We Are the World’ in 1985 to raise money for African famine relief; the song raised $50 million in donations and won a Grammy for song of the year. Richie’s late-90s albums, including “Louder Than Words” and “Time,” failed to equal his earlier commercial success. He reissued compilation C.D. of his career both with Commodores and as a solo act which propelled him back to the top of the U.K. albums list. Richie was revealed as a judge for the reboot of American Idol by A.B.C. in September 2017. He has served as a judge on the relaunch for five seasons, including its most recent edition, which premiered on February 27, 2022. In 2019, Richie announced a 33-city summer tour across North America. His ‘Hello Tour’ began on May 10 at the KAABOO Festival in Arlington and continued through August. Richie married his college sweetheart, Brenda Harvey, in 1975. The couple, in 1983, adopted Nicole Camille Escovedo (now Nicole Richie). The singer and Harvey divorced in 1993, and he married Diane Alexander in 1995. They have a son, Miles Brockman (28), and a daughter, Sofia Richie (24). The marriage ended in 2004.
8115	dbpedia	3	39	https://www.bbc.co.uk/music/reviews/6nfd/	en	Review of Lionel Richie	https://www.bbc.co.uk/st…e87602c1b785.jpg	https://www.bbc.co.uk/st…e87602c1b785.jpg	[ "https://sa.bbc.co.uk/bbc/bbc/s?name=music.reviews.6nfd.page&pal_route=review_show&ml_name=barlesque&app_type=responsive&language=en-GB&ml_version=0.28.7&pal_webapp=music_pages&prod_name=music&app_name=music&blq_js_enabled=0&blq_s=4d&blq_r=3.5&blq_v=default&blq_e=pal ", "https://www.bbc.co.uk/staticarchive/e7899479b4568b1970ef64ead831f4c553aa8a3f.png", "https://www.bbc.co.uk/staticarchive/6cbd35e5aad531931004d7cc61fc0e86113d2871.png", "https://www.bbc.co.uk/staticarchive/4178667bd57b76e78637a41f3529438c56687209.jpg", "https://www.bbc.co.uk/staticarchive/1fecfcc4aa3806872f1615a4ce164aab7ab52d00.jpg", "https://www.bbc.co.uk/staticarchive/678a0eb37f0cba09e61885961ed05d3c85645757.jpg", "https://www.bbc.co.uk/staticarchive/d6e660e8ed1f6a2724cfbee0d221f402c4b74c86.jpg", "https://www.bbc.co.uk/staticarchive/c14de6b3fc1840dc401fff7ec20e08a8887639de.jpg", "https://www.bbc.co.uk/staticarchive/21ca608bace01311d0fc0130fc8fd486d3c5101b.jpg", "https://www.bbc.co.uk/staticarchive/d857f3c3beececf1493f84f31790995e8cc10575.gif", "https://www.bbc.co.uk/staticarchive/545518ee7ccda3bf5ff9350c7b39e87602c1b785.jpg", "https://www.bbc.co.uk/staticarchive/7372af5933a311e8ee35e13da4d3216ec6c9f8b2" ]	[]	[]	[ "" ]	null	[]	null		en			null	By 1983, Lionel Richie had become Motown’s biggest star almost by default. With Stevie Wonder always a law unto himself when it came to releasing albums and Diana Ross, Marvin Gaye and Michael Jackson all departing the imprint, a significant release was needed in the label’s much-lauded 25th year. Jackson’s Thriller was the new high water-mark in commercial pop/soul. Richie, arguably Jackson’s nearest rival at that point, had seen Jackson return to his old label for one night only on Motown’s 25th Anniversary in May that year and upstage everybody with his version of Billie Jean. Although his self-titled debut solo album from 1982 had been a confident step away from the Commodores, Richie knew that the bar had been raised for his second album on which he was currently working. Richie stepped up to the challenge and created Can’t Slow Down, an album that became almost as ubiquitous as Jackson’s landmark. Made by around 50 people, it is one of the smoothest, most closely produced albums of the 80s. Can’t Slow Down is very good indeed, Richie’s last true moment as a cutting-edge balladeer. Stuck on You is in the line of Commodores love songs Sail On and Easy; Penny Lover and The Only One are sweet and beguiling. Although it became a laughing stock in some quarters because of its video with the blind girl making a statue of the singer’s head out of modelling clay, album closer Hello showcased the craft that Richie had made his mark of quality. And although virtually all of his old Commodores grit had been worn smooth, there was still a modicum of spikiness in the title-track, Running with the Night and the late night soul of Love Will Find a Way, is like the musical equivalent of cooking a gourmet meal – a drizzle of piano here, a pinch of synthesizer, there; tasteful, and sweet. Released just ahead of the album, All Night Long (All Night) is one of the last great Motown singles. Using a lilting, infectious rhythm and a mumbo-jumbo breakdown, Richie created a dance masterpiece. Can’t Slow Down was, of course, a huge hit, and went on to sell over eight million copies and garnered sundry Grammys. It further established Lionel Richie as the go-to ballad singer for millions, and, unlike many other records made in the mid-80s, is still very listenable.
8115	dbpedia	0	83	https://www.walmart.com/browse/music/lionel-richie-music/4104_6651806_6676510	en	Lionel Richie Music in Music by Arist	https://i5.walmartimages…180&odnBg=ffffff	https://i5.walmartimages…180&odnBg=ffffff	[ "https://i5.walmartimages.com/dfwrs/76316474-3850/k2-_c6d4aec7-b4a7-4ea4-9223-07c8daef4fcf.v1.png", "https://i5.walmartimages.com/dfw/63fd9f59-ac39/29c6759d-7f14-49fa-bd3a-b870eb4fb8fb/v1/wplus-icon-blue.svg", "https://i5.walmartimages.com/dfwrs/76316474-3850/k2-_c6d4aec7-b4a7-4ea4-9223-07c8daef4fcf.v1.png", "https://i5.walmartimages.com/asr/5f60a133-4a7c-4d35-b819-cb3b75132549.905cb7d261c01c28f9f7992fdcf183a8.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF", "https://i5.walmartimages.com/dfw/63fd9f59-ac39/29c6759d-7f14-49fa-bd3a-b870eb4fb8fb/v1/wplus-icon-blue.svg", "https://i5.walmartimages.com/asr/5325c26a-ab10-4101-b448-07d1a0522b40.eed777de6bd2134f5e6210ffcd5b8132.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF", "https://i5.walmartimages.com/asr/915fcda6-2855-417c-b371-34a306d5fad8.4c3a9e28a8eee47cc848aed96db77fa2.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF", "https://i5.walmartimages.com/asr/8bc2f6ae-b9bc-47ef-8d06-06bfe1bb507b_1.770c0ed6e5db426c96361994b93d21a8.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF", "https://i5.walmartimages.com/asr/18ade5bc-5a9d-4367-9862-96a51a8bcd87.1803a00efe05f8601be4a7d8cab038a0.jpeg?odnHeight=392&odnWidth=290&odnBg=FFFFFF 1x, https://i5.walmartimages.com/asr/18ade5bc-5a9d-4367-9862-96a51a8bcd87.1803a00efe05f8601be4a7d8cab038a0.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF 2x", "https://i5.walmartimages.com/dfw/63fd9f59-ac39/29c6759d-7f14-49fa-bd3a-b870eb4fb8fb/v1/wplus-icon-blue.svg", "https://i5.walmartimages.com/seo/Truly-The-Love-Songs-by-Lionel-Richie-CD-1997_cec491f7-88b6-4bb5-8277-58a1803c8b44.4be7f703efbd852ba5fb39ddadae854d.jpeg?odnHeight=392&odnWidth=290&odnBg=FFFFFF 1x, https://i5.walmartimages.com/seo/Truly-The-Love-Songs-by-Lionel-Richie-CD-1997_cec491f7-88b6-4bb5-8277-58a1803c8b44.4be7f703efbd852ba5fb39ddadae854d.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF 2x", "https://i5.walmartimages.com/asr/be2b4000-dd32-4ab7-9d05-fac6b5be3722.e015d58b28a3d375016c39c7aa34b8f9.jpeg?odnHeight=392&odnWidth=290&odnBg=FFFFFF 1x, https://i5.walmartimages.com/asr/be2b4000-dd32-4ab7-9d05-fac6b5be3722.e015d58b28a3d375016c39c7aa34b8f9.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF 2x", "https://i5.walmartimages.com/dfw/63fd9f59-ac39/29c6759d-7f14-49fa-bd3a-b870eb4fb8fb/v1/wplus-icon-blue.svg", "https://i5.walmartimages.com/asr/22998548-4eb4-40f3-b79c-a8b67c804624.97d40911fad5ec7e5967d33db230b196.jpeg?odnHeight=392&odnWidth=290&odnBg=FFFFFF 1x, https://i5.walmartimages.com/asr/22998548-4eb4-40f3-b79c-a8b67c804624.97d40911fad5ec7e5967d33db230b196.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF 2x", "https://i5.walmartimages.com/asr/4ac9f106-b1da-4df1-a8c3-b6cea25022b1.2a22c80a913b4c84a5fa76c58ea7cf2e.jpeg?odnHeight=392&odnWidth=290&odnBg=FFFFFF 1x, https://i5.walmartimages.com/asr/4ac9f106-b1da-4df1-a8c3-b6cea25022b1.2a22c80a913b4c84a5fa76c58ea7cf2e.jpeg?odnHeight=784&odnWidth=580&odnBg=FFFFFF 2x", "https://i5.walmartimages.com/dfwrs/76316474-f70e/k2-_67001355-c576-4ca2-989d-260a2673c41a.v1.png" ]	[]	[]	[ "" ]	null	[]	null	Shop for Lionel Richie Music in Music by Artist. Buy products such as Lionel Richie - Definitive Collection - Pop Rock - CD at Walmart and save.	en		Walmart.com	https://www.walmart.com/browse/music/lionel-richie-music/4104_6651806_6676510
7961	dbpedia	0	14	https://academic.oup.com/book/8041/chapter/153429694	en	Conclusion	https://oup.silverchair-…IE5G5CRDK6RD3PGA	https://oup.silverchair-…IE5G5CRDK6RD3PGA	[ "https://oup.silverchair-cdn.com/UI/app/svg/umbrella/oxford-academic-logo.svg", "https://oup.silverchair-cdn.com/UI/app/svg/i.svg", "https://oup.silverchair-cdn.com/UI/app/svg/account.svg", "https://oup.silverchair-cdn.com/UI/app/svg/i.svg", "https://oup.silverchair-cdn.com/UI/app/svg/account.svg", "https://oup.silverchair-cdn.com/oup/backfile/content_public/books/8041/book/1/m_9780198742340.jpeg?Expires=1728579682&Signature=4oJmtCWif2ysmpTWu-3M3R3O-itK7HQP6Ndx0z58tKGkq4XXVS-OI4mgfXkxeSAUWCxhzKQEVvUI4jUpGTr9HinI~7oE5Hgo7ZxlE2EH-ZCrUuxoOT6xSUxnvNOzLAKW8zNBiEOzOH7g7Y~XydhEBDR2-C3AvSOqNZrdf2gSEfBHtI~J0JfugLWWCArpqhsUp3f-SDnNqw9SVj5Erm0GX9f9cWFKGZ59GtvOyBX02JQarTgAk7JrOpYz-kTthTz2kOHHMrTZ-OBg0Afk2Gz8Bh6pF0lmUGJG9mmroqt61mIQxnQ5BPiAnDX2JZFPFXFMmWB6r0p7Bb90GD~qTbpt~Q__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA", "https://oup.silverchair-cdn.com/oup/backfile/content_public/books/8041/book/1/m_9780198742340.jpeg?Expires=1728579682&Signature=4oJmtCWif2ysmpTWu-3M3R3O-itK7HQP6Ndx0z58tKGkq4XXVS-OI4mgfXkxeSAUWCxhzKQEVvUI4jUpGTr9HinI~7oE5Hgo7ZxlE2EH-ZCrUuxoOT6xSUxnvNOzLAKW8zNBiEOzOH7g7Y~XydhEBDR2-C3AvSOqNZrdf2gSEfBHtI~J0JfugLWWCArpqhsUp3f-SDnNqw9SVj5Erm0GX9f9cWFKGZ59GtvOyBX02JQarTgAk7JrOpYz-kTthTz2kOHHMrTZ-OBg0Afk2Gz8Bh6pF0lmUGJG9mmroqt61mIQxnQ5BPiAnDX2JZFPFXFMmWB6r0p7Bb90GD~qTbpt~Q__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA", "https://academic.oup.com/UI/app/svg/chevron-right-white.svg", "https://academic.oup.com/UI/shared/SCM.SharedControls/img/annotate.svg", "https://oup.silverchair-cdn.com/UI/app/svg/i.svg", "https://oup.silverchair-cdn.com/UI/app/svg/chevron-right-white.svg", "https://oup.silverchair-cdn.com/UI/app/svg/umbrella/oup-logo.svg", "https://ouptag.scholarlyiq.com/ntpagetag.gif?js=0" ]	[]	[]	[ "" ]	null	[ "Jason Jacobs" ]	2000-02-24T00:00:00	Abstract. The concluding chapter emphasizes the history and developments of television drama during the pre-war and post-war period. Drama producers during	en	//oup.silverchair-cdn.com/UI/app/img/v-638594397551431646/apple-touch-icon.png	OUP Academic	https://academic.oup.com/book/8041/chapter/153429694
7961	dbpedia	3	16	https://www.tvguide.com/movies/intimate-relations/2000116864/	en	Intimate Relations	https://www.tvguide.com/…-14261685518.jpg	https://www.tvguide.com/…-14261685518.jpg	[ "https://www.tvguide.com/a/img/resize/71a3e9c0d80babb0b71bf25fc4a081533a94e5ba/catalog/provider/1/2/1-14632680958.jpg?auto=webp&fit=crop&height=120&width=80", "https://www.tvguide.com/a/img/resize/68c1c89652459682dc4ee66b8f24cfeb579181f6/catalog/provider/1/2/1-14985712246.jpg?auto=webp&fit=crop&height=120&width=80", "https://www.tvguide.com/a/img/resize/ab34468a9d2f43891e47b65f98c6400e02fdb914/catalog/provider/1/2/1-15012485490.jpg?auto=webp&fit=crop&height=120&width=80", "https://www.tvguide.com/a/img/resize/401b2d13fca2fca15eae3fee698be0b1237cf458/catalog/provider/1/2/1-15045284071.jpg?auto=webp&fit=crop&height=120&width=80", "https://www.tvguide.com/a/img/resize/5d52c0a46183afec6f460d5288c7e95d73bc0701/catalog/provider/1/2/1-14416554269.jpg?auto=webp&fit=crop&height=120&width=80", "https://www.tvguide.com/a/img/resize/c681b3785a0c7717fd67ef61e565577ccd552704/catalog/provider/1/2/1-1239075362.jpg?auto=webp&fit=crop&height=120&width=80" ]	[]	[]	[ "" ]	null	[]	null	Find out how to watch Intimate Relations. Stream Intimate Relations, watch trailers, see the cast, and more at TV Guide	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/movies/intimate-relations/2000116864/	Join or Sign In Sign in to customize your TV listings Continue with Facebook Continue with email
7961	dbpedia	0	55	https://www.academia.edu/6431756/Masculinity_in_British_Cinema	en	Masculinity in British Cinema	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://0.academia-photos.com/attachment_thumbnails/33231766/mini_magick20190404-781-l5ynqx.png?1554442959", "https://0.academia-photos.com/148342/15339767/15988522/s65_andrew.spicer.jpg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "Andrew Spicer", "westengland.academia.edu" ]	2014-03-16T00:00:00	Masculinity in British Cinema				https://www.academia.edu/6431756/Masculinity_in_British_Cinema	Beginning with the premise that neo-Victorian films and television programmes set in the late-Victorian era offer especially rich objects of study for those interested in gender and sexuality, this article explores how masculinity is constructed and problematised in Sherlock Holmes (2009), Crimson Peak (2015), Ripper Street (2012-2016), and Penny Dreadful (2014-2016). These representations of masculinity are marked by uncanniness, pervasive tensions, and liberatory possibilities, and enriched by generic and visual features. They depict the public sphere as the principal site for masculinity's definition and expression, while linking voyeurism with violence and investigating how distinctions between England and America influence masculine identity and desire. As these representations critique the masculine valorisation of exploration and conquest, they demonstrate how men's success in the public sphere is undercut by failure in the private one. They thereby make familiar markers of manliness unfamiliar, and empower women. By portraying men who both exemplify and cope with the many dimensions and ever-changing nature of masculinity, Sherlock Holmes, Crimson Peak, Ripper Street, and Penny Dreadful address twenty-first-century viewers whose world has been changed by significant shifts in gender roles and responsibilities, thus enabling men cathartically to experience and resolve a return of repressed anxieties about what it means to be a man. The films American Beauty directed by Sam Mendes , and Boyhood directed by Richard Linklater present seemingly conflicting forms of masculinity: the modern and outdated, techniques such as comedy, satirisation, parody and tragedy to emphasise which is to be emulates and which to no longer serves it function. There is, under the surface, a reoccurring narrative that as America modernises, the traditional constructs of masculinity leave middle-class white men as inadequate members of society; emasculated and dysfunctional. Before focusing on the presentation of white middle class male, with stable finances, a nuclear family and a lucrative career that is supposed to bring fulfilment, within American cinema, it is necessary to first define several terms within this essay. The term masculinity will refer to a set of traditions or traits associated with what society deems to be a ‘true male’ who takes full advantage of their high social positioning, which results from confirming to patriarchal values. Whilst it could be seen that these traditions and traits change over time, they mostly stay within the existing constraints imposed by society which are harder to transform and redefine some traits no longer functional for the time. While the notion of ‘cult’ film or TV is, today still, widely debated, the very nature of ‘cult’ and its underpinning gender bias remains secondary. Nonetheless, analysing this (often toxic) ‘masculinity’ is vital to rediscover cult’s past and improve its future. To understand the ‘masculinity of cult’ and the issues it brings to light, it is important to research its origins: they are deeply rooted in historical power structures that have been described, with the development of feminism, as patriarchal. This volume offers a unique exploration of how ageing masculinities are constructed and represented in contemporary international cinema. With chapters spanning a range of national cinemas, the primarily European focus of the book is juxtaposed with analysis of the social and cultural constructions of manhood and the "anti-ageing" impulses of male stardom in contemporary Hollywood. These themes are inflected in different ways throughout the volume, from considering how old age is not the monolithic and unified life stage with which it is often framed, to exploring issues of queerness, sexuality, and asexuality, as well as themes such as national cinema and dementia. Offering a diverse and multifaceted portrait of ageing and masculinity in contemporary cinema, this book will be of interest to scholars and students of film and screen studies, gender and masculinity studies, and cultural gerontology.
7961	dbpedia	0	79	https://www.cambridge.org/core/journals/journal-of-british-studies/article/kbomb-social-surveys-the-popular-press-and-british-sexual-culture-in-the-1940s-and-1950s/8AEBF67792674BFC34989C0F267C5C30	en	The “K-Bomb”: Social Surveys, the Popular Press, and British Sexual Culture in the 1940s and 1950s	https://static.cambridge…-size-image=true	https://static.cambridge…-size-image=true	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://static.cambridge.org/covers/JBR_0_0_0/journal-of-british-studies.jpg", "https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg", "https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg", "https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg", "https://www.cambridge.org/core/page-component/img/rights-icon.d4a677c.svg", "https://static.cambridge.org/content/id/urn%3Acambridge.org%3Aid%3Aarticle%3AS0021937100000083/resource/name/firstPage-S0021937100000083a.jpg", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://upload.wikimedia.org/wikipedia/commons/a/a9/Google_Scholar_logo_2015.PNG", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[ "https://www.googletagmanager.com/ns.html?id=GTM-NTX72TG" ]	[]	[ "" ]	null	[ "Adrian Bingham" ]	null	The “K-Bomb”: Social Surveys, the Popular Press, and British Sexual Culture in the 1940s and 1950s - Volume 50 Issue 1	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/journals/journal-of-british-studies/article/abs/kbomb-social-surveys-the-popular-press-and-british-sexual-culture-in-the-1940s-and-1950s/8AEBF67792674BFC34989C0F267C5C30	12th August 2024: digital purchasing is currently unavailable on Cambridge Core. 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Hostname: page-component-5c6d5d7d68-wpx84 Total loading time: 0 Render date: 2024-08-16T21:00:45.256Z Has data issue: false hasContentIssue false Article contents Abstract References The “K-Bomb”: Social Surveys, the Popular Press, and British Sexual Culture in the 1940s and 1950s Article contents Abstract References Get access Rights & Permissions [Opens in a new window] Abstract An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content. Type Research Article Information Journal of British Studies , Volume 50 , Issue 1 , January 2011 , pp. 156 - 179 DOI: https://doi.org/10.1086/656676 [Opens in a new window] Copyright Copyright © North American Conference of British Studies 2011 Access options Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.) References 1 1 England, L. R., “Little Kinsey: An Outline of Sex Attitudes in Britain,” Public Opinion Quarterly 13, no. 4 (Winter 1949–50): 600Google Scholar. On Mass-Observation, see Hubble, Nick, Mass Observation and Everyday Life: Culture, History and Theory (Basingstoke, 2006)Google Scholar. 2 2 Sunday Pictorial, 3–31 July 1949. 3 3 Sunday Pictorial, 19 June 1949, 9. 4 4 Liz Stanley, Sex Surveyed: From Mass Observation's “Little Kinsey” to the National Survey and the Hite Reports (London, 1995), 3–4. 5 5 England, “Little Kinsey,” 600. 6 6 Stanley, Sex Surveyed. 7 7 See, e.g., Porter, Roy and Hall, Lesley, The Facts of Life: The Creation of Sexual Knowledge in Britain, 1650–1950 (New Haven, CT, 1995), 198–99, 248–49, 255–56Google Scholar; Cook, Hera, The Long Sexual Revolution: English Women, Sex, and Contraception, 1800–1975 (Oxford, 2004), 157, 168, 185Google Scholar; Weeks, Jeffrey, The World We Have Won: The Remaking of Erotic and Intimate Life (Abingdon, 2007), 33–34, 39–40Google Scholar; Kynaston, David, Austerity Britain, 1945–51 (London, 2007), 373–75Google Scholar. BBC4 broadcast a program on “Little Kinsey” (5 October 2005), which also received some attention in the press; on this program, see Dennis, Norman, “Propaganda or Public Service Broadcasting,” Civitas Review 3, no. 1 (February 2006), 1–13Google Scholar. 8 8 Igo, Sarah E., The Averaged American: Surveys, Citizens, and the Making of a Mass Public (Cambridge, MA, 2007), 5CrossRefGoogle Scholar. 9 9 Ibid., 243; on the Kinsey research, see chaps. 5–6. 10 10 D'Emilo, John and Freedman, Estelle, Intimate Matters: A History of Sexuality in America (Chicago, 1997), 285Google Scholar. 11 11 Schofield, Michael, “Fifty Years after Kinsey,” Sexualities 1, no. 1 (February 1998): 103–4CrossRefGoogle Scholar. 12 12 The work on the European reception of the Kinsey report is concisely discussed in Herzog, Dagmar, “The Reception of the Kinsey Reports in Europe,” Sexuality and Culture 10, no. 1 (March 2006): 39–48CrossRefGoogle Scholar. 13 13 Mandler, Peter, The English National Character: The History of an Idea from Edmund Burke to Tony Blair (New Haven, CT, 2006), 199Google Scholar. 14 14 Kynaston, David, Family Britain, 1951–57 (London, 2009), 551–52Google Scholar. 15 15 Szreter, Simon, “Victorian Britain, 1837–1963: Towards a Social History of Sexuality,” Journal of Victorian Culture 1, no. 1 (Spring 1996): 144, 142.CrossRefGoogle Scholar 16 16 For examples, see Sutherland, John, Offensive Literature: Decensorship in Britain, 1960–1982 (London, 1982)Google Scholar; Aldgate, Anthony, Censorship and the Permissive Society: British Cinema and Theatre, 1955–1965 (Oxford, 1995)Google Scholar; Marwick, Arthur, The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c. 1958 to c. 1974 (Oxford, 1998)Google Scholar; Green, Jonathon, All Dressed Up: The Sixties and the Counter-Culture (London, 1999), chap. 6Google Scholar; and Donnelly, Mark, Sixties Britain: Culture, Society and Politics (Harlow, 2005)Google Scholar. 17 17 For example, the press is barely mentioned in three key collections exploring the culture of this period: Moore-Gilbert, Bart and Seed, John, eds., Cultural Revolution? The Challenge of the Arts in the 1960s (London, 1992); Anthony Aldgate, James Chapman, and Arthur Marwick, eds., Windows on the Sixties: Exploring Key Texts of Media and Culture (London, 2000)Google Scholar; and Collins, Marcus, ed., The Permissive Society and Its Enemies: Sixties British Culture (London, 2007)Google Scholar. 18 18 Seymour-Ure, Colin, The British Press and Broadcasting since 1945, 2nd ed. (Oxford, 1996), 16–20Google Scholar; Williams, Francis, Dangerous Estate: The Anatomy of Newspapers (London, 1958), 1–2Google Scholar. 19 19 On this, see Bingham, Adrian, Family Newspapers? Sex, Private Life, and the British Popular Press (Oxford, 2009)Google Scholar. 20 20 On BBC broadcasting in this period, see Briggs, Asa, Sound and Vision, vol. 4 of The History of Broadcasting in the United Kingdom, 5 vols. (Oxford, 1979)Google Scholar; and Crisell, Andrew, An Introductory History of British Broadcasting, 2nd ed. (London, 2002)Google Scholar. 21 21 Igo, Averaged American, 256; Gathorne-Hardy, Jonathan, Alfred C. Kinsey: Sex The Measure of All Things (London, 1998), 270Google Scholar. 22 22 Igo, Averaged American, 237. 23 23 Notably “Too Darn Hot” from Kiss Me Kate (music and lyrics by Cole Porter; first performed in New York in 1948); on Kinsey's celebrity, see Igo, Averaged American, chap. 6. 24 24 Gathorne-Hardy, Alfred C. Kinsey, 269–70; Ferris, Paul, Sex and the British: A Twentieth-Century History (London, 1994), 209Google Scholar. 25 25 This statement is made on the basis of word searches of the digital archives of these four newspapers: the Mirror and Express archives are available at http://www.ukpressonline.co.uk/; The Times at http://www.archive.timesonline.co.uk/; and the Manchester Guardian at http://www.guardian.chadwyck.co.uk. 26 26 Ferris, Sex and the British, 209–10. 27 27 Sunday Pictorial, 2 January 1949, 5. 28 28 Bingham, Family Newspapers? 29 29 See, e.g., McKibbin, Ross, Classes and Cultures: England, 1918–1951 (Oxford, 1998), chap. 11Google Scholar; Ward, Paul, Britishness since 1870 (Abingdon, 2004), 89–92Google Scholar; Swann, Paul, The Hollywood Feature Film in Post-War Britain (Beckenham, 1987), chap. 2Google Scholar; and Rose, Sonya, Which People's War? National Identity and Citizenship in Britain, 1939–45 (Oxford, 2003), chap. 3.Google Scholar 30 30 Sunday Pictorial, 2 January 1949, 5. 31 31 Lynes, Russell, Snobs: A Guidebook to Your Friends, Your Enemies, Your Colleagues and Yourself (New York, 1950), 23Google Scholar; Daily Mirror, 20 November 1950, 2. 32 32 Herzog, “Kinsey Reports,” 40–41. 33 33 Seymour-Ure, British Press, 30–31. 34 34 Hugh Cudlipp (1913–98) joined the Daily Mirror as features editor in 1935, moving on to edit the Sunday Pictorial from 1937 to 1940 and (after war service) from 1946 to 1949. Following a brief spell at the Sunday Express, he served as editorial director for both the Mirror and the Pictorial from 1953 to 1968 and as chairman of the parent company IPC until his retirement in 1973. See Hugh Cudlipp, At Your Peril (London, 1962), and Walking on Water (London, 1976); Ruth Edwards, Newspapermen: Hugh Cudlipp, Cecil Harmsworth King and the Glory Days of Fleet Street (London, 2003). 35 35 Bingham, Family Newspapers? 73–75. On Haire and sex education, see Cocks, H. G., “Saucy Stories: Pornography, Sexology, and the Marketing of Sexual Knowledge in Britain, c. 1918–70,” Social History 29, no. 4 (November 2004), 465–84CrossRefGoogle Scholar. 36 36 Sunday Pictorial, 1 February 1948, 7. 37 37 Waters, Chris, “Sexology,” in The Modern History of Sexuality, ed. Cocks, H. G. and Houlbrook, Matt (Basingstoke, 2006), 49Google Scholar. 38 38 Sunday Pictorial, 1 February 1948, 7. 39 39 Ibid. 40 40 Hugh Cudlipp claimed that Marje Proops was the first journalist to use the word “masturbation” in print, in the Daily Mirror, but this was certainly an earlier usage, and I have not found any before 1949; Patmore, Angela, Marje: The Authorised Biography (London, 1993), 181Google Scholar. 41 41 Sunday Pictorial, 2 January 1949, 5. 42 42 Ibid. 43 43 See, e.g., Kynaston, Family Britain, 558; and Collins, Marcus, Modern Love: An Intimate History of Men and Women in Twentieth-Century Britain (London, 2003), chap. 4.Google Scholar 44 44 On the Sunday Pictorial in these years, see Cudlipp, At Your Peril. 45 45 Tom Harrisson, preface to “Mass-Observation's Sex Survey of 1949,” reprinted in Stanley, Sex Surveyed, 68. 46 46 Ferris, Sex and the British, 210; England, “Little Kinsey,” 588. 47 47 England, “Little Kinsey”; Bodleian Library, Oxford, X.Films 200, Mass-Observation File Report 3110B, 2; Stanley, Sex Surveyed, 22. 48 48 Stanley, Sex Surveyed, chaps. 2–3. 49 49 Harrisson, preface to “Mass Observation’s Sex Survey of 1949,” 68. 50 50 Bodleian Library, Oxford, X.Films 200, Mass-Observation File Report 3110A, 18. 51 51 Seymour-Ure, British Press, 28–29. 52 52 Daily Mirror, 17 June 1949, 5. 53 53 Sunday Pictorial, 19 June 1949, 9. 54 54 Sunday Pictorial, 26 June 1949, 1. 55 55 Sunday Pictorial, 19 June 1949, 9; 26 June 1949, 1. 56 56 Ibid. 57 57 Sunday Pictorial, 26 June 1949, 1. 58 58 Sunday Pictorial, 3 July 1949, 6. 59 59 On this, see Stead, W. T., The Maiden Tribute of Modern Babylon, ed. Simpson, Antony E. (Lambertville, 2007).Google Scholar 60 60 Sunday Pictorial, 3 July 1949, 6. 61 61 Sunday Pictorial, 3–31 July 1949. 62 62 Stanley, Sex Surveyed; see also n. 7. 63 63 Sunday Pictorial, 3 July 1949, 6–7. 64 64 Sunday Pictorial, 10 July 1949, 6–7. 65 65 Ibid. 66 66 Sunday Pictorial, 24 July 1949, 5; 3 July 1949, 6–7. 67 67 Sunday Pictorial, 17 July 1949, 6–7. 68 68 Ibid. 69 69 Bingham, Adrian, “The British Popular Press and Venereal Disease during the Second World War,” Historical Journal 48, no. 4 (December 2005), 1055–76CrossRefGoogle Scholar. 70 70 Sunday Pictorial, 17 July 1949, 1. 71 71 Ibid., 6–7. 72 72 Ibid. 73 73 See, e.g., the public reaction to Stead's 1885 crusade or to the divorce reporting of the 1920s: Stead, Maiden Tribute; Bingham, Family Newspapers? chap. 4. 74 74 Royal Commission on the Press, 1947–49, Report, Cmd. 7700 (London: Her Majesty’s Stationery Office, 1949). 75 75 Evans, Speech to the House of Commons, 28 July 1949, Parliamentary Debates, Commons, 5th ser., vol. 467 (1949), col. 2786. 76 76 England, “Little Kinsey,” 599. 77 77 Gorer lamented in 1948 that through Kinsey's work “sex has been reduced to statistics”: Igo, Averaged American, 249. 78 78 Mandler, Peter, “Margaret Mead amongst the Natives of Britain,” Past and Present, no. 204 (August 2009), 226CrossRefGoogle Scholar. 79 79 Gorer, Geoffrey, Exploring English Character (London, 1955), 3.Google Scholar 80 80 Ibid., 4–6. 81 81 Ibid. 82 82 People, 12, 19, 26 August; 2, 9, 16, 23, 30 September 1951. 83 83 People, 5 August 1951, 4. 84 84 Beaverbrook to Robertson, August 1951, House of Lords Record Office, London, Beaverbrook Papers, H/151. 85 85 Robertson to Beaverbrook 13 August 1951, House of Lords Record Office, London, Beaverbrook Papers, H/151. 86 86 Gorer, Exploring English Character, 26, 33. 87 87 Mandler, “Margaret Mead,” 225–26. 88 88 People, 12 August 1951, 4. 89 89 People, 26 August 1951, 4. 90 90 People, 12 August 1951, 4. 91 91 People, 19 August 1951, 4. 92 92 Bainbridge, Cyril and Stockdill, Roy, The News of the World Story: 150 Years of the World's Bestselling Newspaper (London, 1993); Bingham, Family Newspapers? 127–33.Google Scholar 93 93 Mass-Observation, The Press and Its Readers: A Report Prepared by Mass Observation for the Advertising Service Guild (London, 1949), 14. 94 94 Sunday Express, 23 August 1953, 4. 95 95 See. e.g., Daily Sketch, 12 August 1953, 4; 14 August 1953, 4; 15 August 1953, 4; Daily Mirror, 12 August 1953, 2; 14 August 1953, 4; 15 August 1953, 12; People, 16 August 1953, 1, 7. 96 96 Irish Times, 7 September 1953. 97 97 See, e.g., Daily Mirror, 20 August 1953, 1. 98 98 Daily Mirror, 20 August 1953, 8–9; see also Daily Herald, 20 August 1953, 4. 99 99 Daily Herald, 20 August 1953, 4. 100 100 Daily Mirror, 21 August 1953, 8. 101 101 E. J. Robertson to Beaverbrook, 26 August 1953, House of Lords Record Office, London, Beaverbrook Papers, H/164. 102 102 Ibid. 103 103 Kynaston, Family Britain, 552. 104 104 Daily Sketch, 20 August 1953, 4. 105 105 Daily Mirror, 22 August 1953, 5. 106 106 Daily Herald, 21 August 1953, 4; 22 August 1953, 3. 107 107 Daily Mirror, 22 August 1953, 5. 108 108 People, 23 August 1953, 6. 109 109 Cited in Daily Herald, 21 August 1953, 4, and Daily Mirror, 22 August 1953, 2. 110 110 Daily Herald, 21 August 1953, 4. 111 111 Daily Mirror, 22 August 1953, 2. 112 112 Ibid. 113 113 The Times, 31 August 1953, 2. 114 114 Manchester Guardian, 20 August 1953, 4. 115 115 Manchester Guardian, 4 December 1953, 4. 116 116 Daily Express, 20 August 1953, 4. 117 117 Sunday Express, 23 August 1953, 4; Bingham, “The Popular Press and Venereal Disease.” 118 118 Tom Blackburn to Beaverbrook, 11 August 1953, Beaverbrook Papers, H/161; E. J. Robertson to Beaverbrook, 17 August 1953, Beaverbrook Papers, H/164. 119 119 On the nature of the Express in this period, see Anne Chisholm and Michael Davie, Beaverbrook: A Life (London, 1992). 120 120 Sunday Express, 23 August 1953, 4. 121 121 Ibid. 122 122 Sunday Express, 25 October 1953, 6. 123 123 Robertson to Beaverbrook, 26 August 1953; Atkins to Robertson, 8 September 1953, Beaverbrook Papers, H/164; World's Press News, 11 September 1953, 11. 124 124 The Encyclopedia of the British Press, 1422–1992, ed. 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"https://webhost.lclark.edu/campion/hist328/328bit.gif" ]	[]	[]	[ "" ]	null	[]	null			http://webhost.lclark.edu/campion/favicon.ico		null	SOME of the most enduring images of the British Empire in the popular imagination have come from films. Some of these films are of average quality and imperfect in their historical accuracy, but many are excellent and effectively recreate the environment and compelling issues that people living in different parts of the empire faced at various points in their history. And since films are the media through which much of the general public gain their impressions of the British Empire, they are worthy of consideration by historians for that reason alone. Below is a selection of films useful for complementing our study of the history of the British Empire. Most of these films are available on DVD or Blu-Ray at Watzek Library. You can also find many of them on streaming services. In addition to this list, Colonial Film: Moving Images of the British Empire holds detailed information on over 6000 films showing images of life in the British colonies. Over 150 films are available for viewing online. Some information courtesy of Internet Movie Database. Used with permission THE AMAZING GRACE Director: Jeta Amata, 2006 The subject of this moving Nigerian film is the life and misdeeds of Captain John Newton, the infamous English slave trader who in later life repented, became an Anglican clergyman, and penned the lyrics of the popular hymn "Amazing Grace". The plots follows Newton while he was in West Africa and his interaction with one particular slave woman who forced him to see the humanity of his victims as well as his own. © Nu Metro Productions BARRY LYNDON Director: Stanley Kubrick, 1975 In a small village in eighteenth-century Ireland, Redmond Barry is a young farm boy in love with his cousin Nora. When she becomes engaged to a British captain, Barry challenges him to a duel and wins. He then flees to Dublin and, with no other alternative, assumes a false name ("Barry Lyndon") and joins the army to fight in the Seven Years War. An excellent period film that brings to life the privileged world of the Anglo-Irish Protestant ascendancy. Based loosely on the 1844 picaresque romance by William Thackeray. © Warner Home Video TO THE ENDS OF THE EARTH Director: David Attwood, 2005 A gripping tale of a group of British migrants on a six-month voyage to Australia in the early nineteenth century. Along the way, young Edmund Talbot, an aspiring civil servant traveling to take a post under the governor of New South Wales, keeps a journal recording his impressions of the crew and his fellow passengers. Filmed at sea aboard a replica period ship, this TV series captures well the rigors, discomfort, tedium and terror of an antipodean sea voyage in the Age of Sail. Based on the trilogy of novels by William Golding. © BBC/Power BLACK '47 Director: Lance Daly, 2018 Set in 1847, the worst year of the Great Famine in Ireland, this film follows Martin Feeney, a deserter from the Connaught Rangers, who returns from Afghanistan and India to his home in Connemara to rescue his destitute family. His vengeance against British constables and a local landlord make him a hunted man as he evades capture by the authorities. A graphic depiction of the devastation of the Irish Famine with some dialogue in the Irish language. © IFC Films GUNGA DIN Director: George Stevens, 1939 This classic film, starring Cary Grant and Douglas Fairbanks jr, was one of the very first Hollywood depictions of India. Set in the nineteenth century, three British soldiers and a native waterbearer must stop a secret revival of the murderous "Thuggee" cult before it can spread across the land. The film is based very loosely on Rudyard Kipling's 1892 ballad of the same name (though it is more like The Three Musketeers) and is interesting for its stereotypes as much as for its story. © RKO Pictures SHATRANJ KE KHILARI \| THE CHESS PLAYERS Director: Satyajit Ray, 1977 In 1856, officials of the East India Company move to consolidate their hold over North India by annexing the wealthy kingdom of Awadh. The chief minister to the Nawab attempts to warn his ruler and local landlords of the impending danger but they ignore him and instead indulge their obsession with playing chess. The game becomes a metaphor for the larger game of politics played by the British as they maneuver to capture Awadh's king. Based on the 1924 short story by Premchand. © Shemaroo JHANSI KI RANI \| THE QUEEN OF JHANSI Director: Sohrab Modi, 1952 This epic film tells the true story of Lakshmi Bai, Rani of the small princely state of Jhansi in central India. The Rani of Jhansi struggled to save her state from British annexation and died in 1857 while personally leading her soldiers into battle. Her heroism, leadership, and sacrifice have been celebrated in folklore and repeatedly invoked by Indian nationalists. This was the first Indian film in Technicolor and one of the first to enjoy distribution in the US under the title The Tiger and the Flame. © Geneon THE RISING: THE BALLAD OF MANGAL PANDEY Director: Ketan Mehta, 2005 This Bollywood epic is the first major film to focus on the 1857 Indian Rebellionor "Mutiny" as it is usually referred to in British history. The story follows the rebel leader Mangal Pandey, an Indian sepoy in the service of the East India Company, and his friendship with a British officer. Pandey was a real figure but one about whom little is known. Filming began in 2003 and the opening scene was launched by Charles, Prince of Wales, during an official royal visit to India. © Yash Raj Films JUNOON \| THE OBSESSION Director: Shyam Benegal, 1979 Set during the Uprising of 1857, this film focuses on three women of an Anglo-Indian family who take refuge from the rebels with a local moneylender to whom they have a substantial debt and who, thus, has a vested interest in their survival. When they are discovered, their lives are spared as the rebel leader, Javed, wishes to make the youngest woman, Ruth, his second wife. The plot is further complicated when British forces return seeking vengeance for the mutiny. © Shemaroo BURKE & WILLS Director: Graeme Clifford, 1986 This Australian film retells the story of the fateful expedition in 1860 by explorers Robert O'Hara Burke and William John Wills to cross the continent of Australia. Their journey began in Melbourne in the south and ended the Gulf of Carpentaria in the north, a distance of around 1,750 miles. At that time most of inland Australia had not been explored by non-indigenous people and was completely unknown to the European settlers along the coasts. © Greater Union Organisation RIVER QUEEN Director: Vincent Ward, 2005 A lavishly filmed and intimate story set in New Zealand in the 1860s during the war between British settlers and the Maori tribes resisting the colonization of their lands. At the furthest outpost, a young Irish woman's life is torn apart when her son is taken from her and brought upriver by his Maori grandfather. Unsure whether or not her son is even alive she continues her search for seven years and is eventually forced to choose sides in this war of empire. © Twentieth Century Fox UTU Director: Geoff Murphy, 1984 Loosely based on events from Te Kooti's War in New Zealand, this is the story of a Maori warrior, Te Wheke, and his desire for utu (vengeance: literally "blood for blood") against his former allies after the British army destroys his village and kills his uncle. The film is set in the 1870s and chronicles the Maori struggle to keep the land guaranteed to them by the Treaty of Waitangi from seizure by the Pahekas (white settlers). © Kino Video CONDUCT UNBECOMING Director: Michael Anderson, 1975 The plot revolves arounds a scandal in a British regiment stationed in India in the 1870s. Lt. Drake is from a middle-class background and is eager to advance himself by making the right impression. Lt. Millington, the son of a general, is not keen on army life and desires to get out as soon as he possibly can. When the widow of the regiment's most honored hero is assaulted, Drake must defend Millington from the charges in an unusual court-martial. Based on the 1969 play by Barry England. © Crown Films ZULU DAWN Director: Douglas Hickox, 1979 This epic recounts the Battle of Isandhlwana fought on 22 January 1879 in Natal, South Africa. In the course of the fighting about 1,200 British soldiers were massacred by a force of over 20,000 Zulu warriors and the regimental colors were lost. Isandhlwana was the first engagement of the Anglo-Zulu War and stands as one of the most shocking defeats in British military history. Zulu Dawn was written by Cy Enfield as a prequel to his more successful film Zulu released fifteen years earlier. © Tango Entertainment NED KELLY Director: Gregor Jordan, 2004 Based on the true story of Edward "Ned" Kelly, at one time the most wanted man in the British Empire. In 1870s Australia, young Ned is a bushranger living in poverty with his family of first-generation descendants of transported Irish convicts. His frequent trouble with the law and his resentment of colonial class prejudice lead him to form a gang of outlaws who redistribute their loot among the poor farming communities. Ned Kelly has become an Australian icon and is the subject of many earlier films. © Universal VICTORIA & ABDUL Director: Stephen Frears, 2017 In 1887, Abdul Karim, a young police clerk from Agra, is selected by the British colonial goverment to travel to London to present a gift to Queen Victoria on the occasion of her Golden Jubilee. Abdul strikes up an unlikely friendship with the "Empress of India" and stays on in Britain to become her servant and, at her request, her munshi (teacher) of Urdu and the Qur'an. When Victoria dies in 1901, Abdul returns to India. Based on the book by Shrabani Basu and Abdul's diary discovered in 2010. © BBC Films THE LAST PLACE ON EARTH Director: Ferdinand Fairfax, 1985 This miniseries recounts the tragic story of the Scott expedition's failed attempt in 1911 to be the first to reach the South Pole. Their arrival at the pole five weeks after Roald Amundsen's Norwegian team was demoralizing enough, but the return journey proved even worse. After his death, Capt. Robert Scott was lionized as an Edwardian hero but in recent years his leadership and personality have been questioned. This series, beautifully filmed in Greenland, offers a much less flattering portrayal of Scott than the glorified image in the 1948 film Scott of the Antarctic. © Renegade Productions THE FLAME TREES OF THIKA Director: Roy Ward Baker, 1982 Elspeth and her unconventional parents decide to settle down in British East Africa and begin a coffee plantation. This is a time of discovery for Elspeth, as she encounters the incredible beauty and cruelty of nature, and new friendships with both Africans and British expatriates. Eventually, however, the excitement of her life is disrupted by the onset of the First World War and the changes it brings. Based on the 1959 memoir by Elspeth Huxley. © HBO Films GALLIPOLI Director: Peter Weir, 1981 In 1915, Archy and Frank meet at a sprinting competition in Western Australia and decide to join the Australia and New Zealand Army Corps (the "ANZACs"). A few months later they land at Gallipoli on the Turkish coast and participate in one of the most disastrous British campaigns of the First World War. This is one of the best film portrayals of the horrors of war and the waste of young lives. It also gives insight into a distinctly anti-British sense of Australian nationalism that arose after this war. © Warner Home Video LAWRENCE OF ARABIA Director: David Lean, 1962 This is a classic film about T.E. Lawrence, a young officer assigned to the British Foreign Office in Cairo during the First World War. Lawrence is given the task of riding into the Arabian Desert to unite the various Bedouin tribes against the Turkish forces (which are allied with Germany). The film is a highly romanticized portrayal of Lawrence's campaign and has been the subject of much controversy among historians and cultural critics. Based loosely on Lawrence's 1922 memoir Seven Pillars of Wisdom. © Columbia/TriStar THE LAST SEPTEMBER Director: Deborah Warner, 1999 Set in Co. Cork in 1920, this film revolves around the lives and romantic complications of an aristocratic Anglo-Irish family living on their estate in the midst of the Irish war for independence. A compelling look at the last days of the Protestant Ascendancy and of their own sense of Irishness being tested through the changing national climate of their country and an uncertain future. Based on the 1929 novel by Elizabeth Bowen. © Lions Gate THE WIND THAT SHAKES THE BARLEY Director: Ken Loach, 2006 In 1919, Irish volunteers wage a guerrilla campaign against the ruthless "Black and Tan" paramilitary squads arriving from Britain to block Ireland's bid for independence. Driven by a deep sense of duty and love of country, Damien abandons a promising career as a doctor and joins his brother, Teddy, in this dangerous and violent struggle. Their victory is followed in 1922 by the Irish Civil War that pits these same comrades against each other. The title comes from a famous Irish ballad. This film won the Palme d'Or at the 2006 Cannes Film Festival. © Sixteen Films THE LONG DUEL Director: Ken Annakin, 1967 Set in the 1920s, this film is based very loosely on the true exploits of the notorious Bhanta dacoit, Sultana, and the colonial police officer, Freddy Young, whose mission it was to capture him. Sultana (Yul Brynner) and Young (Trevor Howard) develop a strong respect for each other during their game of evasion and pursuit across the hills and plains of North India. However, the portrayal of Sultana as a nationalist rebel and Young as ambivalent toward British imperialism in India is historically inaccurate. © Rank Organisation MISTER JOHNSON Director: Bruce Beresford, 1991 Set in colonial Nigeria in 1923, this film tells the story of Harry Rudbeck, an ambitious magistrate who wants to build a road connecting his backwater post to the outside world. Struggling to find ways around colonial bureaucracy, he relies on his resourceful African clerk, Mr. Johnson. Yet Johnson is an oddity: an educated black man who does not really fit in with either his fellow Africans or the British. Based on the 1952 novel by Anglo-Irish writer Joyce Cary. © United American Video SANDERS OF THE RIVER Director: Zoltan Korda, 1935 A British district officer in 1930s Nigeria governs his area strictly but justly and, with the aid of a loyal native chief, takes on local gunrunners and slavers. The chief was played by African-American actor and activist Paul Robeson who later became so disillusioned with the editing that he publically disowned the film and attempted, unsuccessfully, to buy back all the prints to prevent it from ever being shown. The film is based on the stories of Edgar Wallace. © Criterion THE RIVER Director: Jean Renoir, 1951 This coming of age story revolves around Harriet, the daughter of an English jute mill owner, who lives in a house on the banks of the Ganges. Harriet's family life and friendships immerse her in a world that blends Indian and western culture. Based on the 1946 novel by Margaret Rumer Godden, The River was the first Technicolor film made in India. Martin Scorsese saw this film as a child and it had a profound effect on his later development as a filmmaker. Satyajit Ray, the great Bengali director, also cited The River as a major influence on his style of filmmaking. © Criterion BLACK NARCISSUS Directors: Michael Powell and Emeric Pressburger, 1947 This strange and haunting film focuses on a group of Anglican nuns who arrive in a remote location in the Himalayas to set up a school and clinic for the local residents. The fragmentation and collapse of their own community force them to abandon the mission. The film was released a few months before Indias independence and some critics speculate that the plot is an allegory about Britains retreat from India. Based on the 1939 novel by Margaret Rumer Godden. © Criterion NIRGENDWO IN AFRIKA \| NOWHERE IN AFRICA Director: Caroline Link, 2001 In the late 1930s, a Jewish family, the Redlichs, reluctantly emigrate from Germany to British East Africa to manage a farm. At first, not all members of the family come to accept their new life in such an "uncivilized" society. However, with a return to Germany impossible given the persecution of Jews, the Redlichs must make the adjustment. They soon find themselves treated more humanely by Africans than they ever were in the supposedly civilized Europe from which they fled. Based on the 1995 autobiographical novel by Stefanie Zweig. © Sony Pictures RABBIT-PROOF FENCE Director: Phillip Noyce, 2002 In 1905 the Australian government authorized the forcible removal of aboriginal children from their mothers' care and sent them hundreds of miles away to schools designed to stamp out their culture and train them for domestic service. This film tells the true story of three girls who in 1931 escaped and found their way home over a thousand miles of outback. These children were part of what have come to be known as the "stolen generations" and remains a dark chapter in Australian and imperial history. © Miramax MALTA STORY Director: Brian Desmond Hurst, 1953 This film focuses on the heroic defense of Malta, the British Empire's vital fortress colony in the Mediterranean, during the Second World War. While the plot focuses on the exploits of a British reconnaissance pilot stationed on the island and his romance with a young Maltese woman, much attention is given to the courage of the Maltese people themselves in successfully withstanding one of the longest and most destructive bombardment campaigns of the war. © MGM/UA BOSE, THE FORGOTTEN HERO Director: Shyam Benegal, 2005 This film focuses on the final years in the life of Subhas Chandra Bose, one of the most controversial figures in Indian nationalism. A rising star in the freedom movement, Bose fell out with Gandhi and was pushed to the margins of Congress politics. At the outbreak of war in 1939, he fled to Germany and later conspired with Japanese forces to lead an army of Indian soldiers against the British during the Burma campaign. Bose remains a hero to many Indians, especially in his native Bengal. © Sahara Media MAP OF THE HUMAN HEART Director: Vincent Ward, 1992 This haunting film follows the life of Avik, an Inuit boy from Nunavut in the Canadian Arctic. The plot begins with Aviks friendship in the 1930s with a British surveyor who brings him south to be treated for tuberculosis, to his first love with a Métis girl in Montréal, to his wartime service in the RCAF and his participation in the infamous firebombing of Dresden, to his return home and descent into alcoholism and depression. © Polygram EARTH Director: Deepa Mehta, 1998 The movie opens in the city of Lahore in Punjab in 1947 before India and Pakistan became independent. Lahore is a cosmopolitan city, depicted by a group of working class friends from different religions. The rest of the movie chronicles the fate of this group and the maddening religious conflict that sweeps across Punjab as the partition of the two countries is decided and Lahore is given to Pakistan. Based on the 1988 semi-autobiographical novel The Ice Candy Man by Bapsi Sidhwa. © New Yorker Films VICEROY'S HOUSE Director: Director: Gurinder Chadha, 2017 The transfer of power and partition of India and Pakistan told largely through the experiences of the house staff at the stately New Delhi residence of the viceroy following the arrival of Lord and Lady Mountbatten in early 1947. As the clock ticks down to independence, the servants prepare for an uncertain future for themselves and their families. This film was lambasted by historians for the unsupported premise that partition was conceived as a conspiracy by Churchill's wartime government to contain postwar Soviet expansion into the oil-rich Middle East. © Pathé PINJAR Director: Chandra Prakash Dwivedi, 2003 Lajjo is a recently married Hindu woman abducted by Muslims during the chaos of partition and taken to Pakistan. There she is forced to become the second wife of an abusive and controlling alcoholic. Her determined sister-in-law, Puro, sets out to search for her, encouraged by her brother, but cautioned by her parents who would prefer not to lose another child. A compelling story that deals with abduction, a widespread and largely overlooked aspect of partition violence. © Lucky Star Entertainment BHOWANI JUNCTION Director: George Cukor, 1956 In the summer of 1947 the British are on the verge of finally leaving India. Among the few sorry to see them leave are the Anglo-Indianshalf British and half Indian. They are going to miss the patronage of their white cousins, the job reservations, and the important status and positions they currently hold. This film revolves around Victoria, an Anglo-Indian woman and her relationships with British, Indian, and Anglo-Indian men. Based on the 1954 novel by John Masters. © MGM EXODUS Director: Otto Preminger, 1960 This Hollywood epic portrays the last days of the British mandate of Palestine and the birth of the state of Israel. The plot revolves around a group of Jewish war survivors whose refugee ship, Exodus, is diverted from Cyprus to Haifa. There they join a kibbutz and must reconcile themselves to their Arab neighbors as well as more militant Jewish fighters. Meanwhile British authorities struggle to keep order and prepare to partition the country and withdraw. Based on the bestselling 1958 novel by Leon Uris. © MGM/UA O JERUSALEM Director: Elie Chouraqui, 2006 This film revolves around the friendship between two men, an Arab and a Jew, during the final days of Britain's Palestine mandate and leading up to the birth of the state of Israel. As British authorities in the mandate lose the will to stay and keep order Jews and Arabs fight for control of the holy city and to determine the fate of the region. Based on the bestselling 1972 book by Larry Collins and Dominique Lapierre. © Les Films de l'Instant STAYING ON Director: Silvio Narizzano, 1979 Based on Paul Scott's Booker Prize-winning novel from 1977, this film tells the story of retired colonel Tusker Smalley and his wife Lucy who made the decision to "stay on" in India after the British withdrew in 1947 and as most of their friends returned home. Now retired, Tusker and Lucy are the only remaining British residents in a once-busy hill station. Problems arise when the Indian owner of their bungalow plans to change the one corner of India in which they hoped to preserve their Anglo-Indian life. © HBO Films COTTON MARY Directors: Ismail Merchant and Madhur Jaffrey, 1999 In 1954, seven years after India has gained independence from Britain, many Indians still feel like second-class citizens in their own country, as the nation's sovereignty has not immediately erased the perception that the British are superior to Indians. An example is Cotton Mary, an Anglo-Indian nurse in the employment of the wife of a BBC correspondent. Mary claims she is the daughter of a British army officer (although she has no firm evidence) and views herself as more British than Indian. © Universal SOMETHING OF VALUE Director: Richard Brooks, 1957 Peter, a Kenya settler boy, and Kimani, a Kikuyu, are childhood friends. After his father is jailed for following tribal customs, Kimani joins the Mau Mau rebellion. Kimani believes in the cause, but does not agree with the indiscriminate killing of women, children, and those who will not join or support the rebels. Peter, even after the deaths of his little sister and brother by the Mau Mau, still believes that there is a chance for peaceful co-existence. Based on the 1955 novel by Robert C. Ruark. © MGM GUNS AT BATASI Director: John Guillermin, 1964 Regimental Sergeant-Major Lauderdale is an old-school martinet assigned with other British NCOs and officers to a remote African outpost to train soldiers of a newly independent former colony (a thinly veiled Kenya). When a populist uprising overthrows the government, soldiers loyal to the new regime take over the barracks prompting a tense standoff with Lauderdale and his men. Released in 1964, at the height of decolonization, this film is a useful artifact of British feelings about the end of their empire. © Twentieth Century Fox THE LAST KING OF SCOTLAND Director: Kevin Macdonald, 2006 Nine years after Uganda gained its independence from Britain in 1962, a former private in the King's African Rifles named Idi Amin seized power. This film is a fictionalized version of the reign of Amin as seen through the eyes of Nicholas Garrigan, a young Scottish doctor who quite accidentally becomes the dictator's personal physician. A chilling portrait of Amin's erratic and murderous regime as well as the trauma of postcolonial Africa in the wake of British rule. Based on the 1998 novel by Giles Foden. © Fox Searchlight HEAT AND DUST Director: James Ivory, 1982 Anne, an Englishwoman, is investigating the life of her great-aunt Olivia whose destiny had always been shrouded with scandal. The search leads back to the early 1920s, when Olivia, recently married, came to live with her civil servant husband in an Indian princely state. Slowly, Anne discovers, upon getting pregnant by an Indian local in the early '80s, that she and Olivia have more than a little in common. Based on the 1975 novel by Ruth Prawar Jhabvala. © Home Vision Entertainment AN UNGENTLEMANLY ACT Director: Stuart Urban, 1992 This film portrays the days and hours before and during Argentina's 1982 invasion of the Falkland Islands, a British dependency in the South Atlantic. As Argentine forces land on the eastern island and make their way towards the town of Stanley, a detachment of Royal Marines prepares to defend the governor, his family, and their fellow islanders from the invaders. Based on actual accounts (though with some inaccuracies) the film aired on British TV during the tenth anniversary of the Falklands War. © BFS Entertainment ILUMINADOS POR EL FUEGO \| BLESSED BY FIRE Director: Tristán Bauer, 2005 This Argentine film tells the story of the Falklands War through a series of flashbacks among veterans living with the scars of their country's "unwinnable" war. The plot takes the men back to their foxholes on the windswept and desolate Malvinas (Falklands) during the harrowing battles they fought with British forces sent to retake the islands. Victory in the Falklands revived Britain's pride in its former empire and was in some sense a redemption from the humiliation of the Suez crisis of 1956. © Canal + España
7961	dbpedia	0	38	https://www.quillmag.com/2024/06/03/110-journalism-movies-ranked/	en	UPDATED: 200 journalism movies, ranked	https://www.quillmag.com…isgirlFriday.jpg	https://www.quillmag.com…isgirlFriday.jpg	[ "https://quillmag.com/images/quillheader18.png", "https://www.quillmag.com/wp-content/uploads/2019/06/HisgirlFriday.jpg", "https://www.quillmag.com/wp-content/uploads/2019/06/10-days-in-a-madhouse-web-poster-213x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/06/30-Poster3-300x233.jpg", "https://www.quillmag.com/wp-content/uploads/2022/11/Front-page-Woman-210x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/06/Bruce-Almighty-209x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Godzilla_WEB-220x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Black-Like-Me_WEB-300x234.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Fear-And-Loathing-262x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Down-With-Love-211x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Foreign-Correspondent_WEB-200x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/It-Happened-One-Night_WEB-300x236.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Devil-Wears-Prada-255x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Anchorman-214x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Libeled-Lady_WEB-300x235.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Spiderman-197x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Almost-Famous-300x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/ThePost_Still_4028x2692_4-300x200.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Insider-258x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Good-Night-Good-Luck-218x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/End-Of-The-Tour-274x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Groundhog-Day-213x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Network-222x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Zodiac-255x300.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/Citizen-Kane_WEB-300x226.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/His-Girl-Friday-pixabay-300x236.jpg", "https://www.quillmag.com/wp-content/uploads/2019/05/All-the-Presidents-Men-300x169.png", "https://www.quillmag.com/wp-content/uploads/2019/05/Spotlight-257x300.jpg", "https://quill.spjnetwork.org/images/icons/twitter15.png", "https://quill.spjnetwork.org/images/icons/facebook.png", "https://quill.spjnetwork.org/images/icons/instagram.png", "https://www.quillmag.com/wp-content/uploads/2023/05/ad-ss-la_614.png", "https://www.quillmag.com/wp-includes/images/rss.png", "https://quillmag.com/images/quillfooter18.png", "https://www.quillmag.com/wp-content/uploads/2018/01/quillfooter18.png" ]	[]	[]	[ "" ]	null	[]	2024-06-03T00:00:00	Quill, a magazine by the Society of Professional Journalists	en	/favicon/apple-icon-57x57.png	Quill	https://www.quillmag.com/2024/06/03/110-journalism-movies-ranked/	Note: The popularity of this story prompted us to treat it as a dynamic document, adding more reviews as appropriate movies are released or discovered. So what started as “110 Journalism Movies, Ranked” has morphed into “200 Journalism Movies Ranked.” Hollywood helps define just about everything in America. And journalism is no exception. From “Citizen Kane” to “The Post” and from “Libeled Lady” to “All the President’s Men,” reporters have clashed with editors, danced on both sides of the ethical line, and otherwise populated hits and duds on the silver screen. They’ve been heroic, dangerous, and sometimes very funny. In celebration of the 110th anniversary of SPJ, Quill Editor Lou Harry teamed up with the critics from MidwestFilmJournal.com to watch, review and rank 110 journalism-related films. As noted above, we have been expanding the list ever since. Caveat: To make this ambitious project (relatively) manageable, the list was limited to English-language films that were theatrically released. Trimmed out were flicks where the journalism milieu was minimal (i.e. “The Last Time I Saw Paris,” “Teenage Mutant Ninja Turtles” and a load of romantic comedies). What’s left, we hope, is a list that will spark discussion, encourage debate, and provide you with some ideas for the next time you can’t find anything interesting in your Netflix queue. Chime in down in the comments section with your thoughts on any of them. And let us know if we’re missing anything. Reviewers: AC = Aly Caviness, ED = Evan Dossey, LH = Lou Harry, MR = Mitch Ringenberg, NR = Nick Rogers SW = Sam Watermeier Let’s start at the bottom: 200. Brenda Starr (1989). The comic strip about the gutsy reporter lasted from 1940 to 2011. But after sitting on the shelf for years because of rights issues, the film, starring Brooke Shields, disappeared quickly — with good reason. Bob Mackie’s costumes provide the only interest. (LH) 199. 10 Days in a Madhouse (2015). It opens with a bloody scene out of a grade Z horror film and ends with one of the worst original songs ever heard in a movie. In between is an earnest but painfully amateur you-go-girl flick that looks like it was shot by people who couldn’t get work making those bio-docs for the History Channel. Nellie Bly’s pioneering undercover investigation of asylum conditions deserves better than this flop, which barely cracked five figures at the box office. Christopher Lambert and Kelly Le Brock appear, for no clear purpose besides their names, in supporting roles. (LH) 198. Scoop (2006). Upon its 2006 release, “Scoop” was reviewed as one of writer-director Woody Allen’s lesser efforts and time has not been kind. After receiving a tip from a ghost (Ian McShane, a standout), intrepid journalism student Sondra Pransky (Scarlett Johansson) attempts to seduce billionaire socialite Peter Lyman (Hugh Jackman), who may be a murderer. The ethos “anything for the story” rules, but Allen’s script mostly defines it as Johansson using her looks to get ahead — or not. A nice smattering of screwball comedy presages other, better roles in the actress’s future while the lackadaisical pace and one-note characters also, unfortunately, preview Allen’s later work. Note: The much, much better 2024 film with the same title can be found down in the double digits of this list. (ED) 197. I Love Trouble (1994). Screenwriter Nancy Meyers hit sweet spots before and after with “Baby Boom,” “Father of the Bride” and “The Parent Trap” (which she also directed). But here she can’t create sparks between Nick Nolte and Julia Roberts, nor can she and director Charles Shyer navigate the delicate balance of romance and thrills. Nolte and Roberts play rival reporters at Chicago dailies who collide when covering a train wreck. Their investigations — separately and together — unearth a plot involving, no kidding, bovine hormones. But the test of these sorts of films is whether you want the bickering pair to eventually get together, not whether or not the mystery plot works. In this case, though, both chemical efforts fizzle. (LH) 196. Run This Town (2019). “Run This Town” chronicles the final year of former Toronto Mayor Rob Ford’s time in office, back when a video of a politician smoking crack cocaine could still derail their career. Robyn Doolittle, the recent university grad who broke the story in real life, is replaced here by a fictional male reporter aimlessly floating about early adulthood — a questionable choice. Without knowing that background, though, “Run This Town” simply comes across like a minor-level attempt at the rhythms of Aaron Sorkin, filled with colorful conversations and walk-and-talk sequences that never feel like more than the sum of their parts. Worth it, though, for character actor Damian Lewis’s fat-suited performance as Ford, almost entirely unrecognizable under the sweat and latex. (ED) 195. The Escort (2015). This film wants to have its cake and eat it too — sharply poking fun at both sex addiction and prostitution, while ultimately aiming to win your affection as a tender drama. Co-writer Michael Donegar stars as Mitch, a sex-addicted journalist who seemingly finds the woman of his personal and professional dreams when he meets Victoria, a Stanford-educated escort. Hoping to earn a job at a high-profile magazine by telling her story, Mitch tags along on her various trysts. Of course, romantic tension ensues. “The Escort” clumsily connects the commodified intimacy of prostitution to that of magazine interviews. And it also stumbles while exploring the idea of reporters falling in love with their subjects. That’s probably because Donegan, co-writer Brandon A. Cohen and director Will Slocombe maintain the breezy tone of a made-for-TNT movie and try to balance the more earnest dramatic moments with awkward strokes of broad comedy, like the casting of Bruce Campbell as Mitch’s rich-hippie father. A great piece of journalism can drum up suspense even in the inevitable, but by the time this film ends exactly as you expect it will, you’ll feel nothing but relief that it’s over. (SW) 194. The Bonfire of the Vanities (1990). Director Brian De Palma’s colossal botching of Tom Wolfe’s decade-defining novel is clear from the opening, a five-minute tracking shot following narrator/tabloid reporter Peter Fallow (Bruce Willis) to an awards ceremony. You may wonder how they did it. By the end, you’re more likely to wonder why. De Palma’s bloated take on Wolfe’s swirling novel — about the downfall of a Wall Streeter (Tom Hanks, miscast) who incites a racial incident — is more cartoonish than crystallized. Upside: It gave us Julie Salamon’s “The Devil’s Candy: ‘The Bonfire of the Vanities’ Goes to Hollywood,” one of the best books about making movies. (LH) 193. The Naked Truth (aka Your Past is Showing) (1957). With a concept that sounds more promising on paper than it plays out on film, this British offering concerns a sleazy tabloid publisher (Dennis Price) with a blackmail scheme. His rag, The Naked Truth, will run a friendly profile of a famous person next to a scandalous story about that same person — this time unnamed, leaving it up to the reader to make the connection and absolving him of libel. A politician (Terry Thomas) and media personality (Peter Sellers) join forces with others to fight back but their antics generate few laughs before an absurd — and very welcome — conclusion. For Sellers completists only. (LH) 192. Freelance (2023). It seems rude to have released “Freelance” to theaters before the scent of sage burned to blast bad juju from auditoriums showing “Expand4bles” had cleared. But at least this one has better visual effects … and a journalism angle! John Cena plays a former Special Forces soldier tasked to protect disgraced reporter Claire Wellington (Alison Brie) on a trip to interview a notoriously tight-lipped and iron-fisted South American leader. A one-time winner of the International Journalists and Editors Award — tough statue to get, that very real-sounding award! — Claire has now resorted to celebrity man-cave interviews on a website called Infamous Daily. (Come to think of it, Infamous Daily might be kind of a fun reporter name.) Anyway, Claire thinks the interview will be a ticket back to the big time. Instead, it puts her in the middle of a coup from which only Cena can save her. “Freelance” plays out like a fake movie within a movie that manifested into reality as a tax-shelter scheme for a bunch of fat-cat dolts with no better plan to pay their pipers less. It’s awful, but at least Cena and Brie film their “bold moments of guerrilla journalism” in landscape, which will give those editors at Infamous Daily more options. (NR) 191. The Paperboy (2012). Matthew McConaughey stars in this vile piece of southern exploitation as Ward, a big-city journalist brought home to help exonerate a convicted felon, Van Wetter (John Cusack), at the behest of the murderer’s smitten girlfriend-via-correspondence, Charlotte (Nicole Kidman). There is a lot going on in “The Paperboy,” and although McConaughey plays a good investigative reporter, the rest of the film is buried under grim excess to a comical degree. Zac Efron co-stars as Jack, Ward’s brother, who is smitten with Charlotte — a problematic position to be in given her predicament. At one point, Charlotte has to drop trou to save Jack after a jellyfish attack and, well, that’s about the high point of the story. (ED) 190. City of Lies (2018). “City of Lies” dramatizes the investigation conducted by former LAPD detective Russell Poole (Johnny Depp) into the unsolved murder of the rapper The Notorious B.I.B. Poole’s theory followed that corrupt police officers helped with the crime and his investigation into the LAPD’s involvement led to an early forced retirement. The film tells the story in a perplexingly non-chronological style, with flashbacks to the investigation that ended Poole’s career and a present-day story featuring Poole and investigative reporter Darius “Jack” Johnson (Forest Whitaker) teaming up to discover the truth. The film was shelved in 2018 due to Depp’s legal and personal woes, finally finding a VOD release during the COVID-19 pandemic. Ironically, it’s one of Depp’s more measured performances from that era of his career — which isn’t to say he’s especially good in it, particularly his delivery of one of the most unenthusiastic voiceovers ever recorded. A confusing, confounding mess. (ED) 189. Still Here (2020). Even if you only interned in a newsroom, you’ll see how this well-meaning but woefully inept film gets the details so heinously wrong. Swaggering and smoldering Christian Baker (Johnny Whitworth) writes for the fictitious New York Chronicle and becomes personally invested in a story about a young Black girl’s disappearance. “I wanna know what’s really going on out there,” Baker gnashes before dropping cash to a source for intel. “Something I can sink my teeth into.” After a quick glance at Christian’s incendiary copy that calls out the cops, his editor yells: “F*ck it! Let’s run it!” Perhaps it’s fitting that Whitworth resembles a suaver cousin of “Parks & Recreation’s” Jean-Ralphio Saperstein. As journalism films go, this one’s definitely among the worrrrrrrst. (NR) 188. News of the World (2020). In this dry, dust-choked, Oscar-nominated bit of boredom for all involved, Tom Hanks is Jefferson Kyle Kidd, a Confederate veteran roaming America in the thick of Reconstruction. Kidd’s post-war occupation is gathering newspapers from large cities and international editions, then reading them aloud for paying audiences in small towns. Most of the film is a lazily conceived save-the-girl action-Western, an anodyne anomaly for Hanks and director Paul Greengrass that plays like “Plains, Reins and Wagon Wheels.” It’s an oater offering little journalistic fat on which to chew outside of loud-shouting analogs to a divisive present day and eternally irreconcilable racial animosity. (NR) 187. The Pirates of Somalia (2017). Writer-director Bryan Buckley’s adaptation of Canadian journalist Jay Bahadur’s 2011 book opens on audio of Mario Savio’s “bodies on the gears” speech. It’s ostensibly a mantra for a fictionalized Bahadur, given increasingly loud life by Evan Peters. But “Pirates” regards it like a dorm-room poster, a decoration to moon over for what you think it says about you and look straight past until it’s time to pack up for the summer. The many plights of Somalia — the “somewhere crazy” to which a desperate Bahadur flees after chucking the Canuck life — is similarly filtered through western-world whininess. Bahadur’s endless first-person monologues blame the fourth estate for burying his earliest stories. Those stories are all he has, but are they any good? Throw in romantic grace notes a la “(500) Days of Somalia,” Bahadur’s hypnotized animated visions of piracy set to the Notorious B.I.G.’s “Hypnotize” and spiral-cut ham interludes from Al Pacino as Bahadur’s mentor, and you’ve got just another flip, touristy and disengaged geopolitical drama — something like “Captain Phillips” made by Todd Phillips. (NR) 186. Richard Jewell (2019). The tragedy of the real-life Richard Jewell is that of an innocent man brought low by a combination of journalistic and governmental malpractice. Jewell was a security guard at the scene of the Centennial Park bombing during the 1996 Summer Olympics in Atlanta and became the prime suspect in an FBI investigation. It almost ruined his life. Clint Eastwood’s dramatization of the story can’t help but amp up its journalist “villain,” the late Kathy Scruggs, into a slanderous caricature of a real woman. It commits the same affront to truth it tries to unpack. Sometimes reporters make mistakes, but there’s no reason to return such an affront in kind. It’s too bad, as this is otherwise Eastwood’s best film in his later period of “unsung hero” stories, filled with great performances and funny writing. (ED) 185. The Dark (1979). An investigative reporter on a desperate quest to find his daughter’s killer encounters an alien that shoots lasers from its eyes and likes to rip people’s faces off. Director John “Bud” Cardos’s horror / sci-fi film offers a tantalizing premise that unfortunately never comes close to realizing its full potential. This grindhouse also-ran is most notable for almost being helmed by legendary director Tobe Hooper (“The Texas Chain Saw Massacre”) before he was fired after only three days on set. What Hooper might have been able to make of this material is certainly better than what we got — a lot of stiff acting and people standing around arguing with one another and not nearly enough face-ripping. (MR) 184. Perfect (1985). The team behind “Urban Cowboy” (including co-writer and journalist Aaron Latham) attempts a similar feat of cultural anthropology with John Travolta in tow. Here, he plays Adam Lawrence, a Rolling Stone reporter who finds love with a fitness instructor (Jamie Lee Curtis) and journalistic disillusionment while (rather interminably) researching and reporting the 1980s health club craze. It’s surprising that Stone founder Jann Wenner loaned his publication’s name to a film that paints their practices so poorly, doubly so that Wenner essentially plays himself, and triply so for how padded “Perfect” is by extraneous exercise footage (including, yes, an end-credits shot of Wenner in the gym). This DOA romantic drama also delivered the kill shot to Travolta’s flagging career momentum, which didn’t recover until nearly a decade later with “Pulp Fiction.” So drippy here that he can’t even meet Curtis a quarter of the way on chemistry, Travolta fares no better after Adam becomes a First Amendment poster child in a haphazardly handled final act. Turns out “Perfect’s” lone cultural legacy is that well-memed GIF of Travolta thrusting his pelvis in a precariously perched pair of junk-hugging jockeys. (NR) 183. -30- (aka Deadline Midnight) (1959). Fans of old school TV may get a kick out of seeing William Conrad, Joe Flynn, Richard Deacon and David Nelson fill out the cast. Plus there’s Miss Arkansas of 1959, Donna Sue Needham (yes, she’s billed in the opening credits that way). But there’s not much to recommend in this look at the overnight activity at a big city daily. Few films on this list spend this much time in the newsroom — or this much time focused on coffeemaking — but the tone is all over the place. Director/producer Jack Webb saddles himself with playing an editor adjusting to the idea of adopting a child. Better known as the title character on the series “Cannon,” Conrad comes across as an unfunny Jackie Gleason (“You had better rustle your bustle, Nellie Bly,” he says when giving a young female reporter an assignment.) An overwrought score punctuates matters throughout, particularly when the drama turns to a kid missing in a storm drain. (LH) 182. How to Lose Friends & Alienate People (2008). If you kowtow to celebrities, your byline will grace the glossy pages of culture magazines but your heart will burn dim. That’s essentially the concluding message of this film, which is sufficient for a soft romantic comedy but disappointing given the sharp source material of controversial British writer Toby Young’s 2001 memoir. Young took a bloody bite out of the Big Apple, shaking things up at Vanity Fair and having disastrous run-ins with Kenneth Branagh, Mel Gibson and Diana Ross, among other celebrities. The film adaptation, in which Simon Pegg plays a stand-in for Young, is surprisingly toothless, eschewing Young’s juicy behind-the-scenes drama in favor of clichéd comic situations, such as an awkward interview in which Pegg’s character asks a musical-comedy star whether he’s gay. The film soon sets up more promising comic targets, including a deliciously douchey director, and Pegg makes you root for Young to take them down. But screenwriter Peter Straughan and director Robert Weide always pull the punches, making the film seem as lily-livered as the starstruck journalists it’s supposedly aiming to satirize. (SW) 181. Up Close and Personal (1996). It’s hard to imagine credited screenwriter and literary journalist Joan Didion approved much of a movie that plays like “Broadcast News” by way of Nicholas Sparks and lacks any of the intimate despair of her best work. What began as a biopic of the late NBC News reporter Jessica Savitch was eventually altered beyond recognition by Touchstone Pictures and released as a saccharine romance vehicle for Robert Redford and Michelle Pfeiffer. Admittedly, it’s impossible for these actors not to be endearing, but they’re trapped in a forgettabls studio vehicle from director Jon Avnet that has as much to say about journalism as “She’s All That.” In fact, Pfeiffer even gets the same makeover treatment here. (MR) 180. The Unseen (1980). With a story credit by makeup maestro Stan Winston and a premise revolving around a basement-dwelling bogeyman, “The Unseen” sounds promising on paper. Unfortunately, what it leaves unseen is an imaginative monster as well as a worthwhile spotlight on journalism. The film follows three TV reporters left stranded on assignment covering the annual Danish festival in Solvang, California. This is a decent setup, but the journalism tie-in ends here. An eccentric museum owner (Sydney Lassick) quickly whisks the women away to his farmhouse, where all hell breaks loose. Rather than relying on their instincts as reporters or turning their cameras on their horrific ordeal, the news team stereotypically stumbles through the nightmare. The film deserves kudos for its depiction of the lead reporter’s ultimate empathy toward the monster, but that feels like too little too late amid this silly mess. As you browse our list of journalism movies, help this entry live up to its title by avoiding it. (SW) 179. Bright Lights, Big City (1988). Casting Michael J. Fox as the coke-snorting lead in an adaptation of Jay McInerney’s seminal 1980s novel seemed a bad idea at the time. Viewing it 30 years later, it’s an even worse idea. That being said, it’s one of the only cinematic treatments of the challenges facing fact-checkers — in this case, a hard-partying staffer for a New Yorker-ish magazine. The scenes at the magazine office (where Swoosie Kurtz, Frances Sternhagen and John Houseman lend support) are at least less cringy than the nightlife and domestic-drama scenes. (LH) 178. The Mean Season (1985). Strung-out Miami reporter Malcolm Anderson (Kurt Russell) becomes a serial killer’s public mouthpiece in this nicely shot, thematically daft schlock about the line past which storytellers become the story. Adapted from former Miami Herald reporter John Katzenbach’s novel (and filmed in the Herald’s offices), Phillip Borsos’ 1985 film parks a truck of red herrings to rot in the sweltering Florida heat. Malcolm’s girlfriend, Christine (Mariel Hemingway), exists only for the killer to endanger, after which Malcolm improbably jumps a bridge to save her. Imagine if Jake Gyllenhaal free-soloed Coit Tower to stop the Zodiac Killer. Plus, Malcolm’s paper uses a passive-voice headline when Christine is taken. Poor form, especially on A1. (NR) 177. Teacher’s Pet (1958). Clark Gable is a hardnosed (read: obnoxious) city editor who laments “dames” teaching journalism classes. (“Amateurs teaching amateurs how to be amateurs,” he gripes.) Doris Day is a teacher who believes — and demonstrates — the value of education. He signs on to her class under an assumed name to show her up but is soon smitten. There are plenty of noble speeches and journalistic debates on the way to the revelation of his real identity. Day is charming, particularly when she’s got the upper hand, but Gable’s sexist creepiness hasn’t aged well. (LH) 176. Lions for Lambs (2007). In one of the worst-reviewed films for each of its three major stars, Tom Cruise plays a senator who offers a scoop to skeptical reporter Meryl Streep about military operations in Afghanistan. Meanwhile, Robert Redford (who also directed) plays a professor pushing students away from apathy. It’s generally talky and often to its own detriment. But an early scene perfectly encapsulates the largely rocky relationship between politicians and the press. When Streep’s journalist grills Cruise’s senator about the reasoning behind the Iraq War, he fires back, “How many times are you people going to ask the same question?” With utter righteousness, she replies: “ ’Til we get the answer.” Messy as it might be, “Lions for Lambs” reminds us that journalists’ dogged pursuit of the truth is often the only hope we have of cleaning up our government’s messes. (SW) 175. Batman v. Superman: Dawn of Justice: The Ultimate Edition (2016). We’re not arguing that the 183-minute version of Zack Snyder’s infamous title bout between DC Comics’ biggest characters will change the hearts of viewers who found the 151-minute theatrical cut tedious. That would be impossible. However, the half-hour of restored content features one of the best on-screen depictions of Superman’s alter ego, Clark Kent, performing his duties as an investigative reporter for The Daily Planet. His topic? Batman’s violent war on crime. His real foe? A newspaper industry that doesn’t care about consequence, only “content.” Although this additional subplot still ends up lost in the bombastic third act, it reminds viewers why journalism is a profession worthy of Superman. (ED) 174. Players (2024). In a romantic comedy this juiceless, you must savor joy as you can — like surprisingly accurate bits about the Kronos Quartet or unexpected focus on the work of a data journalist (Damon Wayans, Jr.). He’s among a group of single Brooklyn reporters whose evenings consist of convoluted cons intended for them all to get lucky — an endeavor of lying both fundamentally antithetical to their careers and almost impossibly expensive for their salaries. (“Fast & Furious” or “Mission: Impossible” heists cost less than these bar tabs.) When a sportswriter (Gina Rodriguez) stuck covering chess-boxing and turtle racing meets a dashing war correspondent (Tom Ellis), she decides she’s ready for long-term love and the group runs its biggest play yet. Unlike the interrogation-room scheme of most streaming romantic comedies, “Players” is lit like a real movie. It’s the nicest thing to say about it, as the exertion Rodriguez and Wayans exhibit to keep this watchable will just make you wish they had different agents. Even less believable than the romantic fantasy: One well-written feature story will save you when the layoffs arrive. (NR) 173. The Shrine (2010). There comes a time in every reporter’s career when they simply can’t resist the urge to investigate a ritualistic cult in a small Polish village, and “The Shrine” is one of the few movies on this list to really explore that journalistic phenomenon in depth. Even if you can overlook the wall-to-wall shoddy acting, this is a rather limp “Evil Dead” knockoff with some passable practical effects and a story that revolves around a thuddingly obvious central mystery. However, if you want to see a movie whose third act is mostly a bunch of Abercrombie models running around in monastery robes, this might be your best bet. (MR) 172. Truth (2015). Short of George Clooney, no heartthrob turned Hollywood royalty has stepped to bat for journalism as readily as Robert Redford. As this list will show, Redford’s average took a ding in recent years. But the star doesn’t even bother to take Wonderboy off his shoulder here, playing Dan Rather in James Vanderbilt’s dim 2015 dramatization of his last days at CBS after an inaccurately reported story regarding George W. Bush’s military service. Even if “Truth” hadn’t opened in the same year as “Spotlight,” its superficial grandstanding about rigged systems and agendas would feel like a production staffed by understudies. (NR) 171. Tomorrow Never Dies (1997). James Bond faces off against megalomaniacal journalist Elliot Carver (Jonathan Pryce) in the 18th 007 film. Pierce Brosnan’s Bond outings trended from outlandish to absurd. This is no different, infused with John Woo-inspired gunplay and Wai Lin (Michelle Yeoh), a Chinese agent every bit Bond’s equal. Together, they thwart Carver’s plans to monopolize the 24-hour news market by starting World War III. Not one of Bond’s best, but Pryce is memorable as the last traditionally wacky/topical Bond villain. “I have my divisions: TV, news, magazines,” Carver rants. Little does he know Facebook will supplant him in a half-decade. Just don’t pivot to video, Elliot. (ED 170. Greed (2019). “Greed” starts off as a juicy eat-the-rich satire but ultimately dries up into unearned dramatic territory. Steve Coogan stars as retail tycoon Sir Richard “Greedy” McCreadie, a thinly veiled stand-in for British fashion mogul Philip Green, and David Mitchell is Nick Morris, the nebbish journalist/biographer following McCreadie around to ghost-write a flattering memoir. Set during an extravagant party much like Green’s real-life jamborees, the film flashes back to McCreadie’s past as a boarding school brat and traces his rise and fall in the fashion industry. Not until the third act does co-writer / director Michael Winterbottom really focus on the fact that McCreadie’s empire was built on the backs of Sri Lankan women working in sweatshops. The ending title cards aim to shock us with disturbing facts about the fashion industry and the socioeconomic disparity involved, but after 90-plus minutes of Coogan hamming it up for humor’s sake, this information feels like it belongs in a better film. Like Nick, “Greed” commits the journalistic sin of glossing over the victims of a charming devil. (SW) 169. Revenge of the Radioactive Reporter (1990). This Canadian horror-comedy plays like a cross between the ultraviolent Troma shenanigans of “The Toxic Avenger” and the gloopy, radioactive B-horror of “The Incredible Melting Man,” but it never quite captures the micro-budget magic of those accidental masterpieces. “Revenge of the Radioactive Reporter” serves as a harrowing lesson to journalists: Do not stand over a vat of nuclear waste when interviewing an evil head of a nuclear power plant, where he can easily push you in with absolutely no witnesses. In this instance, it causes our heroic reporter, Mike R. Wave (ha!), to return as a disfigured mutant hellbent on revenge — a story we hear about far too often in real-world journalism. (MR) 168. The Last Letter from Your Lover (2021). A silly, if sweet, melodrama about two generations of lovers helping inspire one another to follow their hearts’ true paths. In the 1960s, Jennifer (Shailene Woodley) loses her memory and must use letters to remind herself of the man she loved. In the present day, young journalist Ellie (Felicity Jones) discovers Jennifer’s letters. She’s inspired to find out how the old love story ended and finds herself in a position to write its final chapter. Ellie’s story is the more interesting of the two, particularly because Jones is a far better performer than Woodley and gets to have a lot more fun as an idealistic reporter finally able to sink her teeth into a meaningful story. (ED) 167. Alien Seed (1989). Move over, “Spotlight:” Here’s an even more incendiary tale of investigative journalism and institutional corruption. When Mary (Shellie Block) is inexplicably impregnated by an alien lifeform, no one will believe her … except for daring and roguish newspaper reporter Dr. Stone (Erik Estrada). In this world, reporters have the same level of combat training and espionage skills as James Bond, albeit without even a fraction of the budget. For a movie called “Alien Seed,” there’s very little alien action but plenty of no-budget car chases, clumsy shootouts, blood squibs, government spooks and a bizarre amount of erotic dancers. It’s a low-rent curio that often feels like you’re watching a pornographic parody of “The X-Files” on a scrambled channel. (MR) 166. Francis Covers the Big Town (1953). Journalists need sources. In movies they’re usually cops, criminals or spurned wives. It doesn’t matter as long as the information is flowing, right? So what about a talking mule? “Francis Covers the Big Town” was the fourth adventure of the titular talking Army mule and his human pal, Peter (Donald O’Connor), who spent most of the 1950s falling into silly situations together. This time around, Peter brings his four-legged pal to the Big Apple in hopes of finding civilian work at a newspaper. He hopes to land a few big stories and end up becoming part of the newsroom. Soon enough, they find themselves in heaps of trouble. “Francis Covers the Big Town” is silly for what it is, mixing Francis with pretty standard newspaper-drama fare; among fans of this series, it seems to be one of the more well-regarded entries. (ED) 165.The Fifth Estate (2013). Despite being penned by Josh Singer, the screenwriter behind two of this list’s best journalism films (“The Post” and “Spotlight”), “The Fifth Estate” is a scattershot slog. A biographical thriller about the daring feats of the controversial news site WikiLeaks, it ironically grows less interesting as its subject, WikiLeaks founder Julian Assange (Benedict Cumberbatch), takes more risks. That’s because the bulk of the film boils down to him butting heads with co-founder Daniel Berg (Daniel Brühl), who’s far more cautious. We get it, Julian, you live on the edge, and that’s why your hair’s lightning-white. Director Bill Condon brings some visual flair to the otherwise tiresome hyped-up letdown. (SW) 164. Front Page Woman (1935). Bette Davis and George Brent are rival reporters racing to scoop each other on the salacious murder of a Broadway producer. Being the era it was, they strike a bet in which the wager is Davis’s romantic affection. There’s plenty of snappy patter, Davis brings her signature vulpine physicality, and the hijinks culminate in a slightly amusing “Dewey Defeats Truman” moment. But there are long segments where Davis, easily the main attraction, is scooted to the side in favor of Brent chasing clues, and in regard to the incredibly voluminous sexism, what a difference five years would make between this and “His Girl Friday.” (NR)There’s plenty of snappy patter, Davis brings her signature vulpine physicality, and the hijinks culminate in a slightly amusing “Dewey Defeats Truman” moment. But there are long segments where Davis, easily the main attraction, is scooted to the side in favor of Brent chasing clues, and in regard to the incredibly voluminous sexism, what a difference five years would make between this and His Girl Friday (NR) 163. Dance, Fools, Dance (1931). Rich kids lose their family fortune (and their father) when the stock market crashes in 1929. The sister, Bonnie (Joan Crawford), gets a real job in the predominantly male world of news reporting. Meanwhile, her brother, Rodney (William Bakewell) immediately latches onto a mobster played by Clark Gable, which leads to a litany of crimes and murders … that Bonnie must investigate. This pre-Code tale features such scandalous material as coed parties and clothed night-swimming. Crawford is the best part of the story, with plenty of close-ups that give her the full frame and allow her to tell the increasingly anguished story solely through her expressions. An enjoyable Great Depression-era tale. (ED) 162. He Said, She Said (1991). There’s a moment on this film’s titular man-versus-woman TV debate show in which Lorie Bryer (Elizabeth Perkins) throws a coffee cup at co-host Dan Hanson (Kevin Bacon). But by now we’ve seen far worse. Just three years after the film’s release, NFL quarterback Jim Everett flipped a table on sports host Jim Rome’s talk show. And then there’s that slap during the Academy Awards. While it’s charming to watch this film foreshadow TV’s deep dive into sensationalism, it’s tiresome to see it offer the same shopworn take on the differences between men and women, especially given its novel directorial approach toward shifting perspectives. (Creative and romantic couple Ken Kwapis and Marisa Silver respectively directed the separate male and female sides of the film’s story.) In Dan’s retelling of his romance with Lorie, he is at once sleazy and smooth, selfish and supportive. She plays it cool but ultimately falls for him. In Lorie’s version, though, she is oddly desperate and jealous, and she puts up with Dan’s selfishness and stupidity over and over again. So, sadly, in both accounts, the archetypal piggish newsman comes out on top. That might have been fun to watch in 1991, but now it’s depressing. (SW) 161. Blood on the Sun (1945) The second film from James Cagney’s namesake production company won an Academy Award (for black-and-white art direction), but this vanity project/propaganda piece proved a financial failure. Cagney is Nick Condon, a fictionalized American editor in early 1930s Tokyo seeking proof of the Tanaka Memorial, a real-world document that outlined Japan’s imperial plans for global domination but has since been widely debunked as a forgery meant to foment discord between China and Japan. Before slugging a traitorous colleague in the face, Condon does find time to pen a sandbagging front-page editorial about the guy. But the film generally finds Cagney flirting with Sylvia Sidney’s femme fatale, showing off the judo skills he learned for the role and speaking in occasional Japanese with his “dirty rat” voice. Released on the wane of World War II, “Blood on the Sun” falls in line with its era’s lamentable parlances and yellowface performances, and it uses a pretext of thrills to assure Americans that the atomic bombs dropped on Japan were of material use. Neither is a surprise, but that leans its legacy toward Hollywood indignity rather than journalistic integrity. (NR) 160. Shock and Awe (2017). This film, which is basically director Rob Reiner’s “Spotlite,” follows the Knight Ridder reporting team, which is regarded as the one that called out the lies initiating the Iraq War before anyone else. “Shock and Awe” focuses on reporters Warren Strobel (Woody Harrelson) and Jonathan Landay (James Marsden) as they cut through the web of deception that launched the invasion and eventually uncover the fact that Iraq had no weapons of mass destruction. It’s a compelling story that’s awkwardly executed. For example, screenwriter Joey Hartstone squeezes in something of a romantic-comedy subplot involving Marsden and Jessica Biel, playing his next-door neighbor who studies up on Iraq to impress him. You can see where this filler came from, as the film mostly just hits the talking points about the Iraq War with which we’re all too familiar by now. “Cheney’s lying!” Strobel and Landay shout simultaneously in the newsroom before high-fiving and hugging each other. Again, awkward. (SW) 159. In the Navy (1941). The second film in a trilogy of pre-World War II Armed Services-set comedies by Bud Abbott and Lou Costello designed to help with the peacetime draft, this adventure follows the duo playing two everyday sailors who get caught up in a celebrity’s attempt to anonymously join the military. Tommy (Dick Powell) wants to leave showbiz to serve his country and Dorothy (Claire Dodd) is the reporter who just won’t let him. Abbott and Costello deliver their classic straight-man/goof routine, with the then-hot Andrews Sisters appearing for some musical numbers thanks to their contract with Universal. (ED) 158. Bruce Almighty (2003). In Tom Shadyac’s comedy, Jim Carrey plays a TV newsman tired of puff pieces who, when passed over for an anchorman promotion, wigs out, gets fired and admonishes God. Before you can say “high concept,” he’s given the big guy’s powers. Spiritual enlightenment is served as a side dish to the main course of orgasm and orifice jokes. Steve Carell gets the film’s only good scene, easily YouTubed, with an on-air gibberish seizure Bruce brings on; Carell would reprise his role in an even more dismal sequel, “Evan Almighty.” Mainly, this violates the 11th Commandment: Thou shalt not try to make people forget “Groundhog Day.” (NR) 157. Capricorn One (1978). Peter Hyams’ thriller take on the faked moon landing conspiracy theories concerns three astronauts roped into faking their own journey to Mars and back. An intrepid reporter named Caulfield (Elliott Gould) is the only man capable of uncovering the truth. It’s a post-Watergate story that plays on the late-1970s distrust in American institutions, governmental and journalistic; Caulfield’s editor-in-chief thinks nothing of the attempts on his employee’s life or how the dots connect because the idea feels outlandish to him. A thrilling first two acts give way to a somewhat hokey denouement, though, saved largely by a surprising and colorful cameo. (ED) 156. Continental Divide (1981). Screenwriter Lawrence Kasdan conceived it as Mike Royko meets Jane Goodall. But with “Raiders of the Lost Ark,” “Grand Canyon,” “The Big Chill” and a couple of “Star Wars” films on his résumé, it’s no surprise that many have forgotten this weak attempt to turn bad boy John Belushi into a romantic-comedy hero. Blair Brown fares better. (LH) 155. True Story (2015). Although better known for comedic endeavors, James Franco and Jonah Hill are no dramatic slouches. But these two Oscar-nominated actors bomb fast and hard in Rupert Goold’s overwrought 2015 tale of overreach and deceit that’s hilarious for all the wrong reasons. Fired by the New York Times after a breach of ethics, Michael Finkel (Hill) learns a murder suspect (Franco) has been using his identity and investigates the matter further. Is this film based on Finkel’s book of the same name a meditation on the mindset of fabulists like James Frey or Stephen Glass? A gripping psychological thriller? A takedown of every writer’s dream about a memorable memoir? A good movie? On all counts, “True Story” rings false. (NR) 154. Impulse (2024). There are many films named “Impulse.” But how many feature a dominatrix assassin using intimacy devices in dangerous ways to do the bidding of her Illuminati-ish masters? It’s all part of the “Pizzagate 2.0” rabbit hole down which Globalist News Network reporter Sofia (Dajana Gudić) tumbles in lieu of the travel and leisure beat. “It’s not an obsessive side project,” Sofia scowls. “It’s called investigative journalism.” The trail leads Sofia to both cult figurehead Zane (Nick Cassavetes), whose group knows not of mercy because it is a “loser’s virtue,” and to … OK. Look. “Impulse” is not a good movie in any conventional sense. But it is never once trying to be. Instead, it grafts timeworn traditions of exploitation films onto the sort of contemporary conspiracies people conjure from their pointillist dots of paranoia. It’s also stuffed with dunderheaded diatribes trying to echo the eloquence of “Glengarry Glen Ross,” from-nowhere flashbacks in which characters somehow appear older, jaw-droppingly tasteless narrative developments, and a child actor whose big moment inadvertently channels the “Do the roar!” kid from “Shrek Forever After.” This is nothing but a purposefully crazypants endeavor with an endlessly elastic waistband — albeit one with a moment where multiple media outlets parrot the same lightning-rod talking point to let you know where its head is at and an amusing interpretation on the maxim that if your mother tells you she loves you, check it out. (NR) 153. College Confidential (1960). In the midst of a trial about his student sex survey, college sociology professor Steve McInter asks scribbling reporters why they are “so determined to find dirt.” Of course, his question is targeted more toward the townspeople who attracted the media’s attention. This moment from a 1960 film wouldn’t be out of place today, especially in light of recent international news about an Indiana library censoring material concerning teen sex. However, most of “College Confidential” is hilariously dated, with characters clutching their pearls like the comically sheltered citizens of “Pleasantville.” The screenplay struggles to balance satire and sincerity, and the third act feels far too heavy given the breezy tone of earlier portions. But as Professor McInter, Steve Allen keeps “College Confidential” grounded and engaging. And as the New York Times reporter hot on his trail, Jayne Meadows stirs up suspense about whether he will be “executed in print.” (SW) 152. The Photograph (2020). Michael (LaKeith Stanfield) is a yuppie New York reporter sent to New Orleans to interview residents about life after Hurricane Katrina. While there, he learns about a subject’s long-lost love and sets out to find her. Coincidentally, the lost love’s daughter, Mae (Issa Rae), is determined to learn about her late mother’s past, thanks to photographs left to her in a safety deposit box. Fate brings Michael and Mae together, beautiful people destined for a beautiful union. “The Photograph” is tasteful, sultry Valentine’s Day programming, set in a world where Michael’s work writing about random folks lands him the love of his life and a sweet new job in London. Saxophones and tinkling xylophones play when Michael and Mae make love for the first time; they reprise as Michael sits at his computer looking at a blank page, wondering how to describe it all for an audience of, surely, dozens. (ED) 151. Mad City (1997). Equal-opportunity opportunism abounds in a 1997 drama from Oscar-winner Costa-Gavras (“Z,” “Missing”) too timid to tackle its media machinations or manipulations with thoughtful talk. In a twitchy, unintentionally amusing turn and resembling an “SNL”-skit Wolverine, John Travolta is a laid-off museum security guard who instigates a hostage situation. Dustin Hoffman is the disgraced TV newsman stuck inside who tries manipulating the situation to his advantage. Hoffman is pro-forma fine and Alan Alda’s egotistical-weasel shtick (as a rival news anchor) is always a delight. But this is a 2-7 offsuit hand futilely bluffing its way to an “Ace in the Hole.” (NR) 150. The Shipping News (2001). The Newfoundland locations are more interesting than the quirky characters in an overstuffed literary adaptation about a newspaperman (Kevin Spacey) and his daughter moving back to his ancestral home. The staff at his new paper includes Pete Postlethwaite and Scott Glenn. (LH) 149. Beaks (aka Birds of Prey) (1987). Megavision TV news reporter Vanessa Cartwright (Michelle Johnson) majored in journalism, not animal husbandry. So she’s bummed to be covering animal-based feature stories about … blindfolded men shooting birds (a story during which she deadpans “It’s amazing what people will do for the sheer entertainment of it”). Then again, it’s a seemingly global beat, as Vanessa and cameraman Peter (Christopher Atkins of “The Blue Lagoon”) jet around the world on the company dime. “The world’s got bird fever!” Peter yells. Too bad that’s because our winged friends have taken to random, violent assaults against mankind, most ending with eyeballs plucked from sockets in ways that would do proud Italian gore-meisters like Lucio Fulci. Hailing from noted Mexican exploitation filmmaker René Cardona, Jr., “Beaks” rests somewhere between the intentional amateurishness of the “Birdemic” films and the low-budget schlock of “The Birds II: Land’s End” (a real movie you now know exists). Hazarding a guess, no animal advocacy groups were on set to monitor well-being; otherwise, how could there be so many insane images of fast-moving real-life birds accosting helpless toddlers and heroic elderly men? “Beaks” teases that these birds are reincarnations of Incan warriors or are somehow responding to strange activity along Nazca Lines. What’s the real story? Don’t ask Peter or Vanessa. They are generally too busy getting busy (with body doubles, of course), and their in-the-field ineptitude means their footage is likely terrible. (NR) 148. Bombshell (2019). “Bombshell” tries to be many things at once: a history lesson, a three-lead exploration of cutthroat corporate politics and an exposé on the ever-present imbalance of workplace power between men and women. It doesn’t do any of these particularly well, having bitten off more than it can chew. One scene captures the story’s lack of focused intent: Kayla (Margot Robbie) is asked to do something for Fox News CEO/chairman Roger Ailes. Through camera placement, it also becomes a show for the audience, without the film ever contemplating its own gaze. Are we all complicit in the culture of abuse? Hardly questioned. It’s a #MeToo movie for those who don’t really believe in #MeToo. (ED) 147. Livin’ Large (1991). A harmless bit of nonsense concerning Dexter (Terence “T.C.” Carter), a young man who yearns to be a TV reporter. When a journalist is shot on camera during a hostage crisis, Dexter seizes the moment and wins a spot on the news team. Of course, there can’t be a happy ending after 15 minutes. Problems arise as Dexter’s news director transforms his style into something she sees as more palatable to mainstream audiences. Nothing terribly original here, but the sprightly cast, Herbie Hancock’s score and Dexter’s visions of an increasingly white version of himself (shades of “Get Out”) add some interest. (LH) 146. Godzilla: King of the Monsters! (1954). Journalism became the in-story perspective on Godzilla, Japan’s monstrous cultural icon, only when American studios imported Ishirō Honda’s original film, cut it to ribbons and added a white reporter (Raymond Burr) as a Western vantage point on the story. This version had a definitive impact on the character’s further adventures, which frequently returned to reporters and newscasters as its primary human characters. Why not? If you need eyes on the wake of a giant, irradiated lizard stomping through Tokyo, who better to follow than those bravely chasing him for the story? (ED) 145. The Hunting Party (2007). Another journalist melts down. This time, it’s Simon (Richard Gere), who years later teams up with two colleagues (Terrence Howard and Jesse Eisenberg) to track down a war criminal. The opening disclaimer, “Only the most ridiculous parts of this story are true,” gives a clear idea of the tone. (LH) 144. The Soloist (2009). The most surprising thing in Joe Wright’s 2009 drama about the relationship between a Los Angeles Times columnist and a homeless classical musician? Robert Downey Jr. is twice doused in urine. Otherwise, “The Soloist” can’t decide whether it wants to be a musical biopic, sappy drama or social commentary. Disjointed as it might be, Susannah Grant’s screenplay at least captures the peril of a newsroom dwindling in bodies with poignancy and truth — a concern only exacerbated in the ensuing decade. (NR) 143. Veronica Guerin (2003). Meant less as entertainment than a message about the importance of a free press … but at what cost? Cate Blanchett plays the title character, a journalist whose investigations into Ireland’s underground drug trade got her killed in June 1996. Quiet but rarely ruminative, Joel Schumacher’s 2003 film vacillates between ego and altruism as her motivation. The result: An uneasy blend of insanity and martyrdom. At least Blanchett is great. Perhaps the biopic blessing propped up the filmmakers on this one; this same story was done, with names changed and starring Joan Allen, three years earlier as “When the Sky Falls.” (NR) 142. Headline Hunters (1955). A scrappy young writer in over his head and seeking justice via byline. A cynical old reporter who’s seen too much to care. An editor who just wants to get his paper published despite the fevered egos he’s forced to manage. Sound familiar? “Headline Hunters” plays all the genre hits in a tidy tale of two men forced to realize just what it means to be an ace reporter. Recent graduate David Flynn (Ben Cooper) arrives in the big city ready to make a name for himself. He quickly stumbles into a murder conspiracy that goes all the way to the D.A.’s office — but nobody will listen to him! Not even Hugh Woodruff (Rod Cameron), the newspaper’s most celebrated reporter. Can he save the life of an innocent man using the power of words? This is standard fare, but at least it features colorful dialogue like, “We can make an awful lot of noise with a duet — and I’ve brought the music!” (ED) 141. Gaily, Gaily (1969). Theoretically based on the autobiography of Ben Hecht (the reporter who co-wrote “The Front Page”), this Norman Jewison film features newcomer Beau Bridges as a breast-centric rube who moves to Chicago, lands a job at a newspaper and, thanks to a prostitute (Margot Kidder), acquires a notebook with evidence of political bribes and kickbacks. (LH) 140. Hero (1992). In this wannabe Frank Capra-esque misfire, a pickpocket (Dustin Hoffman) looking for loot at a plane crash site rescues a TV reporter (Geena Davis). Her boss (Chevy Chase) offers a reward, a homeless veteran (Andy Garcia) takes credit and, well, you are better off watching “Meet John Doe.” (LH) 139. Street Smart (1987). Christopher Reeve’s 1987 pet project — financed by Cannon Films in exchange for his return to “Superman IV: The Quest for Peace — is best remembered as the film for which Morgan Freeman earned his first Oscar nomination. Jonathan Fisher (Reeve) is a New York freelancer who fabricates a profile of a pimp to save his job. Fast Black (Freeman) is the actual pimp who exploits coincidental similarities in Fisher’s piece to beat a murder rap. Fact checkers will justifiably peace out early on Jerry Schatzberg’s improbable and boring drama that deigns to make Fisher the hero even after he dangles his girlfriend as pimp bait. So should you, as Freeman’s performance doesn’t justify the casual racism that colors the story. (NR) 138. The Rum Diary (2011). Bruce Robinson — the filmmaker behind “Withnail & I,” an uproarious love-letter to degeneracy — should be the perfect choice to adapt Hunter S. Thompson’s purported “lost novel,” and yet “The Rum Diary” never quite comes to life. Johnny Depp, once again playing a Thompson surrogate, is asleep at the wheel here — not once showing any of the manic enthusiasm he brought to “Fear and Loathing in Las Vegas” 13 years prior (and a few places higher on this list). Only Aaron Eckhart, playing a smarmy real-estate developer, seems to be having any fun with the material. Mostly, the movie just plods along from one limp comic set piece to the next when it should be galloping with drunken abandon. (MR) 137. Quarantine (2008). Every found-footage horror flick needs a reason why its characters would continue filming even as bloody chaos erupts around them. In the case of 2008’s “Quarantine” (a remake of the Spanish-language “REC”), Jennifer Carpenter’s local TV anchor is following firemen on a night shift when an apartment-complex call finds them trapped in a zombie-infested quarantine zone. The news crew’s camera equipment puts this a notch above the grainy handheld footage of that year’s better-received ”Cloverfield.” Most importantly, these journalists show a true knowledge of their craft when one of them uses the station’s camera to bash in a zombie’s brain. (MR) 136. The Interview (2014). Desperate for a story of substance, a vapid TV personality (James Franco) and his producer (Seth Rogen) land an exclusive interview in North Korea with Kim Jong-Un. It would surprise no one that the more serious journalism surrounded the film itself. After release date delays, terrorist threats and hacks that jeopardized the Sony studio, this 2014 comedy (directed by Rogen and Evan Goldberg) was largely scuttled to online rental services. Headlines strained to politicize the film. But it’s merely a crass, caustic comedy whose point of view is to not let cultural coverage brainwash the best out of us — whether it involves human rights or celebrity hairpieces. (NR) 135. Eyewitness (1981). A janitor named Daryll (William Hurt, hot off “Altered States”) who’s infatuated with TV newswoman Tony Sokolow (Sigourney Weaver, hot off “Alien”) misrepresents his view of a murder to get close to her, endangering them both. Peter Yates’ initially promising 1981 thriller becomes a turgid trifle that wastes its ’40s-noir-in-’80s-fashion premise and a who’s-who of supporting players (Christopher Plummer, Morgan Freeman, James Woods, Steven Hill). Tony sleeps with Daryll in pursuit of the story, a decision “Eyewitness” contextualizes only through her wealth and his comparative poverty. The only thing more anemic than this blue-blood commentary? Hurt and Weaver’s sexual chemistry. Film at 11, asleep by 11:30. (NR) 134. Godzilla (1998). Roland Emmerich’s much-derided take on the King of the Monsters hasn’t aged well despite what nostalgic fans might tell you. The front half is fine. The back half, well … let’s just say nobody showed up to “Godzilla” looking for “Jurassic Park,” OK? That said: With hindsight, it’s easier to give Emmerich a little credit for adopting certain hallmarks of the genre, including putting his little cast of human heroes in the most fundamental kaiju-movie roles: brilliant scientist, dogged spy and ace reporter looking for a scoop. Here, the last of those is Audrey (Maria Pitillo), whose arc exemplifies both the classic Toho plot-mover role and the girl-power nature of 1990s blockbuster cinema as she navigates the demeaning behavior of her boss, Charles (Harry Shearer). None of it is great, but it’s a surprisingly beefy part and it’s hard to hate her cameraman, Animal (Hank Azaria). The scene where he’s almost crushed by Godzilla but ends up between the monster’s toes? Classic. (ED) 133. Black Like Me (1964). The premise seems hokey: White journalist undergoes skin pigmentation to experience life in the American south as a Black man. And the makeup job on James Whitmore is distractingly unconvincing. But the treatment — based on the experience of journalist John Howard Griffin — is sincere, the low-budget location shooting gives it a suitable harshness, and strong support from such never-got-their-due actors as Roscoe Lee Browne and Will Geer add gravitas. An oddity for sure, but an interesting one. (LH) 132. Morning Glory (2010). Roger Michell’s “working girl” comedy follows Becky (Rachel McAdams), an ambitious television producer who believes in the power of morning-show programming but can’t quite get her personal life in check. She deals with romantic drama while trying to balance silly segments and actual news. Stop me if you’ve heard this one. What sets “Morning Glory” apart is the presence of Harrison Ford as the curmudgeonly traditional journalist whom Becky forces into the role of a puff-piece presenter on a show he finds beneath him. Nobody plays grumpy like Ford, even when he’s cooking a frittata. (ED) 131. The Pelican Brief (1997). Director Alan J. Pakula’s first appearance on the list is this 1993 adaptation of John Grisham’s bestseller about a beltway reporter (Denzel Washington) and law student (Julia Roberts) investigating the assassinations of two Supreme Court justices. More long than limber, “Pelican” isn’t on par with Pakula’s preeminent paranoid cinema. But depicting a POTUS at odds with his FBI director and creating obstruction of justice concerns aligns it with Pakula’s preternaturally predictive potboilers. Plus, Gray Grantham is a GOAT name for a reporter, and Washington finds sensitivity and humility beneath his bespoke pizzazz. A few reportorial conveniences, but hey: If you’re on the run with a friend, find one with whom to share trauma and a byline. (NR) 130. Blacklight (2022). This AARP “Eraser” represents a ceiling for the action movies Liam Neeson once swore he was done with, benefiting from low expectations and the reasonable simulation of a soul for Neeson’s character – an FBI fixer embroiled in a conspiracy concerning the assassination of an ambitious congressional candidate. He also becomes the proxy protector of Mira Jones (Emmy Raver-Lampmann), the scooter-driving, dog-walking D.C. reporter suspicious of the official story. Points to “Blacklight” for not pushing Mira to the periphery; she’s essentially the film’s co-lead even if she’s reliant more on caffeinated editorial assistants and convenient coincidence than investigative verve. Dings for the narrative muscles pulled to push Mira’s story-stealing soccer-fanatic editor into danger and title-metaphor dialogue in desperate need of a copy desk: “Take note of the obvious and then scrutinize what the obvious obscures, like an ultraviolet light illuminating what the naked eye can’t see.” It’s no “democracy dies in darkness,” but much like “Blacklight,” it ticks the box. (NR) 129. Sky Captain and the World of Tomorrow (2004). Nobody went to writer-director Kerry Conran’s visually groundbreaking homage to action serials (shot almost entirely in front of a greenscreen) to gauge Gwyneth Paltrow’s embodiment of reportage principles as Polly Perkins, a New York reporter circa 1939. Next to nobody went anyway, consigning this uniquely beautiful curio to cult status as “300” broke the bank with a similar scheme three years later. The only thing more supernatural than “Sky Captain’s” sinister plot hatched at the edge of Shangri-La is how miscast Paltrow is in the film. Angelina Jolie displays more pep, vim and verve in five minutes than Paltrow does in 105, and the extent of Polly’s professional vigor extends to her scolding of a source that she has a deadline to meet. Polly is, um, really good at discovering small, narratively convenient scraps of paper to propel “Sky Captain” to its next plot point. Otherwise, she’s constantly losing her camera, her film and our sympathies throughout. (NR) 128. Welcome to Sarajevo (1997). Early on, there are promising scenes exploring the challenges of reporting on a war that few back home remotely understand, let alone those directly affected. And the rivalry between the British reporter (Stephen Dillane) and a hotshot American (Woody Harrelson) rings true. But the mix of documentary footage and fictional scenes doesn’t gel as the plot rambles into a journalistic-distance-be-damned attempt to rescue a busload of orphans. (LH) 127. Blondes At Work (1938). Torchy Blane (Glenda Farrell) is a hotshot reporter with “ink in her blood and a nose for news.” She always gets the scoop. Always. Until, that is, a police commissioner tired of the trouble her stories make for him orders Torchy’s fiancé, Lt. McBride (Barton MacLane) to stop discussing work with her. “Why don’t you muzzle that girl or marry her?” he screams. One problem: McBride’s investigations rely on her sources as much as hers rely on his. It’s a parallel race between the two of them as they try to solve the murder of a wealthy heir without their usual teamwork. Farrell played Torchy Blane in seven hour-long serials between 1937 and 1939; “Blondes at Work” is often rated near the top of that series, regarded for its sharp dialogue and clever plotting. The hyper-competent Blane disappeared from the serials after ’39, but she inspired an even more iconic fictional reporter: Lois Lane. (ED) 126. Cry Freedom (1987). In this rare Hollywood film looking at apartheid, the first half — focused on the friendship between South African leader Steven Biko (Denzel Washington) and white South African editor Donald Woods (Kevin Kline) — is significantly more relevant and interesting than the second half. That’s when the editor takes center stage in his attempt to cross the border after Biko’s death and the movie becomes another case of forcing a Black story through a white lens. (LH) 125. Rush Week (1989). Journalism and horror genres rarely intersect as they do in “Rush Week,” a reasonably entertaining if not particularly esoteric late-1980s slasher film. Nubile young coeds at Tambers College, home of the Tornadoes, are being slaughtered by a masked, berobed murderer using a double-bladed executioner’s axe. Newly transferred Tori (Pamela Ludwig) is assigned to write about the Greek system’s rush week for the cleverly named “Tornado Watch” student newspaper. Naturally, Tori winds up having to uncover the killer: Is it the perverted photographer? The creepy custodian? The sensitive stud? The dismissive dean? The film is an amusing time capsule of computer technology (oh, those green-screen CRTs!), brick-sized tape recorders and onscreen appearances by Gregg Allman (here as the paper’s faculty advisor, who’s often too busy meditating with topless women to shape a new generation of journalists). It’s so-so sleazy and modestly queasy, but the killer sports a fun ghoulish get-up, the red herrings are robust, there’s even a character named McGuffin. And Tori gets her story! (NR) 124. The French Dispatch (2021). Pop auteur Wes Anderson’s 10th film is a stylish ode to longform magazines like The New Yorker, which fostered its own breed of journalistic reporting in the mid-20th century. Writers such as A.J. Liebling, James Baldwin and Joseph Mitchell are given analogs as Anderson constructs his own visual version of an anthology magazine, each portion of the film taking on its own genre and stylistic sensibility. That was the goal, anyway; given the director’s extreme style, the three stories feel more or less the same, and their focus is on the narration rather than the action and characters onscreen. Despite moments of worth (and an impressive cast), the result is a cold and strangely unaffecting work. The framing device seems like it could’ve been a much more interesting story to follow, as editor Arthur Howitzer (Bill Murray) and his hand-picked staff of writers plan his posthumous final issue. This is an ode to good writing that makes you wish you were reading it rather than watching it. (ED) 123. Each Dawn I Die (1939). James Cagney stars as Frank Ross, a newspaper reporter on the trail of Jesse Hanley, a corrupt district attorney played by Thurston Hall. Hanley tires of Ross’s inquisitive nature and frames him in one of the most unnecessarily elaborate schemes put to the silver screen. Soon enough, our hero is stuck behind bars for the next two decades. His journalistic skills come in handy and he befriends several inmates, including gangster “Hood” Stacy (George Raft). They set out to clear Ross’s name against all odds. The film is predominantly a prison drama with the newspaper stuff only tangentially related to the plot, which ends in a shockingly violent prison riot. It’s an entertaining yarn with a great title. (ED) 122. The Blue Gardenia (1953). The first in Fritz Lang’s “newspaper noir” trilogy, which also includes “While the City Sleeps” and “Beyond a Reasonable Doubt.” Here, “The Blue Gardenia” recalls the case of the Black Dahlia with its title and exploration of media sensationalism surrounding murder. The film follows a telephone operator (Anne Baxter) as she tries to piece together a drunken night of debauchery that seemingly finds her making headlines as the titular killer. Richard Conte co-stars as the reckless reporter eager to turn her into “hot copy” for the fictional Los Angeles Chronicle. The film falls flat as it obligatorily creates romantic tension between them. Otherwise, it stands out as a darkly funny, biting satire of people’s hunger for celebrity — or even the most extreme notoriety. A particularly comic scene finds Conte’s character answering dozens of calls from citizens claiming to be the murderer in question. It’s scary what fiction we will cook up to see our names in ink hot off the press. (SW) 121. Whiskey Tango Foxtrot (2016). Unlike cinematic military comedies from Abbott and Costello movies to “Stripes,” this one is based on the memoir of an actual journalist, The Chicago Tribune’s Kim Barker. That lends a bit of authenticity — even though her job is changed from print to broadcast. It’s hard to make a comedy about wartime journalism, particularly one so fraught with political landmines as the war in Afghanistan. Baker represents one of Tina Fey’s more serious turns during her brief moment as a lead actress in this surprisingly funny, never-dismissive look at life inside America’s controversial conflict. Baker brings the audience along on her tour of firefights, conflicting sources and crotchety, unfriendly army commanders. This 2016 film takes an empathetic view of the soldiers and those covering them, if not the war itself. It’s a novel approach for a genre that usually relies on grit and grime to characterize front-line reporting. (ED) 120. Most Wanted (2020). Writer-director Daniel Roby’s Canadian film occasionally resembles a scrappier, grimier, one-nation-north version of “The Insider.” Conveyed in a crosshatched, non-linear style, this true-life tale dramatizes the late-1980s Thailand arrest of Canadian citizen Alain Oliver (fictionalized here and impressively played by Antoine Olivier Pilon as a troubled kid out of options and in too deep). Josh Hartnett plays Victor Malarek, the Globe and Mail reporter who untangled a plot involving overzealous and underhanded cops, as well as a small-time drug dealer (Jim Gaffigan, who brings palpable menace to cognitive-whiplash stunt casting). Roby tries to cram far too much into two hours, but Hartnett propels his portions with a puckish personality, and there are frank, funny and sometimes fraught exchanges with his editor (J.C. MacKenzie). Although it would benefit from a bigger canvas, “Most Wanted” remains a keen, timely treatise on systematic law-enforcement strong-arming tactics and the urgent need to expose them. (NR) 119. Stars at Noon (2022). Director Claire Denis’ “Stars at Noon” — adapted from a novel of the same name by Denis Johnson — is a moody, sensual and deeply cynical portrait of young reporter Trish (Margaret Qualley), who’s stranded in Nicaragua. The country’s upcoming election continues to get delayed, and judging by the ominous presence of state police walking around with machine guns, the nation seems to be on the verge of a fascist takeover. Trish has spent the past several months covering political killings to little interest from her United States employers, and now she’s resorting to sex work to kill time and make some extra cash. Denis’ movie isn’t interested in saying much about journalism, politics or even sex (which Trish has a lot of when she meets a shady British businessman played by Joe Alwyn). Instead, it revels in the moodiness and hopelessness that runs through these characters. For those willing to get on its wavelength, “Stars at Noon” is an intoxicating trip to nowhere. (MR) 118. Fear and Loathing in Las Vegas (1998). Terry Gilliam’s 1998 film has achieved cult status with frat-boy stoners nationwide, primarily for Johnny Depp’s unrestrained performance as journalist Hunter S. Thompson (portrayed earlier by Bill Murray in 1980’s “Where the Buffalo Roam” and by Depp again, in fictitious proxy, for 2011’s “The Rum Diary”). Less discussed, though, is its depiction of anarchic journalism, which is all but dead today. Thompson was an insufferable oaf, but pale imitations of his “gonzo” prose still prevail; check out that Vice article where a young reporter goes to a political convention on mushrooms … or something. Thompson’s madness was the real deal, and Gilliam’s garish lighting and surreal sound design immerse us in his drug-fueled psychosis. The hellish visuals represent the worldview that informed Thompson’s writing: “Look around you. How can you pretend any of this is normal?” (MR) 117. After Office Hours (1935). “Who wants to listen to music? There could be a good murder any second!” That throwaway line of comic relief sums up the tonal clash here between Clark Gable and Constance Bennett’s enjoyable rat-a-tat romance and darker turns into crime and death. Jim Branch (Gable) is a New York editor getting stonewalled on a story about a banker, his bride and the senatorial candidate who may be breaking up their marriage. Sharon Norwood (Bennett) is a socialite who doesn’t need her arts-reporting gig but berates Branch for taking it from her after she gives a Beethoven performance bad marks. When Sharon turns out to be longtime pals with the candidate Jim is chasing, and a murder transpires, Jim seeks hard evidence and his softer side in wooing her. Typical of its time, the film considers journalism as a loop-de-loop of larks and vendettas — more interloping and agitation, less investigation and analysis. To quote a newsroom banner: IS IT INTERESTING? Not really, other than chronological proximity to Oscar glory for Gable, who won Best Actor for “It Happened One Night” days after this film’s release. It’s the sort of vibe for which “I Love Trouble” also aimed decades later with only fair-to-middling results. (NR) 116. The Electric Horseman (1979). Robert Redford is a retired rodeo rider who has resorted to hawking breakfast cereal. Jane Fonda is a TV reporter — on a softer beat than the character she plays in “The China Syndrome” — who tries to track him down after he goes AWOL from a corporate gig. (LH) 115. Ratatouille (2007). The secondary antagonist of “Ratatouille,” Pixar’s tale of a culinarily inclined rat named Remy, is Anton Ego (voiced by the late Peter O’Toole). Ego is a well-respected restaurant critic who knows his profession well enough to call out bad establishments and poor work. His negative marks indirectly cause the death of Remy’s icon (based on a real-life incident of French chef Bernard Loiseau apparently dying by suicide after the toll of bad reviews). Despite his curmudgeonly, critical view, Ego takes his job as a journalist seriously; a journalist, however, cannot control the world’s response to their work. This may seem like a contrarian take on one of Pixar’s most iconic films. But viewing the film from a journalist’s perspective makes it hard to be sympathetic to the rat sullying everyone’s food … even if Ego himself loves it in the end. (ED) 114. Top Five (2014). Chris Rock’s 2014 comedy (which he also wrote and directed) boasts some big laughs and believable vulnerability. But it also has aged faster than Indiana Jones Nazis unable to spot the cup of a carpenter and relies on truly retrograde eye-rolling plot turns about reporters’ motives. Chelsea Brown (Rosario Dawson) is a New York Times writer profiling actor-comedian Andre Allen (Rock), who has racked up movie millions as a wisecracking bear cop but is now creatively bankrupt. Moments after making out with Andre, Chelsea reveals she’s behind the film-critic alias assailing him and manipulates her profile’s direction by shoving him onstage for a standup set at the Comedy Cellar. Is Rock lamenting devalued standards of civility or ethics in arts commentary and coverage … or just suggesting his critics actually want to sleep with him? (NR) 113. Monolith (2024). A disgraced Australian journalist (Lily Sullivan) tries to salvage her flailing career as the host of “Beyond Believable,” a paranormal podcast attempting to explain the unexplainable. (“I thought you said you were a journalist,” one source tells the unnamed writer upon hearing the word “podcast.” The sting is real.) Following an anonymous tip about mysterious black bricks turning up at random points around the world, the podcast becomes a sensation. But sources tell her “something awful is coming.” Is this pursuit helping to stop whatever that is … or simply facilitating destruction? Subtle tweaks to the sound mix underscore the psychological tension of the unnamed journalist’s ethically dubious sculpting of the story, and Sullivan shines in a one-woman show where she’s supported by voice-only actors. “Monolith” is the platonic ideal of a headphones movie, with only a few modest adjustments from a plausible pivot into an audio-only thriller. Perhaps that would have been the better play for a story that’s at its finest when gazing into the gap between the skills of listening and language and less so when it employs underwhelming visual analogs to stronger science-fiction films of recent years. (NR) 112. I Cover the Waterfront (1933). Ah, the early pre-Code period of talkies when you could feature a nude swimmer, an unmarried couple spending the night together and bodies hidden inside … sharks? This odd mix of newspaper procedural and romance concerns a cynical waterfront reporter who stumbles onto a human-smuggling scheme while falling for the perp’s daughter. A spunky Claudette Colbert proves more fun than the reporter, a blustery Ben Lyon, but his insulting back and forth with his editor is refreshingly blunt. (LH) 111. Vengeance (2022). John Mayer hits the list, not as a journalist but as a wingman to New York writer/podcaster Ben Manalowitz (director, screenwriter and star B.J. Novak, of the U.S. “The Office”). Ben has a New Yorker gig and “the verified check mark” (simpler times of summer 2022) but unexpectedly finds himself deep in the heart of Texas. He travels there after the death of a woman he’d hooked up with a few times — an opioid overdose her family is convinced is more sinister. Naturally, he pitches a new “existential crime story” podcast called “Dead White Girl.” Confronting the inherently messy moral minefield of true-crime podcasting, that title is among few sharp punchlines here. Credit to Novak for smashing some unlikely genres together and in service of a treatise on how malleable, easily manipulated facts in a modern news cycle let lousy people off the hook. But the mystery too often recedes for fish-out-of-water gags that feel like a film version of those voters-in-the-heartland articles, and its left-field climax clangs pretty hard as Ben just finds out there’s no such thing as the real world, just a lie we have to rise above. (NR) 110. Viper Club (2018). Susan Sarandon leads a drama of slowly paralyzing hopelessness as Helen Sterling, a nurse and single mother navigating governmental red tape to secure the release of her freelance video-journalist son, Andrew, from ISIS captivity. The title references a close-knit group of journalistic colleagues that share tips with each other to stay safe in war zones, and the narrative is loosely based on that of slain journalist James Foley, who was the first American citizen killed by ISIS. Sarandon’s compelling performance persuasively illustrates how out of her element Helen feels when courting millionaires for donations of ransom money, and the script draws unexpectedly clean parallels between this luddite nurse who works out to Richard Simmons VHS tapes and the new-media journalist whom she raised. However, the pacing becomes stagnant, the film wallows in repetitive scenes of bureaucratic confrontation rather than character development, and the brief bit of journalistic initiative depicted here by a pair of professionals seems bizarrely low-rent for people who have made it their calling. (NR) 109. The Independent (2022). Remember well-cast, agreeably junky potboilers that pushed off in 1,000 theaters? Such films largely sink on streaming today, and so it goes with Peacock’s “The Independent,” released to the streaming service with zero fanfare. The perfect pick for a Dwayne Johnson proxy, John Cena plays a decathlete turned party-free presidential candidate whose rise threatens the front-running female Republican (Ann Dowd). Brian Cox and Jodie Turner-Smith are, respectively, a lionized political columnist and disgraced reporter at a freshly sold newspaper chasing a state-lottery scandal poised to doom one of the candidates. Even amid a fundamental misunderstanding of editorial chain of command and a visual aesthetic that looks like those movies The Daily Wire funds, “The Independent” boasts a compelling conceit and a cast that carries things … for about an hour, until one big secret is revealed with a simple Google search, many melodramatic subplots converge in clumsy ways, and the conclusion connotes more of a crusading victory for the reporters than seems possible. To go back to what you might find on streaming, consider it “Duplex of Cards.” (NR) 108. Balibo (2009). In 1975, Indonesia invaded East Timor (then Portuguese Timor), where occupying forces murdered five Australian reporters who were there to chronicle the political upheaval. Roger East, a fellow Australian, went in search of them and met a similar fate. All of these deaths were subject to massive public controversy — in large part due to cover-ups and the inaction of Australian leadership, which was concerned with angering the Indonesian government. “Balibo” is a graphic, intense depiction of journalists navigating a war zone where, although their credentials are meaningless, they continue to do the best they can. It brims with anger and frustration at the way they were disavowed by their home government and features great performances by Anthony LaPaglia as East and a young Oscar Isaac as future East Timor President José Ramos-Horta. (ED) 107. While the City Sleeps (1958). When a librarian is killed and a lipstick message left behind, the head of Kyne News Service calls it “just another murder.” The wire service is one of three spears in a New York media empire alongside a local paper and a TV station. “I suggest the life of a human being is not beneath your consideration,” the empire’s bedridden namesake snaps back … before excitedly shouting “I want every woman scared silly every time she puts (lipstick) on. Call this baby the Lipstick Killer! Smack across the front page!” A race to identify the killer becomes the impetus of a power struggle among respective editors after the old man croaks and the torch passes to his oafish son (Vincent Price), who loves watching the men who find him foolish still vie for the title of hand of the king. Austrian “Master of Darkness” Fritz Lang leaves behind the expressionistic expanse of earlier work and the pitilessness noir of “The Big Heat” for a film that, in its best moments, finds competitors revealing intimate and innermost fears and secrets a la “Glengarry Glen Ross.” Lang’s framing of people in places of power also emphasizes the dizzying speed with which they rise, fall or simply burrow deeper into the building’s basement bar. Too bad that pulsing, personal urgency leeches as the narrative loses itself in two separate love triangles and a murderer hunt that feels like “Zodiac” with a few chases and dime-store psychoanalysis tossed in. What starts as jolt-awake cynicism akin to the era’s “Ace in the Hole, A Face in the Crowd” and “Sweet Smell of Success” ends with a yawn. (NR) 106. Never Been Kissed (1999). When a Chicago newspaper decides to do a piece on the reality of high school life, its editor turns to a copy editor (played by Drew Barrymore) to go undercover. Barrymore’s charisma, far more than the hackneyed plot, makes this one watchable. (LH) 105. The Good Mother (2023). With an Oscar-winning actress, a murder plot and working-class ennui in a blue-collar town, “The Good Mother” is clearly courting those consumed by HBO’s acclaimed “Mare of Easttown.” (Just don’t confuse this with the 1988 Diane Keaton film.) Marissa Bennings (Hilary Swank) is a fictional journalist at the real-world Albany Times Union whose youngest son, estranged and drug-addicted, is found murdered. Marissa then applies her skills more toward interrogation than investigation of who did it, and trains them on herself as a manner in which to process her grief: “Maybe if I write it,” she says, “I’ll know.” Swank delivers assured and authentic notes of anxiety, the cinematography is appropriately atmospheric, and there is enough winking state-of-the-newsroom humor from Marissa’s editor (the eternally reliable Norm Lewis) about the pursuit of clickable content; “you barely know what the internet does,” he tells Marissa. “The Good Mother” also considers the hidden opportunity costs of chasing that goal of digital journalism, creating a connection between a crumbling infrastructure of information gathering and the well-being of a city’s people. Ultimately, though, the film must sell itself on whodunnitry — collapsing those complexities into the sort of resolution you’ve seen quite often and with an ambiguous final moment that suits neither the story nor Swank’s solid performance. (NR) 104. Line of Fire (aka Darklands) (2023). “My life is not your entertainment!” screams a small-town Australian cop faulted for failing to intervene in a school shooting. She’s bellowing at a past-her-prime blogger who has pushed too hard on both a lucrative interview with the cop and a profitably punitive perspective about her lack of action. That the exclamation comes as the cop ensnares the blogger in a plot of kidnapping and murder and illustrates the film’s interest in exploitative escalation over a story of everyday people faced with awful choices. As sensitive first-act observations shift to supreme outrageousness, it’s like watching “Changing Lanes” morph into “Law Abiding Citizen.” But, as Aussie pulp often does, “Line of Fire” just hits harder, with a commendable commitment to incredibly bleak bits about whether grief finds you falling apart … or pulling together something deeper and darker inside of you. There are also decent-enough hooks about glass ceilings and social expectations for professional women, as well as a dearth of diplomacy in a world of digital-first communication. If it errs anywhere, it’s in a lack of character complexity for the blogger — whose pure profit motives let the cop off the hook for all her dirty deeds by proxy. (NR) 103. Blessed Event (1932). Alvin Roberts (Lee Tracy) is a small-time ad salesman at a newspaper who works his way to the front pages when his gossip column catches fire. He reports on “blessed events,” aka pregnancies (wanted and unwanted), among the high-society set. His devotion to dirty laundry lands him in deep trouble, though, when he starts to dig into the messes of a beloved nightclub singer and, later, a notorious gangster. Roberts has to weather the storm armed with just his wits, words and sheer will to get the story. “Blessed Event” is first and foremost a comedy, so it doesn’t dig too deeply into the way that journalism without a moral compass can ruin the lives of smaller people caught in its wake. But it’s an effective comedy, thanks largely to Tracy’s performance, so the lack of commentary doesn’t really matter. (ED) 102. Newsies (1992). As history, it’s largely nonsense. And it tanked at the box office. But “Newsies” has grown in the popular consciousness since its 1992 release. You can credit that to the rising star power of Christian Bale or the unexpected success of the Broadway musical it inspired, but its earnestness coupled with above-average tunes (by Alan Menken, between penning the scores for “Beauty and the Beast” and “Aladdin”) is what makes it likeable. The plot — very loosely based on a real-life incident — involves a strike by New York newsboys with the primary villain being Joseph Pulitzer. Yes, that Pulitzer. (LH) 101. Gentleman’s Agreement (1947). Although investigative reporter Gregory Peck’s bright idea of posing as a Jewish man at a new job to suffer bigotry for the first time in his life feels immensely naive and unethical today, Elia Kazan’s film does get at the heart of one of America’s ugliest truths: The quiet racism, often from self-described liberals, can burn the most. The kind of systemic racism Peck encounters among his fiancée’s upper-crust social circle enrages him past the limits of his story, a new experience for a veteran reporter. Kazan’s clunkiest social justice picture might also be his most relevant, as he shows definitively that the most privileged and ostensibly progressive people have a willful blind spot when it comes to the plights of others. (AC) 100. Woman of the Year (1942). In the first pairing of Katharine Hepburn and Spencer Tracy (a personal and cinematic relationship that eventually covered nine films), she’s a serious international journalist and he’s a sportswriter. Opposites attract, but when she wins the title award, he gets jealous. Apart from the chemistry of the leads and some fun bits, it’s dated stuff. It was followed shortly thereafter by the lesser-known (for good reason) “Keeper of the Flame,” in which Tracy again played a reporter. (LH) 99. Velvet Goldmine (1998). Although mostly remembered now as a faux-biopic loosely based on the life of David Bowie, Todd Haynes’ film is anchored by British journalist Arthur Stuart (Christian Bale) as he tries to figure out why glam-rock icon Brian Slade (Jonathan Rhys Meyers) disappeared from public life following a particularly ill-received stunt. Haynes’ non-linear storytelling and spectacular production belies the reporter’s true motivation behind his investigation: In searching for Slade, Arthur is really trying to find himself — or at least the person he used to be, which is a story that’s much harder to break. (AC) 98. The Front Page (1931). The original silver-screen adaptation of the iconic and arguably quintessential play about journalism, this pre-Code screwball comedy features constant innuendo, a smidge of violence and consistent energy from start to finish. It’s a stagy telling of the story (again, 1931), which features ace reporter Hildy Johnson (Pat O’Brien) tempted away from retirement by the machinations of his editor, Walter Burns (Adolphe Menjou), and one last juicy story — an escaped convict whom they hide from authorities in their office. In this version, the allure of the journalistic ideal (anything to get a story) doubles as a vehicle to show how men find meaning through their work, often at the expense of everyone else — in this case, Hildy’s sweet fiancée, Peggy (Mary Brian). 1931’s “The Front Page” feels like an artifact in light of its superior remakes, 1940’s “His Girl Friday” and 1974’s “The Front Page” (which you’ll find elsewhere on this list). Still, it’s not without its charms. (ED) 97. Down With Love (2003). Peyton Reed’s skillful ’60s-set battle-of-the-sexes comedy is the sort Rock and Doris would’ve made were they given more latitude for naughty banter. Renée Zellweger hawks her book about women’s liberation. Ewan McGregor’s magazine-writer lothario tries to take her down by posing as a wholesome astronaut named Zip. Yes, more fake identities and ethical violations that resolve in ways sure to roll HR executives’ eyes out of their sockets. But this 2003 film more than lives up to its lofty memory-lane goals as an alluringly goofy tizzy from start to finish — keying into the idea of an eventual, and welcome, obsolescence for once-popular, now retrospectively regressive, sexual politics. (NR) 96. True Crime (1999). The concept of a reporter possibly saving a death-row convict on the day of his execution is a bit farfetched. But if you suspend your disbelief, Clint Eastwood’s film is an exciting beat-the-clock thriller. Eastwood also stars as Steve Everett, a seasoned journalist infamous for turning every story into a wild goose chase. When he’s assigned a human-interest sidebar on convicted murderer Frank Beachum (Isaiah Washington), Everett ends up racing against time to prove Beachum’s innocence before the deadly stroke of midnight. “True Crime” emerges as an enjoyably idealistic vision of journalism’s life-changing potential. (SW) 95. It Happened Tomorrow (1944). “News is what happens!” a newspaper editor says early in this movie, and that’s about all “It Happened Tomorrow” has to say about the nature of journalism. Instead, this charming fantasy centers around an everyman reporter played by a cheery Dick Powell, who’s given a newspaper that contains tomorrow’s news and uses it to try and win riches and romance. René Clair’s film isn’t some dark parable about greed, however, and is all the better for it. It’s light as a feather and goes down smooth, with a deeply satisfying and clever third-act twist that makes this mostly forgotten United Artists hit worth seeking out. (MR) 94. The Underworld Story (1950). This underseen gem from blacklisted director Cy Endfield has a deeply cynical heart beating at its center that makes Billy Wilder’s “Ace in the Hole” (still a top-15 film on the list) look downright quaint by comparison. The movie follows disgraced reporter Mike Reese (Dan Duryea), who creates mass public hysteria in his sensationalistic coverage of a Black woman falsely accused of murder. Eventually, Reese gets entangled with organized crime and judicial committees, and he’s forced to choose between his own moral redemption or damnation. Some egregiously dated elements aside (including white actress Mary Anderson playing a Black character), this is an engrossing noir whose themes still resonate. (MR) 93. The Public Eye (1992). Joe Pesci is no pugnacious, profane pipsqueak in writer-director Howard Franklin’s drama about Leon “Bernzy” Bernstein, a freelance tabloid shutterbug in 1940s New York whose pictorial prowess on the mean streets sweeps him up in scandal. (Bernzy is based on Arthur “Weegee” Fellig, so nicknamed for seeming powers of premonition to get the best pictures.) Besides Bernzy impersonating a priest to sneak inside a meat wagon, there are no comic moments; even in Pesci’s infrequent bluster, there’s a sense that Bernzy more deeply communes with the dead than the living. Unsurprisingly, this was the lowest-grossing film of the era’s Pescimania, even if the actor was never better until 2019’s “The Irishman.” Instead of a cautionary abyss-staring precursor to “Nightcrawler” (which you can find at #15) “The Public Eye” blends evocative noir with melancholy character study; even the mobsters are sad. Ethics? Bernzy would wave off that notion while dropping the “H” for good measure. “You can’t turn it off,” he says later — specifically about the police-band radio in his car but existentially about the constantly revolving rot at the center of it all. (NR) 92. Scandal Sheet (1952). Tabloid journalism is hot fodder for morality plays. What are the limits of a person willing to bend legal boundaries and their own ethical conscience to get a story? To sell a paper or, these days, a click? “Scandal Sheet” asks that question and answers it with a simple, stunningly strong premise: Editor Mark Chapman (Broderick Crawford) and his ace reporter, Steve McCleary (John Derek), are devoted to hitting their goal of 750,000 copies sold by whatever means necessary. When a Jane Doe is found murdered after their company’s “Lonely Hearts” dance, “Miss Lonely Hearts” and the investigation into her death becomes their top story. Thing is … Chapman’s the murderer! Although the themes of greed and corruption in the newsroom are pretty boilerplate, this is still an engaging and well-paced newsroom thriller. (ED) 91. Foreign Correspondent (1940). Alfred Hitchcock’s thriller occupies a prescient time in history. Filmed six months after the Invasion of Poland and released three days after Germany began bombing Britain, it addresses American media’s uncertainty in reporting the “European crisis.” Sent to Europe by an editor frustrated by vague information emerging from the conflict, Joel McCrea’s crime reporter seeks answers regarding the inevitable war. He finds them at roughly the same time Hitchcock’s audience did, as the film ends with a bombing it predicted only by a few short months. Although one of Hitchcock’s weaker thrillers, “Foreign Correspondent” is also a unique historical artifact, timely piece of Allied propaganda and crucial depiction of dogged wartime journalism. (It lost the Oscar for Best Picture to another Hitchcock film, “Rebecca.”) Bonus: The line “The one thing everybody forgets is that I’m a reporter!” (AC) 90. Runaway Bride (1999). In this spry version of the familiar “journalist falls for his subject” trope, the reporter is Richard Gere, who writes sarcastically — and with factual errors — about the “runaway bride” (Julia Roberts) who has ditched three would-be grooms at the altar. After taking heat for his column, he decides to get the real story by visiting her hometown on the brink of her fourth marriage effort. (LH) 89. The Front Page (1974). Both this version and the 1931 one have been eclipsed by the gender-bent redo, “His Girl Friday.” However, this stagy adaptation of the most iconic, and cynical, play about journalism is, if anything, even more cynical than its predecessors. Headliners Jack Lemmon (as the fed-up reporter) and Walter Matthau (as his anything-for-a-story editor) are joined by a rich supporting cast, including Austin Pendleton, Susan Sarandon, David Wayne and Carol Burnett. (LH) 88. Long Shot (2019). When Seth Rogen ping-pongs off a parked sedan to survive a several-story fall, it’s OK to fear that “Long Shot” is just Rogen’s asinine “Neighbors” with an I Voted sticker. But even with an abundance of bodily fluid gags, “Long Shot” matures into a meaningful political romance that’s worthy of mention beside “The American President.” (The script is from Dan Sterling and Liz Hannah, respective co-writers of listmates “The Interview” and “The Post.”) Rogen is a liberal-minded reporter who resigns on principle after a conservative-media monolith buys his independent newspaper and then begins writing speeches for Charlotte Field (Charlize Theron), a POTUS-hopeful Secretary of State on whom Fred harbored a teenage crush. “Long Shot” is foremost an inversion of “Pretty Woman” (soundtrack and all), but Sterling and Hannah infuse journalistic notions of personal integrity and, yes, ideological struggle into Fred and Charlotte’s romance. Fred helps Charlotte understand even the ugliest truths are worth telling. Charlotte helps Fred express himself more meaningfully by shedding his perpetual sarcasm. And the film’s astuteness about Charlotte’s uphill battle for hearts and minds as a woman in politics is less a woke-fiction badge of honor than a believable barometer of real-world pressure. Most of all, “Long Shot” is often laugh-aloud funny, from quick-punch jabs at misogynist morning-show banter to a sublime showcase for Theron during which Charlotte negotiates an international incident while tweaking out of her gourd. (NR) 87. A Flash of Green (1984). This film is notable for deromanticizing the life of a reporter. In Palm City, Florida, Jimmy Wing (Ed Harris) doesn’t wear slick suits and scoop up stories at classy clubs. He sweats out cocktails at dingy bars and cranks out copy in a cramped, cluttered office. When the county commissioner (Richard Jordan) cuts him in on a real estate deal, Jimmy starts to see his world open up, but he loses sight of his hometown loyalty — especially to his best friend’s widow (Blair Brown), for whom he harbors love. Adapting the novel by John D. MacDonald, writer-director Victor Nuñez seamlessly balances several subplots and maintains slow-burn suspense in his exploration of Jimmy’s double life. Harris effectively conveys the added weight a reporter carries as a resident of a small town where everybody knows your name. “A Flash of Green” takes on shades of noir as shadowy thugs follow him wherever he goes — like manifestations of his guilty conscience. This film shines bright as a hidden gem. (SW) 86. The Big Clock (1948). A stylish film noir with Ray Milland as a harried crime magazine editor trying to track down a killer — only to discover he’s being framed for the crime. Charles Laughton is terrific as his obsessive, demanding publisher — can this be where Austin Powers got his finger-to-the-face tic — and Elsa Lanchester provides comic relief as an artist integral to the case. If some plot details seem familiar, it could be because Kevin Costner’s 1987 thriller “No Way Out” is based on the same source. (LH) 85. Call Northside 777 (1948). The title refers to a classified ad placed by the mother of an incarcerated man who had been found guilty of murder. A reporter (James Stewart) reluctantly checks out the story, leading him to reinvestigate the years-old case. His methods don’t always line up with the SPJ Code of Ethics, but his doggedness is rewarded in this beautifully shot procedural based on a true story. (LH) 84. Philomena (2013). Part odd-couple comedy, part mystery, “Philomena” shows how investigative journalism can forge unlikely bonds and bring justice to decades-old sins. Based on a true story, the film follows former BBC journalist Martin Sixsmith (co-writer/producer Steve Coogan) and an elderly Irish woman named Philomena Lee (Judi Dench) as they search for the son who was taken from her when she was living at a convent 50 years prior. While its humor doesn’t always land smoothly, “Philomena” steadily stirs up suspense. Of course, the resolution of the real-life story is just a Google search away. But like an effective piece of journalism, the film still holds you in its grip. Director Stephen Frears draws great performances out of the two leads. Dench makes Philomena’s desperation our own while Coogan sheds light on how human-interest stories can linger in journalists’ hearts and minds long after they write them. (SW) 83. State of Play (2009). Sometimes, paradoxically, the more weight given to the plot of a movie, the less consequential it seems. Such is the case with this political/journalism thriller, in which a determined old-school reporter (Russell Crowe) teams with a new-school blogger (Rachel McAdams) to sort out the reasons behind the death of a woman who had been having an affair with a congressman (Ben Affleck). Condensed from a six-hour BBC miniseries, it’s fine when it comes to the details — even though it’s a leap of faith that nobody would have a conflict-of-interest concern about a reporter investigating his former college pal. The print/blog battle is little more than a plot device, and McAdams largely takes a backseat to Crowe. In
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Written and directed by Jade Halley Bartlett in her filmmaking debut, the movie chronicles a steamy, school-set romance between a professor and his student after the former sets the latter a writing assignment. That’s the gist of its plot but it’s not the reason why Bartlett’s film has got people talking online. Read on to learn more about the controversies surrounding Miller’s Girl and how its stars have responded. What is Miller’s Girl about? Despite being co-produced by Superbad’s Seth Rogen and Evan Goldberg, Miller’s Girl couldn’t be further in tone from the wild comedies that the pair usually attach their names to. Instead, Bartlett’s movie introduces us to the 18-year-old Cairo (Ortega) as she embarks on a creative writing class during her senior year of High School. Here she meets her new teacher Jonathan Miller (Freeman), a published author with wider literary aspirations who finds himself instead teaching high school. Determined to impress him with her knowledge of the written word, Cairo and Mr Miller soon find themselves entangled in a forbidden romantic relationship. According to the film’s official synopsis, “As lines blur and their lives intertwine, professor and protégé must confront their darkest selves while straining to preserve their individual sense of purpose and the things they hold most dear.” Miller’s Girl did not have a cinema release in the UK, but was released digitally on 19 February. It is available to buy and rent on digital platforms including Prime Video, Sky Cinema and Apple TV. Watch a trailer for the film below: What is the controversy in Miller’s Girl? The illicit teacher-student love story is at the heart of the controversy surrounding Miller’s Girl, particularly when it comes to the film’s sex scenes, with audiences shocked at the 31-year age gap between Freeman and his co-star Ortega. After the topic prompted online chatter, one of its stars recently addressed the issue during a new interview, with Freeman pointing out that the movie’s depiction of the duo’s on-screen romance was both “grown-up and nuanced.” Speaking to The Sunday Times, the Sherlock star added: “It’s not saying, ‘Isn’t this great?’” He pointed towards other movie's depictions of troubling topics, like Steven Spielberg's Schindler's List, saying: “Are we going to have a go at Liam Neeson for being in a film about the Holocaust?” While Ortega is yet to comment herself, the film’s intimacy coordinator, Kristina Arjona, told the Daily Mail that the star was comfortable with shooting these intimate scenes. “There was many, many people throughout this process, engaging with [Jenna] to make sure that it was consistent with what she was comfortable with, and she was very determined and very sure of what she wanted to do,” explained Arjona. “I’m hyper-aware of both of my talent and making sure that we’re consistently checking in and that at no point are any of their boundaries being surpassed.” That said, since these comments were made, SAG-AFTRA changed its policies to state that intimacy coordinators must maintain confidentiality regarding the creation of intimate scenes unless they have the permission of the stars involved.
7961	dbpedia	0	18	http://cinecollage.net/british-new-wave.html	en	cineCollage :: British New Wave			[ "http://www.adobe.com/images/shared/download_buttons/get_flash_player.gif", "http://cinecollage.net/images/britnewwave_s.jpg", "http://cinecollage.net/images/roomTop1_s.jpg", "http://cinecollage.net/images/industrialBritain_s.jpg", "http://cinecollage.net/images/cruelSea1_s.jpg", "http://cinecollage.net/images/lindsayAnderson_s.jpg", "http://cinecollage.net/images/odreamland_s.jpg", "http://cinecollage.net/images/mommaAllow_s.jpg", "http://cinecollage.net/images/everyDay_s.jpg", "http://cinecollage.net/images/thusdayChildren_s.jpg", "http://cinecollage.net/images/lookBack_s.jpg", "http://cinecollage.net/images/saturdayNight1_s.jpg", "http://cinecollage.net/images/sporting_s.jpg", "http://cinecollage.net/images/tasteofhoney_s.jpg", "http://cinecollage.net/images/tomJones_s.jpg", "http://cinecollage.net/images/alfie1_s.jpg", "http://cinecollage.net/images/morgan_s.jpg", "http://cinecollage.net/images/whisperers_s.jpg" ]	[]	[]	[ "British New Wave", "social realism", "kitchen sink", "cinema", "film", "nouvelle vague", "new wave" ]	null	[]	null	The end of the 1950s witnessed the advent in Europe of a succession of what came to be known within global film culture as new waves ...		images/icon.ico		null	As it developed as a group movement during the 1930s, supported by government and private industry and under the leadership of a talented filmmaker and theorist John Grierson, British documentary filmmaking assumed a definite politics by the advent of the Second World War: left-wing, reformist (sometimes patronisingly), admiring of the 'authentic lives' led by the working class â such as fishermen (North Sea, 1938) and factory workers (Industrial Britain, 1933). During the Second World War, documentary techniques were utilised in making fiction films (such as the justly celebrated Target for Tonight, 1941) that supported the struggle against Germany and Japan, heroicising the 'ordinary' men and women who risked their lives for king and country. Pseudo-documentary fictional films that eschewed the escapist glamour of Hollywood tinsel remained an important and profitable area of British production during the 1950s, with significant releases such as The Cruel Sea (1953) and The Colditz Story (1955) enjoying a certain international as well as domestic popularity. Such filmmaking was in large measure the legacy of Grierson and the other documentarians of the 1930s, and it constituted a tradition of quality that promoted national identity (albeit of a somewhat restricted sort) and thematic seriousness, with its enshrinement of the democratic resistance to totalitarianism. Earning equal acclaim was a related series, the social problem films that dealt with issues ranging from juvenile delinquency (The Young and the Guilty, 1958) to racism (Sapphire, 1959), prostitution (Passport to Shame, 1958) and even homosexuality (Victim, 1961). Most of these realist fiction films were notable for their divergence, at least in significance part, from the international pattern for cinematic entertainment set by Hollywood, even though the American cinema of the period featured a similar genre. The appeal of the British social problem films of the 1950s depended more on an engagement (if sometimes rather superficial) with political and cultural concerns rather than on star appeal and conventions such as screen romance. Like the comparable Hollywood product, however, the British social realist films of the 1950s emphasised compelling narrative and socially conservative conclusions more than complex characters. Productions were usually built around established performers and did not feature self-conscious stylisation. These films were middle-class in their point of view, treating working-class characters and culture with either restrained distaste or affable condescension according to the 'moral' demands of the narrative. British film culture of the time, however, saw the emergence of another form of realism that found its source in an offshoot of the Griersonian tradition, the poetic realism of Humphrey Jennings, a documentarian who, in the 1940s, offered consciously stylised and aestheticised versions of the everyday. Jennings had worked as a painter and poet and felt more fondness for surrealism than for the reformist politics that had animated Griersonâs work. In the late 1940s, a group of cinephiles at Oxford transformed the Film Society magazine into a platform from which they pled for an increased awareness of the cinema as an art form. Though generally hostile to British filmmaking, the talented editorial group at Sequence â notably Gavin Lambert, Lindsay Anderson and Karel Reisz â were amateurs, not only of the international art cinema and noted Hollywood productions, but also of Jenningsâs films, which they saw as exemplifying a 'poetic realism' that gave equal emphasis to the 'real and the sensibility of the director who imposed his vision and hence style upon it. Sequence promised to provide, as did the Cahiers du CinÃ©ma in France, an influential forum for a less traditionally-minded film culture (as opposed to the more mainstream Sight and Sound), but it ended publication in 1952 after only fourteen issues. Like Truffaut, Godard and others in France, however, Anderson and Reisz were eager to move into filmmaking, so that a national cinema they regarded as misdirected in its allegiance to establishment values and ignorant of the realities of a post-imperial Britain might be revitalised by a turn toward the 'poetry of everyday life'. They named the movement they founded 'Free Cinema', and it followed a call to arms penned by Anderson (published in 1956 in Sight and Sound, it bore the strident title 'Stand Up! Stand Up!')." [4] Free Cinema: 1956-1959 Free Cinema is now acknowledged as a highly influential moment in British cinema history, which not only re-invigorated British documentary in the 1950s but also served as a precursor to the British New Wave in the late 1950s and early 1960s. But what exactly was Free Cinema? Lindsay Anderson, its undisputed founder and spokesman, later admitted, "Free Cinema, whether as a specific historical movement, or as a genre, or as an inspiration, has been defined, written about or attacked in terms so various that it isn't surprising there is now a great deal of confusion as to what exactly the term implies." An explanation is therefore needed. Essentially, Free Cinema was the general title given to a series of six programmes of (mainly) short documentaries shown at the National Film Theatre (NFT) in London between February 1956 and March 1959. The programmes were put together by a group of young filmmakers and critics whose films were shown in the series' three British programmes ('Free Cinema', 'Free Cinema 3: Look at Britain' and 'Free Cinema 6: 'The Last Free Cinema'). The three other programmes introduced the work of foreign filmmakers, including Roman Polanski, Claude Chabrol and FranÃ§ois Truffaut. Free Cinema was created primarily for pragmatic reasons. In early 1956, as Anderson and his friends Karel Reisz, Tony Richardson and Lorenza Mazzetti were struggling to get their films shown, they decided to join forces and screen them together in a single programme at the National Film Theatre, which Reisz had conveniently been programming for three years. They soon realised that although the films had been made independently, they had a definite 'attitude in common'. Anderson coined the term 'Free Cinema' (a reference to the films having been made free from the pressures of the box-office or the demands of propaganda), and together produced a 'manifesto' in which they stated the ideas behind the presentation of the programme. Although the name was intended only for that one-off event, the 'publicity stunt' proved so effective - with the event attracting wide press attention and all screenings sold out - that five more programmes were shown under the same banner in the next three years, each accompanied by a programme note in the form of a manifesto. But Free Cinema was much more than just a clever piece of cultural packaging. It represented a new attitude to filmmaking, rejecting the orthodoxy and conservatism of both the mainstream British cinema and the dominant documentary tradition initiated by John Grierson in the 1930s. The Free Cinema group dismissed mainstream 1950s British films as completely detached from the reality of everyday contemporary life in Britain, and condemned their stereotypical and patronising representation of the working class. As the programme note for the third Free Cinema programme stated: "British cinema [is] still obstinately class-bound; still rejecting the stimulus of contemporary life, as well as the responsibility to criticise; still reflecting a metropolitan, Southern English culture which excludes the rich diversity of tradition and personality which is the whole of Britain." In contrast, the Free Cinema filmmakers affirmed their "belief in freedom, the importance of people and in the significance of the everyday" (Free Cinema manifesto). Their films attempted to rehabilitate an objective, critical, yet respectful and often affectionate portrayal of ordinary people at work or at play. At the same time, they were strong advocates of the filmmaker's freedom to express his/her personal views through film - "no film can be too personal", insisted the first manifesto - of the commitment of the filmmaker as an artist, and of his/her role as a vocal social commentator. One obvious common denominator of the Free Cinema films (and a prerequisite to their makers' creative freedom) was the fact that they were all made outside the framework of the film industry. They were produced in semi-amateur conditions (all but three on 16mm film), and used the same enthusiastic and skilful (but mainly unpaid) technicians, particularly cameraman Walter Lassally and sound-recordist/editor John Fletcher. The active and generous contribution of these two pioneering technicians was a direct link between most of the Free Cinema films; this alone made Free Cinema much more than a label of convenience. The films were funded either by their makers or by small grants from two main sponsors (BFI Experimental Film Fund and Ford Motor Company), who gave them almost complete creative freedom. The films also shared a number of formal and stylistic features. Typically, they were short, used black and white film and hand-held, portable cameras, avoided or limited the use of didactic voice-over commentary, shunned narrative continuity and used sound and editing impressionistically. Their distinctive aesthetic was a consequence of three main factors: a conscious decision to take their cameras out of the studios and into the streets in order to engage with the reality of contemporary Britain; the extremely limited funds at the filmmakers' disposal; and the technology available. Two particular technological limitations determined the Free Cinema aesthetic: the limited shooting time of the spring-wound Bolex 16mm camera (which meant no shot could last longer than 22 seconds), the impossibility of recording synchronised sound outside the studio until the turn of the 1960s. On the positive side, the emergence of hyper-sensitive film stock allowed filming on location without the use of artificial light, even by night. The filmmakers made a virtue of these financial and technological limitations: as the Free Cinema 3 programme note stated, "with a 16mm camera, and minimal resources, and no payment for your technicians, you cannot achieve very much - in commercial terms.... But you can use your eyes and your ears. You can give indications. You can make poetry." In that respect, Free Cinema advocated and developed a genuine 'aesthetic of economy'. The films may have lacked polish - some were even shot on spare (read 'scratched') government film stock - but their inner quality came from the creative way in which the filmmakers arranged sounds (often a combination of natural sounds and added music) and images, often creating symbolic contrasts between them. "Most of the films expressed the directors' attitudes toward contemporary, urbanizing Britain. Popular culture formed a central subject. Anderson's O Dreamland (1953) reflected on the public's need for a cheap night out, while Tony Richardson's Momma Don't Allow (1955) and Reisz's We Are the Lambeth Boys (1958) rendered teenagers' lifestyles with considerable affection. More traditional subjects were treated with a new restraint. Anderson's film about Covent Garden's markets, Every Day Except Christmas (1957), emphasized work routines and earthy language, while his Thursday'S Children (1955) offered an optimistic view of a school for deaf children by capturing the pupils' spontaneous cheerfulness." [3] Although Anderson later denied Free Cinema the status of a genuine 'film movement', the films' concern with some aspect of contemporary life in Britain, their similar independent mode of production and their common aesthetic seem sufficient to earn it the name, however limited the movement might have been in comparison to, say, Italian neo-realism or the French nouvelle vague. After three years, however, the group announced the end of Free Cinema, with this explanation: The strain of making films in this way, outside the system, is enormous, and cannot be supported indefinitely. It is not just a question of finding the money. Each time, when the films have been made, there is the same battle to be fought, for the right to show our films. As the madman said as he hit his head against the brick wall: it is nice when you stop. "Free Cinema is dead. Long live Free Cinema." So ended the programme note accompanying the final Free Cinema programme of documentary films, screened at the BFI's National Film Theatre on London's South Bank in March 1959. The emergence of the 'British New Wave' partly explains why Anderson and Reisz decided to end the Free Cinema series. To some extent, this decision showed the limitations of the project as an end in itself. However, as Richardson, Reisz and Anderson were about to move on to feature filmmaking, one can, at the very least, recognise Free Cinema's significant role in the apprenticeship of filmmakers who made a major contribution to the flowering of 'kitchen sink' cinema in the late 1950s and early 1960s. Meanwhile, a handful of younger filmmakers kept the movement alive for a few more years, producing short, low-budget documentaries in the Free Cinema style. From Free Cinema to Kitchen Sink and New Wave The 'Kitchen Sink' trend (so-called for its depiction of grubby, everyday life) was Britain's equivalent of the French New Wave. Its principal directors emerged out of the Free Cinema group. "As so often in British cinema history, the inspiration for these film-makers was provided by literature and the theatre. This came in the shape of the works of the 'Angry Young Men': frank and uncompromising slices of 'real life' served up by young writers John Braine, Alan Sillitoe, John Osborne, and others. Their collective disenchantment with the smugness and false promises of post-war British society struck an ideological chord with the proponents of Free Cinema." [2] "The most important of these works was John Osborne's play Look Back in Anger, directed on the stage by Tony Richardson in 1956. In 1959, Richardson and others formed a production company, Woodfall, in order to move from the documentary shorts of Free Cinema into feature filmmaking. One of the first Woodfall films was an adaptation of Look Back in Anger (1959) starring Richard Burton. The alienated hero runs a candy stall in an open-air market and rants to his mates about the inj ustices of the class system. His best friend is his elderly landlady, whom he accompanies on a visit to her husband's grave. Like other films of this tendency, Look Back in Anger's sober realism owes a good deal to location shooting. Although Look Back in Anger was a commercial failure, another Woodfall film made at the same time, and released shortly before it, did well at the box office. Room at the Top (1959, Jack Clayton) was adapted from a novel about a cynical working-class hero who marries a factory owner's daughter in order to better his lot. Dwelling on the disillusionment of life in Britain's provincial cities, Room at the Top was unusual in its sexual frankness and its depiction of class resentment." [3] "Woodfall was supported by another independent, Bryanston Films, chaired by industry stalwart Michael Balcon, which enabled them to release their films through British Lion. The bridgehead established, Richardson's Free Cinema colleagues followed him into features, often with the collaboration of the authors and playwrights whose works inspired them." [2] "Perhaps the quintessential film of the Kitchen Sink trend is Karel Reisz's Saturday Night and Sunday Morning (1960). Arthur deeply resents his factory job and his passive parents, yet at the end he and his fiancee stand staring at a suburban housing development, a shot suggesting that they face the same dreary life. Saturday Night and Sunday Morning was based on an Alan Sillitoe novel, and he adapted his short story for Richardson's The Loneliness of the Long Distance Runner (1962), the story of a sullen prisoner in a reform school who trains as a cross-country runner. Like other angry-young-man films, Loneliness uses techniques borrowed from the French New Wave, including fast motion to suggest excitement during the hero's crimes and hand-held camera work for scenes of his exhilarating open-air jogging. In an echo of Truffaut's The 400 Blows, Loneliness ends with a freeze-frame as the boys assemble gas masks. Lindsay Anderson, like the Cahiers du cinema directors, had been a film critic, and he lambasted the British cinema for its stodgy refusal to face contemporary life. His first feature, This Sporting Life (1963), takes as its protagonist a miner who tries to become a professional rugby player while carrying on a troubled affair with his landlady. Anderson indicts capitalist society through the corrupt sports promoters whom the hero encounters." [3] "Collectively these films constituted the latest manifestation of a progressive realist aesthetic in British cinema, dating back to Grierson's 'documentary ideal' which involved a gradual extension of the cinematic franchise to include realistic representations of the lower orders in society. And while many can be criticized for their overt sexism and machismo, the New Wave films did mark a certain aesthetic evolution in British cinema, from the initial largely studio-based productions of Room at the Top and Look back in Anger, to the freer cinÃ©ma vÃ©ritÃ© style of A Taste of Honey (1961) and The Loneliness of the Long Distance Runner. Aided by technical developments such as lightweight portable cameras and faster film stock Richardson and his dnematographer Walter Lassally were able to make extensive use of real urban locations - northern industrial landscapes in Manchester and Salford - integrating them as a central feature in the drama as the film-makers of the French 'Nouvelle Vague' had begun to do with the streets of Paris. These films also marked the emergence of a new breed of British actor: a tough, street-wise, and instinctive performer, whose acting style owed more to Brando and Dean than to Olivier and Alec Guinness. The 'authenticity' of the likes of Albert Finney, Tom Courtenay, and Rita Tushingham also helped to give the New Wave films a classconsdous edge which had previously been lacking." [2] "Kitchen Sink cinema was a short-lived trend. This Sporting Life failed, and the unexpected success of another, very different Woodfall film swerved filmmakers in new directions. Turning away from harsh realism, Richardson adapted a classic British comic novel in Tom Jones (1963), tapping Osborne for the screenplay. Backed by United Artists, the big-budget color film borrowed heavily from the French New Wave. It became a huge hit and won several Academy Awards. Turning from working-class life in the industrial cities, filmmakers began to attach themselves to the vogue for portraying the lifestyle of "swinging London." English clothes and British rock and roll were suddenly fashionable, and London came to be seen as the capital of trendiness, social mobility, and sexual liberation. A series of films probing the shallowness of the "mod" lifestyle found success in art theaters around the world. For example, in Darling (1965, John Schlesinger) a thoughtless, trivial model rises in society through a string of love affairs and finally marries an Italian prince. Darling uses many techniques derived from the Nouvelle Vague, such as j ump cuts and freeze-frames. Alfie (1966, Lewis Gilbert) offers a male reversal of Darling, in which a selfish charmer seduces a series of women, ducking all problems until confronted with the illegal abortion of one of his victims. Alfie follows Tom Jones in letting the hero share his thoughts with the viewer by means of asides to the camera. Reisz's Morgan: A Suitable Case for Treatment (1966) joined the working-class hero of the Kitchen Sink period with a comic critique of swinging London. A man from a Marxist family tries desperately to prevent his wife from divorcing him and marrying a snobbish artgallery owner. Morgan assimilates art-cinema conventions in its fantasy scenes, in which the hero compares people to gorillas and envisions his execution. Apart from the new prominence of the London lifestyle, creative talents left Kitchen Sink realism behind. The success of Tom Jones led Richardson to Hollywood, while Albert Finney, Tom Courtenay, Richard Harris, and Michael Caine became international stars. Hollywood's tactics in financing British films changed as well. The intimate, realistic film would often be associated with a more overtly political cinema, while many nota ble later British works were either expensive prestige films (often made with American backing) or inventive genre pictures." [3] In summary the British New Wave worked upon an emergent element of realism which sought to represent elements of the working class and its changing environment. Criticisms have been levelled that the films concentrated on characterisations at the expense of the possibilities of class solidarity as a way forward. This marks a break from the brief associations which were made between the Free Cinema movement and the New Left centered around issues of art, representration and didacticism. In that sense the underlying discourses can be seen as ones which promote a meritocratic society in which opportunities are available but it is down to the individual actor themselves about whether they make a success of these opportunities. The Legacy "The British new wave had run its course by 1963 as principals of the movement, like Jack Clayton and Tony Richardson, turned to other kinds of projects. But both these directors, along with Reisz, Anderson, Schlesinger, Forbes and others, continued through the following decades to produce films that, like their new wave progenitors, interestingly engaged with the tradition of the European art film. Schlesingerâs Sunday Bloody Sunday (1971), Forbesâs The Whisperers (1967), Claytonâs The Pumpkin Eater (1964), Reiszâs The French Lieutenantâs Woman (1981) and Andersonâs If.... (1968), among many other similar entrants into the international market, testify to the enduring importance of the movement. A new generation of filmmakers coming to prominence in the 1980s has likewise kept the tradition of modernist social realism alive. These practitioners of so-called 'Brit Grit', particularly Mike Leigh and Ken Loach, like the new wavers of the 1960s, have committed themselves to realism rather than tinsel, eschewing the more extreme forms of cinematic modernism for films that speak directly, if with style and subtlety, to the contemporary world." [4] Filmography O Dreamland (1953) Momma Don't Allow (1955) Thursday's Children (1955) Together (1956) Every Day Except Christmas (1957) We Are the Lambeth Boys (1958) Look Back in Anger (1959) Room at the Top (1959) Hell Is a City (1960) Saturday Night and Sunday Morning (1960) The Angry Silence (1960) The Entertainer (1960) A Taste of Honey (1961) Only Two Can Play (1962) A Kind of Loving (1962) Sparrers Can't Sing (1962) The L Shaped Room (1962) The Loneliness of the Long Distance Runner (1962) A Place to Go (1963) Billy Liar (1963) The Servant (1963) This Sporting Life (1963) Tom Jones (1963) A Hard Day's Night (1964) Girl with Green Eyes (1964) Night Must Fall (1964) Seance on a Wet Afternoon (1964) The Leather Boys (1964) The Pumpkin Eater (1964) Darling (1965) The Knack â¦ and How to Get It (1965) Alfie (1966) Cathy Come Home (1966) Georgy Girl (1966) Morgan: A Suitable Case for Treatment (1966) Poor Cow (1967) The Whisperers (1967) If.... (1968) Up The Junction (1968) Kes (1969) Sunday Bloody Sunday (1971) The French Lieutenant's Woman (1981) Resources [1] Erik Hedling, British Cinema of the 1950s: A Celebration (Manchester University Press, 2003) pp 23-30 [2] Geoffrey Nowell-Smith, The Oxford History of World Cinema (Oxford University Press, 1996) pp 604-5 [3] Kristin Thompson & David Bordwell, Film History: An Introduction (McGraw-Hill, 2003) pp 454-56, 480-81 [4] R. Barton Palmer, Traditions in World Cinema (Edinburgh University Press, 2006) pp 52-63
7961	dbpedia	0	59	https://www.artgallery.nsw.gov.au/whats-on/events/hook	en	Art Gallery of NSW	https://www.artgallery.nsw.gov.au/favicon.ico	https://www.artgallery.nsw.gov.au/favicon.ico	[ "https://www.datocms-assets.com/42890/1722995730-hero-image_option-3.jpg?fit=max&iptc=allow&w=2000", "https://www.datocms-assets.com/42890/1722231464-macho-dancer-1988_lino-brocka_courtesy-viva-communications.jpg", "https://www.datocms-assets.com/42890/1722231623-portrait-of-jason-1967_shirley-clarke_courtesy-of-lino-lorber.jpg", "https://www.datocms-assets.com/42890/1722300212-hustler-white-1996_bruce-labruce_courtesy-of-strand-releasing.png", "https://www.datocms-assets.com/42890/1722300422-dressed-in-blue-1983_antonio-gamenez-rico_courtesy-video-mercury.jpg", "https://www.datocms-assets.com/42890/1722996953-jeanne-dielman-jeanne-dielman-1975_chantal-ackerman_collections-cinematek-fondation-chantal-akerman-edited.png", "https://www.datocms-assets.com/42890/1722303068-kamikaze-hearts-1986_juliet-bashore_courtesy-of-kino-lorber.jpg", "https://www.datocms-assets.com/42890/1722993257-showgirls-1995_paul-verhoeven_courtesy-of-park-circus.jpg", "https://www.datocms-assets.com/42890/1722993567-girl-6-1996_spike-lee_park-circus.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Director Lino Brocka, 1988, Philippines 136 min, digital, colour, unclassified 18+ Daniel Fernando, Allan Paule, Jaclyn Jose Filipino with English subtitles This slippery suds-and-bubbles melodrama is one of the most influential gay films from the Philippines. Eighteen-year-old Pol leaves his rural hometown and finds work in Manilaâs red-light district as a âmacho dancerâ, an erotic performer in a nightclub. The film dazzles in fantasy sequences where Pol and his comrades gyrate and striptease to power ballads. But beyond these splashy scenes lies an unflinching portrayal of coming-of-age amid endemic poverty, police corruption and government abuses. The filmâs political and sexual content led censors to order extensive cuts, yet director Lino Brocka managed to smuggle an uncensored print out of the country. Macho dancer has since found acclaim as a landmark of queer Southeast Asian cinema. Preceded by: How you like my cutÂ Director Peaches, 2015, Canada/Philippines 4 min, digital, colour, unclassified 15+ Choreography and performance by Eisa Jocson In this music video by iconic electroclash musician Peaches, Filipinx artist and dancer Eisa Jocson learns and performs a macho dance, an erotic routine expressive of masculinity traditionally performed by young men. Director Shirley Clarke, 1967, USA 105 min, 35mm-to-digital, B&W, unclassified 18+ Jason Holliday English, no subtitles On a winter night in 1966, director Shirley Clarke and a tiny crew convened in her New York apartment at the Hotel Chelsea to make a film. There, for 12 straight hours, they filmed gay African American man Jason Holliday as he improvised tales of his life as a hustler, sometimes houseboy and aspiring cabaret performer in the heat of the civil rights movement and before the Stonewall uprising in 1969. The film was shot in a cinema veritÃ© style, but as the night unfolds (and Holliday grows exceedingly drunk), our grip on the truth starts to slip, with the camera shifting in and out of focus. A complex, often-times uncomfortable reflection on the relationship between documentarians and their subjects, Portrait of Jason might be the ultimate film about hustling and being hustled. Or, in Hollidayâs words: âIt gets to be a joke sometimes as to whoâs using who.â The screening will begin with an introduction by film scholar Karen Pearlman. Directors Bruce LaBruce and Rick Castro, 1996, USA 79 min, 35mm-to-digital, colour, rated R18+ Tony Ward, Bruce LaBruce, Rick Castro English, no subtitles Content warning: contains unsimulated masturbation and real sex, some scenes of fetishistic sexual activities, including portrayals of bondage and sadomasochism. Director Bruce LaBruce teamed up with famed fetish photographer Rick Castro for this cult homage to Hollywoodâs golden age. It begins with a nod to Sunset Boulevard (1950), with hustler Monti (Ward) lying face down in a jacuzzi. Shortly after, weâre introduced to an eccentric anthropologist (LaBruce), who is researching an exposÃ© on male sex workers. So begins an odyssey through the gay scene of Los Angeles, from the sidewalks of Santa Monica Boulevard to hotel rooms where all manner of sex-for-hire stereotypes and scenarios play out. Whatâs the difference between art and pornography? The lighting, claimed LaBruce, in the filmâs tagline. While its graphic content will not appeal to all audiences, Hustler White remains a key work of 1990s queer cinema in the tradition of Jean Genet, Derek Jarman and Kenneth Anger. Screens with a pre-recorded introduction by LaBruce and series curator EO Gill (the Art Galleryâs assistant curator of film). Director Antonio GimÃ©nez-Rico, 1983, Spain 90 min, 35mm-to-digital, colour, unclassified 18+ Eva PÃ©rez Cobos, Nacha MarÃa SÃ¡nchez, Loren Arana Orellano, Josette Ruiz OrejÃ³n, ReneÃ© Amor, Tamara MuÃ±oz Santiago Spanish with English subtitles Content warning: contains graphic footage of gender-affirming surgery. In this remarkable docufiction set in 1980s Madrid, six transgender women candidly discuss their personal experiences working in the sex industry during Spainâs transition to democracy. Ingeniously framed around a ladyâs luncheon, the camera style is quiet and curious, allowing its subjects â Eva, Nacha, Loren, Josette, ReneÃ© and Tamara â to speak for themselves. Their commentary on class dynamics, gender roles and religion before and after the fall of Franco is delivered with sass and fast-paced wit. Hailed as âone of the best trans films youâve likely never heard ofâ, Dressed in blue âbroke the ice on a culturally taboo topic that would later make possible the films of Pedro AlmodÃ³var and other Spanish directors.â â The Hollywood Times. Screens in a new 2K restoration. Preceded by:Â Valerie Joseph Horning, 1975, USA 15 min, 16mm-to-digital, B&W, unclassified 18+ English, no subtitles A stunning veritÃ© portrait of Valerie, a Black transgender sex worker living as a housewife in Ohio in the Midwest of the 1970s, during a period when âcross-dressingâ was still illegal and punishable with prison time. Director Chantal Ackerman, 1975, Belgium/France 201 min, 35mm-to-digital, colour, rated M Delphine Seyrig, Jan Decorte French with English subtitles In 2022, for the first time in 70 years, the British Film Instituteâs Sight and Sound poll was topped by a film directed by a woman. Whatâs more, it was a film exploring sex and care work. Chantal Ackermanâs Jeanne Dielman brilliantly evokes the daily domestic routine of a middle-aged widow (Seyrig) over the course of three days. Jeanneâs chores include making the beds, cooking dinner for her grown son, and turning the occasional trick. At first her activities are rigid and precise, though slowly Jeanne begins to falter, wandering aimlessly between activities and different rooms. Whether seen as an exacting character study or one of cinemaâs most hypnotic and complete depictions of time and space, Jeanne Dielman is an astonishing film experiment. Director Juliet Bashore, 1986, USA 87 min, 35mm-to-digital, colour, rated R18+ Tigr, Sharon Mitchell English, no subtitles Content warning: contains unsimulated drug use and unsimulated sex. By turns mesmerising and unsettling, Kamikaze hearts is both a fascinating record of pre-gentrification San Franciscoâs X-rated underground and an intense love story. It might first appear as a documentary exposÃ© about the adult entertainment industry and the experiences of its performers. But due to constraints while filming, and participants who didnât want to be incriminated by the United Statesâ strict laws on pornography, director Juliet Bashore got creative. The film interweaves the relationship of real-life lovers Sharon âMitchâ Mitchell and Tigr with fly-on-the-wall footage of a porn shoot â though not a real one, as it was staged for the film without telling most of the cast. Originally titled Fact or fiction, Kamikaze hearts dropped out of mainstream distribution, circulating via bootleg discs and torrents for decades. A recent 2K restoration has ensured the filmâs longevity as a time-capsule portrait of 1980s punk rock, polysexuality and porn. Director Paul Verhoeven, 1995, USA 131 min, 35mm, colour, rated R18+ Elizabeth Berkley, Gina Gershon, Kyle MacLachlan English, no subtitles Famously touted as the worst film of all time, Showgirls stars Elizabeth Berkley as Nomi Malone, a young stripper yearning for stardom. After hitchhiking to Las Vegas, she meets an established entertainer (Gershon), who mentors the plucky ingÃ©nue but later sabotages her career prospects. Nomi retaliates, nails out. The critical flogging that Showgirls has received since its release is part of its mystique. Berkleyâs earnest performance was initially subject to sexist and classist dismissal. From cat-crawling pole routines to her infamous aqua-aerobic romp with Kyle MacLachlan, her performance has more recently been celebrated as radically feminist. âA tour de force of hysterical excess.â â Film at Lincoln Centre. Screens on 35mm. Director Spike Lee, 1996, USA 108 min, 35mm-to-digital, colour, unclassified 18+ Theresa Randle, Spike Lee English, no subtitles Boasting cameos by Naomi Campbell and Madonna and a soundtrack by Prince, Girl 6 is a 1990s hotline fever dream. Spike Lee collaborated with acclaimed playwright Suzan-Lori Parks for this bubblegum tale of a struggling actor who takes a job as a phone-sex operator. She finds friendship and camaraderie with her fellow workers who guffaw and eye roll at the absurd, sometimes terrifying fantasies coming down the line. A playful, sharp examination of race, gender and performance through mediated forms of intimacy (the old-school hotline), the film was praised by author and scholar bell hooks as offering âthe most diverse images of Black female identity ever seen in a Hollywood film.â Preceded by:Â Salacia Â Director Tourmaline, 2019, USA 6 min, digital, colour, unclassified 15+ Rowin Amone English, no subtitles Salacia follows the life of Mary Jones, a Black transgender sex worker who lived in New York in the 1800s and imagines her in Seneca Village (now Central Park), then one of the only areas in New York City where Black people owned land. Courtesy of the Museum of Modern Art.
7961	dbpedia	0	9	http://www.geocities.ws/linwood/cine/Cinema%2520Britain1/intro.html	en	British Cinema in the 50s and 60s: A Brief Introduction			[ "http://www.geocities.ws/linwood/cine/Cinema%2520Britain1/blue.jpg" ]	[]	[]	[ "" ]	null	[ "J. Linwood" ]	null					null	"The 1960s witnessed a revitalisation of British Cinema and the emergence of a flourishing and diverse film culture after what was widely perceived to be the 'doldrums era' of the 1950s. The 1950s had seen the two great cinematic traditions of the 1940s - Ealing and Gainsborough - gradually running out of steam and expiring. many of the great directors of the 1940s (David Lean, Carol Reed, Michael Powell, Thorold Dickinson, Robert Hamer, Alexander Mackendrick) declined, retired or removed to America. There was a sclerotic sense of old formulae being unimaginatively followed, of a failure and nerve of invention. The characteristics products of the decade reflected this: the war films that relived old glories, the Norman Wisdom comedies that trod in the footsteps of George Formby, the anaemic 'international' epics which aimed futilely to break into the American market and which misused the sensitive talents of such stars as Dirk Bogarde and Peter Finch. In ethos and outlook, in technique and approach, mainstream 1950s films were essentially conservative, middle-class and backward looking. The 1960s brought a small but influential body of films which captured the attention of critics by tackling the life style and aspirations of the young and working class in a fresh unpatronising way. They adopted an approach that was to be seen and proclaimed as sexually liberated, politically radical and socially committed. They marked a definite advance on 1950s cinema but, seen from the perspective of the 1990s, seem more limited, particularly in their treatment of race, sex and gender, than critical orthodoxy had allowed. Over concentration on these films at the expense of many other cinematic products of the decade has also tended to distort the received picture of the age." Jeffery Richards (1) For Britain, the period immediately following the war was one of rationed drabness while its former adversaries, Germany and Japan, were on the way to recovery. In the 1950’s, consumerism (measured in the number of households possessing cars, telephones, televisions, washing machines and other domestic appliances) created changes in patterns of cultural behavior. While the class structure remained, the increased spending power of the masses (particularly the under-25s.) gave rise to the so-called “cultural revolution" of the 1960s. The relative affluence, better housing, wider car ownership and growth of television in the 50s created more varied leisure alternatives to the cinema for mass family audiences which resulted in a decline in cinema attendances from 1365 million admissions in 1951 to 501 million in 1960. Box office takings in the same period fell from £108 million to £64 million (2). This loss of mass attendance was to create fertile ground for more specialized film genres likely to appeal to young adult audiences. The roots of the revitalization of the British cinema of the early-1960s arises principally from literary, theatrical and even television trends in the 50s together with a liberalization of film censorship. These influences are characterized by social realism, provincial working-class settings and sentiments, sexual frankness and satire. The film version of John Braine’s 1957 novel Room at the Top released in 1959 is generally regarded as the revitalization milestone. Other significant works of fiction written (and subsequently filmed) during the 50’s include Stan Barstow’s A Kind of Loving (1960), Keith Waterhouse’s Billy Liar (1959 ), David Storey’s This Sporting Life (1960), Alan Sillitoe’s Saturday Night and Sunday Morning (1958) and his short story The Loneliness of the Long-Distance Runner (1959). Filmed plays are represented by John Osborne’s Look Back in Anger (1956), and The Entertainer (1957), Shelagh Delany’s A Taste of Honey (1958), and Harold Pinter’s The Caretaker (1960). During the decade, critically despised literary genres such as spy, crime, fantasy and science fiction found respectability as vehicles of social comment through the efforts of established critics such as Kingsley Amis in his critical survey of SF New Maps of Hell (1960). All these genres were to play important roles in 60s British cinema. ABC-TV’s Armchair Theatre (1958-62) created by Canadian-born producer Sydney Newman was also an important influence as an explicitly populist “theatre of the people” (3) featuring plays by Clive Exton, Alun Owen and Harold Pinter. To define exactly what Jeffrey Richards (4) has called the “flourishing and diverse film culture” of the 60s emerged I will arbitrarily assume it began in 1959 with Room at the Top and that what he defines as “doldrums era” of the 1950's ended with Sink the Bismarck in 1960. Richards’ contention that British films during the decade which produced the Ealing comedies (notably The Man in a White Suit ) and Bridge on the River Kwai were inferior to those that followed requires some examination of typical 50s fare. While the Ealing comedies are generally held to be major achievements in 50’s British cinema, there were only seven made in the period 1948-55 : Whisky Galore (1948), Kind Hearts and Coronets (1949), Passport to Pimlico (1949), The Lavender Hill Mob (1951), The Man in the White Suit (1951), The Titfield Thunderbolt (1952) and The Ladykillers (1955). The films now tend to be dismissed by cineastes for their “provincial narrow-mindedness, snobbery, sexual repression, verbosity, archness and sentimental nationalism” (5) although the films by Hamer and Mackendrick evade these descriptions. Kind Hearts and Coronets and The Man in a White Suit can be seen as early (and superior) influences on such later satires as Nothing But the Best (1964 ) . Ealing also produced an early slice of social realism in The Blue Lamp (1950) concerning the work of a West London police station. The influence of the British Board of Film Censors undermined the credibility of the criminal gang, although Dirk Bogarde’s portrayal of the gang leader, Riley, was to establish him as a major actor in the 50s and 60s. The 50s work of the Boulting Brothers began with the powerful thriller Seven Days to Noon (1950) voicing very early concerns about nuclear warfare and continued with satirical comedies (frequently starring Ian Carmichael) such as an adaptation of Kingsley Amis’ Lucky Jim (1957 ) and Carlton Brown of the F.O. (1959). In their finest comedy I’m All Right Jack (1959), what was intended as an even-handed satire on management-labour relations was dominated by Peter Sellers' magnificent performance as Fred Kite, a Stalinist shop steward creating a stereotype which still bedevils the union movement. This, and other Boulting Brothers films, were to lay the foundations of the “satire boom” of the 60s. Generally the output of the British studios in the 50s are seen as parochial films dominated by escapist comedies, simplistic war films and the beginning of the horror boom, although close examination does show diversity, experimentation and adaptation to falling cinema attendances. One of the most successful films was Rank’s Coronation documentary A Queen is Crowned (1953) while comedies such as Genevieve (1953) and the Doctor series proved tremendously popular, being re-released as double-bills. Norman Wisdom took up the mantle of George Formby as a gormless gimp in a series of comedies commencing with Trouble in Store (1953) and the Carry On film cycle began in 1958 with Carry on Sergeant. For budgetary reasons war films were confined to prisoner of war camps [The Wooden Horse (1950 ), Albert R.N. (1953), The Colditz Story (1955 )] or isolated combatants [Dunkirk (1958), Ice Cold in Alex (1958)]. The collective ethos of the 40s war films was abandoned in favour of depicting a war run by officers with other ranks reduced to marginal stereotypes. Exceptions to the genre were The Cruel Sea (1952) and A Hill in Korea (1956) which presented a grimmer, less heroic depiction of war. Hammer Films, a small studio specializing in film adaptations of successful radio and TV dramas, produced a version of Nigel Kneale’s popular TV serial The Quatermass Experiment (1955) initially retitled The Quatermass Xperiment to capitalize on the X-certificate introduced in 1951 to exclude under-16’s from certain films. Because of its success, the studio then launched a highly successful Gothic-horror cycle with The Curse of Frankenstein (1957) and Dracula (1958) establishing Peter Cushing and Christopher Lee as major actors in this genre. The most notable British big-budget film of the 50’s was David Lean’s Bridge on the River Kwai (1957) financed by the American Columbia Pictures and aimed at an international audience. The film’s questioning of the notions of military tradition, honour and blind obedience were lost on the majority of British cinemagoers who tended to see it as another celebration of national heroism. The “new wave” of 60s British realism had such precedents in "social problem" films as Yield to the Night (1957), Woman in a Dressing Gown (1957), No Trees in the Street (1958) and Violent Playground (1958) but it is Jack Clayton’s Room at the Top (1959) that is regarded as the key film in the movement. The British Board of Film Censors had traditionally worked in close cooperation with the film industry not just to curb bad language, sex and violence but to ensure that a comfortable middle-class image of Britain was presented on the screen. By the end of the 50s it was obvious to the more liberal Board under John Trevelyan that social realism in fiction, theatre and television were acceptable to British audiences and that subjects such as class and sex could be presented in adult films. Room at the Top can be viewed as a Faustian morality tale in which the anti-hero, Joe Lampton (Lawrence Harvey), must lose the woman he loves, Alice (Simone Signoret), in order to marry into the wealthy Brown family. Although the sexual frankness is tame by today’s standards, it is Joe’s “attitude” towards class and sex that contemporary audiences can still relate to. Karel Reisz’s Saturday Night and Sunday Morning (1960) differed from Room at the Top as only one class was depicted, with authority figures such as foremen and policemen relegated to minor characters. Unlike the upwardly mobile Joe Lampton ( who is almost a middle-class accountant at the beginning of the film), the film’s well paid factory worker hero, Arthur Seaton is contemptuous of the drab ghetto of working class life in Nottingham ; he is not a revolutionary : “All I’m out for is a good time. All the rest is propaganda.” His only act of rebellion comes at the end of the film when he throws a stone towards the housing estate where he and his girl-friend, Doreen (Shirley Anne Field), will presumably spend the rest of their lives. The national and international success of these two films together with Look Back in Anger (1959) and The Entertainer (1960) resulted in productions (predominantly by small independent companies such as Woodfall) of The Loneliness of the Long-Distance Runner (1961), A Taste of Honey (1961),A Kind of Loving (1962 ), Billy Liar (1963), This Sporting Life (1963), The Caretaker (1963), and Nothing But The Best (1964). Of these, only A Taste of Honey could be regarded as having a feminist sub-text while Room at the Top and others could be considered by contemporary critics as both misogynistic and sexist. Like the Ealing comedies, the number of “new wave” realist films of the mid-60s were relatively small ; however, their success attracted international investment in the British film industry. This combined with other cultural changes at this time in Britain created a more diverse range of films than in the previous decade such as the marriage of current popular music with the cinema resulting in Richard Lester’s innovative Beatles films A Hard Day’s Night (1964) and Help (1965). Notable original contributions to the 60s British Cinema were made by two Americans Joseph Losey and Stanley Kubrick. A Clockwork Orange (1971) was Kubrick’s only comment on British society but his other films of the 60’s: Lolita (1962), Dr Strangelove (1964) and 2001: A Space Odyssey (1968) greatly enhanced the international standing of British actors (notably Sellers) and film crews. Losey fled America in 1953 to avoid being blacklisted and directed several low-budget but notable films such as The Sleeping Tiger (1954) frequently using a pseudonym. In The Criminal (1960), a stylish prison film with a script by Alun Owen , Losey introduced toughness and authentic dialogue previously lacking in British crime films that was to influence future gangster films such as Robbery (1967), Performance (1969), Get Carter (1971) and The Long Good Friday (1979). However, it is Losey’s The Servant (1963) that is arguably one of the best British films of the decade. Based on Robin Maugham’s 1949 novella, Harold Pinter’s screenplay looks at the corrupting class system of Britain through the master-servant relationship of Tony (James Fox) and Barrett (Dirk Bogarde). The reversal of their roles, with homosexual undertones, is the one of the most perceptive cinematic critiques of the class system. The most successful films of the 60s and the following decades were the Bond films commencing with Doctor No (1962). Although in the tradition of Bulldog Drummond and Dick Barton, the Bond films were firmly tongue-in-cheek and the casting of Sean Connery with a broad Scots accent made Bond a classless hero. In the newly found spy genre, Len Deighton’s working class anti-hero Harry Palmer, played by Michael Caine, first appeared in The IpcressFile (1965) and in two subsequent films Funeral in Berlin (1966 ) and Billion Dollar Brain (1967 ). The only significant film to deal with the realties of cold war espionage was The Spy who Came in from the Cold (1965) based on John Le Carre’s novel with its premise that both sides are morally bankrupt.
7961	dbpedia	3	20	https://socialsci.libretexts.org/Courses/Cosumnes_River_College/SOC_301%253A_Social_Problems_(Ninh)/02%253A__Articulate_how_sociological_concepts_can_be_used_to_explain_social_problems./2.04%253A_Sexual_Orientation_and_Inequality/2.4.02%253A_Understanding_Sexual_Orientation	en	2.4.2: Understanding Sexual Orientation	https://a.mtstatic.com/@…social-share.png	https://a.mtstatic.com/@…social-share.png	[ "https://cdn.libretexts.net/Logos/socialsci_full.png", "https://cdn.libretexts.net/Logos/socialsci_full.png", "https://a.mtstatic.com/@public/production/site_7339/1474932051-logo.png", "https://socialsci.libretexts.org/@api/deki/files/61949/2.4.2.1.png?revision=1", "https://socialsci.libretexts.org/@api/deki/files/61950/2.4.2.2.png?revision=1", "https://socialsci.libretexts.org/@api/deki/files/61951/2.4.2.3.png?revision=1" ]	[]	[]	[ "" ]	null	[ "Libretexts" ]	2021-01-05T10:32:59+00:00		en	https://a.mtstatic.com/@…e-touch-icon.png	Social Sci LibreTexts	https://socialsci.libretexts.org/Courses/Cosumnes_River_College/SOC_301%3A_Social_Problems_(Ninh)/02%3A__Articulate_how_sociological_concepts_can_be_used_to_explain_social_problems./2.04%3A_Sexual_Orientation_and_Inequality/2.4.02%3A_Understanding_Sexual_Orientation	Biological Factors Research points to certain genetic and other biological roots of sexual orientation but is by no means conclusive. One line of research concerns genetics. Although no “gay gene” has been discovered, studies of identical twins find they are more likely to have the same sexual orientation (gay or straight) than would be expected from chance alone (Kendler, Thornton, Gilman, & Kessler, 2000; Santtila et al., 2008).Kendler, K. S., Thornton, L. M., Gilman, S. E., & Kessler, R. C. (2000). Sexual orientation in a US national sample of twin and nontwin sibling pairs. American Journal of Psychiatry, 157, 1843–1846; Santtila, P., Sandnabba, N. K., Harlaar, N., Varjonen, M., Alanko, K., & Pahlen, B. v. d. (2008). Potential for homosexual response is prevalent and genetic. Biological Psychology, 77, 102–105. Because identical twins have the same DNA, this similarity suggests, but does not prove, a genetic basis for sexual orientation. Keep in mind, however, that any physical or behavioral trait that is totally due to genetics should show up in both twins or in neither twin. Because many identical twins do not have the same sexual orientation, this dissimilarity suggests that genetics are far from the only cause of sexual orientation, to the extent they cause it at all. Several methodological problems also cast doubt on findings from many of these twin studies. A recent review concluded that the case for a genetic cause of sexual orientation is far from proven: “Findings from genetic studies of homosexuality in humans have been confusing—contradictory at worst and tantalizing at best—with no clear, strong, compelling evidence for a distinctly genetic basis for homosexuality” (Sheldon et al., 2007, p. 114).Sheldon, J. P., Pfeffer, C. A., Jayaratne, T. E., Feldbaum, M., & Petty, E. M. (2007). Beliefs about the etiology of homosexuality and about the ramifications of discovering its possible genetic origin. Journal of Homosexuality, 52(3/4), 111–150. Another line of research concerns brain anatomy, as some studies find differences in the size and structure of the hypothalamus, which controls many bodily functions, in the brains of gays versus the brains of straights (Allen & Gorski, 1992).Allen, L. S., & Gorski, R. A. (1992). Sexual orientation and the size of the anterior commissure in the human brain. PNAS, 89, 7199–7202. However, other studies find no such differences (Lasco, Jordan, Edgar, Petito, & Byne, 2002).Lasco, M. A., Jordan, T. J., Edgar, M. A., Petito, C. K., & Byne, W. (2002). A lack of dimporphism of sex or sexual orientation in the human anterior commissure. Brain Research, 986, 95–98. Complicating matters further, because sexual behavior can affect the hypothalamus (Breedlove, 1997),Breedlove, M. S. (1997). Sex on the brain. Nature, 389, 801. it is difficult to determine whether any differences that might be found reflect the influence of the hypothalamus on sexual orientation, or instead the influence of sexual orientation on the hypothalamus (Sheldon et al., 2007).Sheldon, J. P., Pfeffer, C. A., Jayaratne, T. E., Feldbaum, M., & Petty, E. M. (2007). Beliefs about the etiology of homosexuality and about the ramifications of discovering its possible genetic origin. Journal of Homosexuality, 52(3/4), 111–150. A third line of biological research concerns hormonal balance in the womb, with scientists speculating that the level of prenatal androgen affects which sexual orientation develops. Because prenatal androgen levels cannot be measured, studies typically measure it only indirectly in the bodies of gays and straights by comparing the lengths of certain fingers and bones that are thought to be related to prenatal androgen. Some of these studies suggest that gay men had lower levels of prenatal androgen than straight men and that lesbians had higher levels of prenatal androgen than straight women, but other studies find no evidence of this connection (Martin & Nguyen, 2004; Mustanski, Chivers, & Bailey, 2002).Martin, J. T., & Nguyen, D. H. (2004). Anthropometric analysis of homosexuals and heterosexuals: Implications for early hormone exposure. Hormones and Behavior, 45, 31–39; Mustanski, B. S., Chivers, M. L., & Bailey, J. M. (2002). A critical review of recent biological research on human sexual orientation. Annual Review of Sex Research, 13, 89–140. A recent review concluded that the results of the hormone studies are “often inconsistent” and that “the notion that non-heterosexual preferences may reflect [deviations from normal prenatal hormonal levels] is not supported by the available data” (Rahman, 2005, p. 1057).Rahman, Q. (2005). The neurodevelopment of human sexual orientation. Neuroscience Biobehavioral Review, 29(7), 1057–1066. Social and Cultural Factors Sociologists usually emphasize the importance of socialization over biology for the learning of many forms of human behavior. In this view, humans are born with “blank slates” and thereafter shaped by their society and culture, and children are shaped by their parents, teachers, peers, and other aspects of their immediate social environment while they are growing up. Given this standard sociological position, one might think that sociologists generally believe that people are gay or straight not because of their biology but because they learn to be gay or straight from their society, culture, and immediate social environment. This, in fact, was a common belief of sociologists about a generation ago (Engle et al., 2006).Engle, M. J., McFalls, J. A., Jr., Gallagher, B. J., III, & Curtis, K. (2006). The attitudes of American sociologists toward causal theories of male homosexuality. The American Sociologist, 37(1), 68–76. In a 1988 review article, two sociologists concluded that “evidence that homosexuality is a social construction [learned from society and culture] is far more powerful than the evidence for a widespread organic [biological] predisposition toward homosexual desire” (Risman & Schwartz, 1988, p. 143).Risman, B., & Schwartz, P. (1988). Sociological research on male and female homosexuality. Annual Review of Sociology, 14, 125–147. The most popular introductory sociology text of the era similarly declared, “Many people, including some homosexuals, believe that gays and lesbians are simply ‘born that way.’ But since we know that even heterosexuals are not ‘born that way,’ this explanation seems unlikely…Homosexuality, like any other sexual behavior ranging from oral sex to sadomasochism to the pursuit of brunettes, is learned” (Robertson, 1987, p. 243).Robertson, I. (1987). Sociology. New York, NY: Worth. However, sociologists’ views of the origins of sexual orientation have apparently changed since these passages were written. In a recent national survey of a random sample of sociologists, 22 percent said male homosexuality results from biological factors, 38 percent said it results from both biological and environmental (learning) factors, and 39 percent said it results from environmental factors (Engle et al., 2006).Engle, M. J., McFalls, J. A., Jr., Gallagher, B. J., III, & Curtis, K. (2006). The attitudes of American sociologists toward causal theories of male homosexuality. The American Sociologist, 37(1), 68–76. Thus 60 percent (= 22 + 38) thought that biology totally or partly explains male homosexuality, almost certainly a much higher figure than would have been found a generation ago had a similar survey been done. In this regard, it is important to note that 77 percent (= 38 + 39) of the sociologists still feel that environmental factors, or socialization, matter as well. Scholars who hold this view believe that sexual orientation is partly or totally learned from one’s society, culture, and immediate social environment. In this way of thinking, we learn “messages” from all these influences about whether it is OK or not OK to be sexually attracted to someone from our own sex and/or to someone from the opposite sex. If we grow up with positive messages about same-sex attraction, we are more likely to acquire this attraction. If we grow up with negative messages about same-sex attraction, we are less likely to acquire it and more likely to have heterosexual desire. It is difficult to do the necessary type of research to test whether socialization matters in this way, but the historical and cross-cultural evidence discussed earlier provides at least some support for this process. Homosexuality was generally accepted in ancient Greece, ancient China, and ancient Japan, and it also seemed rather common in those societies. The same connection holds true in many of the societies that anthropologists have studied. In contrast, homosexuality was condemned in Europe from the very early part of the first millennium CE, and it seems to have been rather rare (although it is very possible that many gays hid their sexual orientation for fear of persecution and death). So where does this leave us? What are the origins of sexual orientation? The most honest answer is that we do not yet know its origins. As we have seen, many scholars attribute sexual orientation to still unknown biological factor(s) over which individuals have no control, just as individuals do not decide whether they are left-handed or right-handed. Supporting this view, many gays say they realized they were gay during adolescence, just as straights would say they realized they were straight during their own adolescence; moreover, evidence (from toy, play, and clothing preferences) of future sexual orientation even appears during childhood (Rieger, Linsenmeier, Bailey, & Gygax, 2008).Rieger, G., Linsenmeier, J. A. W., Bailey, J. M., & Gygax, L. (2008). Sexual orientation and childhood gender nonconformity: Evidence from home videos. Developmental Psychology, 44(1), 46–58. Other scholars say that sexual orientation is at least partly influenced by cultural norms, so that individuals are more likely to identify as gay or straight and be attracted to their same sex or opposite sex depending on the cultural views of sexual orientation into which they are socialized as they grow up. At best, perhaps all we can say is that sexual orientation stems from a complex mix of biological and cultural factors that remain to be determined. The official stance of the American Psychological Association (APA) is in line with this view. According to the APA, “There is no consensus among scientists about the exact reasons that an individual develops a heterosexual, bisexual, gay, or lesbian orientation. Although much research has examined the possible genetic, hormonal, developmental, social, and cultural influences on sexual orientation, no findings have emerged that permit scientists to conclude that sexual orientation is determined by any particular factor or factors. Many think that nature and nurture both play complex roles; most people experience little or no sense of choice about their sexual orientation” (American Psychological Association, 2008, p. 2).American Psychological Association. (2008). Answers to your questions: For a better understanding of sexual orientation and homosexuality. Washington, DC: Author. Although the exact origins of sexual orientation remain unknown, the APA’s last statement is perhaps the most important conclusion from research on this issue: Most people experience little or no sense of choice about their sexual orientation. Because, as mentioned earlier, people are more likely to approve of or tolerate homosexuality when they believe it is not a choice, efforts to educate the public about this research conclusion should help the public become more accepting of LGBT behavior and individuals. KEY TAKEAWAYS An estimated 3.8 percent, or 9 million, Americans identify as LGBT. Homosexuality seems to have been fairly common and very much accepted in some ancient societies as well as in many societies studied by anthropologists. Scholars continue to debate the extent to which sexual orientation stems more from biological factors or from social and cultural factors and the extent to which sexual orientation is a choice or not a choice. FOR YOUR REVIEW Do you think sexual orientation is a choice, or not? Explain your answer. Write an essay that describes how your middle school and high school friends talked about sexual orientation generally and homosexuality specifically.
7961	dbpedia	3	2	https://letterboxd.com/film/intimate-relations-1953/	en	Intimate Relations (1953)	https://a.ltrbxd.com/res…jpg?v=7262e54f2f	https://a.ltrbxd.com/res…jpg?v=7262e54f2f	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://a.ltrbxd.com/resized/avatar/upload/1/7/6/1/5/9/8/shard/avtr-0-80-0-80-crop.jpg?v=11560e3dce" ]	[]	[]	[ "" ]	null	[]	null	Yvonne is seething when her devoted son, Michael, declares his intention to marry Madeleine, despite the latter's admitting to having an affair with a mysterious older man. At the same time, George, Michael's father, confides in Yvonne's sister, Leo, that he is in fact Madeleine's other lover. Together, they hatch a plot to end Madeleine's hopes of marriage - by threatening to reveal George's scandalous secret to his son.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/intimate-relations-1953/	Every drama takes place in mother's bedroom, the scene of the crime. A fascinating rarity – the first British adaptation of Jean Cocteau brings manipulations, sniping and incisive dialogue delivered with bite, and a camera that can't help but swoon back to innocuous family photos to pervert the action onscreen. Marian Spencer is marvellous as a malevolent matriarch controlling her son with hysterical outbursts and and incestuous possessiveness. I also loved Ruth Dunning as her sister manoeuvring the other characters around their insular (stagebound) chess board.
7961	dbpedia	0	34	https://www.timeout.com/film/the-50-most-controversial-movies-ever	en	50 Most Controversial Movies That Were Banned, Panned or Simply Ahead of Their Time	https://media.timeout.co…/39626/image.jpg	https://media.timeout.co…/39626/image.jpg	[ "https://media.timeout.com/images/39626/750/562/image.jpg", "https://d32dbz94xv1iru.cloudfront.net/customer_photos/0787d0dc-35b7-49a0-935e-8053199a82c2.jpg", "https://media.timeout.com/images/105494933/750/422/image.jpg", "https://media.timeout.com/images/105494933/750/562/image.jpg", "https://media.timeout.com/images/100175969/750/422/image.jpg", "https://media.timeout.com/images/100175969/750/562/image.jpg", "https://media.timeout.com/images/100176021/750/422/image.jpg", "https://media.timeout.com/images/100176021/750/562/image.jpg", "https://media.timeout.com/images/100175997/750/422/image.jpg", "https://media.timeout.com/images/100175997/750/562/image.jpg", "https://media.timeout.com/images/105494934/750/422/image.jpg", 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"https://media.timeout.com/images/100176535/750/422/image.jpg", "https://media.timeout.com/images/100176535/750/562/image.jpg", "https://media.timeout.com/images/105494823/750/422/image.jpg", "https://media.timeout.com/images/105494823/750/562/image.jpg", "https://media.timeout.com/images/100176675/750/422/image.jpg", "https://media.timeout.com/images/100176675/750/562/image.jpg", "https://media.timeout.com/images/102041415/750/422/image.jpg", "https://media.timeout.com/images/102041415/750/562/image.jpg", "https://media.timeout.com/images/105494931/750/422/image.jpg", "https://media.timeout.com/images/105494931/750/562/image.jpg", "https://media.timeout.com/images/100176657/750/422/image.jpg", "https://media.timeout.com/images/100176657/750/562/image.jpg", "https://media.timeout.com/images/101714501/750/422/image.jpg", "https://media.timeout.com/images/101714501/750/562/image.jpg", "https://media.timeout.com/images/100176573/750/422/image.jpg", "https://media.timeout.com/images/100176573/750/562/image.jpg", "https://media.timeout.com/images/102508693/750/422/image.jpg", "https://media.timeout.com/images/102508693/750/562/image.jpg" ]	[]	[]	[ "" ]	null	[ "Joshua Rothkopf" ]	2024-04-11T23:00:00+00:00	We rank the 50 most controversial movies ever made, banned for sexual or political content, too soon for their time	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/film/the-50-most-controversial-movies-ever	It’s often said that all press is good press, but the most controversial movies of all time test the limits of that axiom. Yes, shock and outrage can preserve a film in the cultural memory far longer than indifference. But it can also exile a movie to the shadowlands of filmdom, causing it to languish in obscurity until it’s forgotten completely. And if a movie really pisses people off, it can end careers, and even lead to criminal charges – just ask Cannibal Holocaust director Ruggero Deodato. Of course, it’s human nature to be fascinated with films that push extremes. So, in the interest of indulging that prurient curiosity, we’ve compiled this list of the most controversial movies ever made. It should be said that not all controversies are created equal, though. Some of these films are legitimate, groundbreaking classics whose only crime was being made years before audiences were ready for it. Others are truly obscene, and remain reprehensible – yet undeniably interesting to talk about – today. Shine up those pearls, because they’re about to get clutched hard. Written by Joshua Rothkopf, David Fear, Keith Uhlich, Andy Kryza & Matthew Singer Recommended: 🤘The 40 best cult movies of all-time 🔪 The 31 best serial killer movies 😳 The 35 steamiest erotic thrillers 🍆 The 101 best sex scenes in movies of all-time An explosive tour de force from one of our greatest filmmakers, Martin Scorsese's long-gestating passion project shares elements with several films on our list: sex, violence, Jesus Christ. But this reimagining of Nikos Kazantzakis' speculative novel about the Son of God's human fallibility easily ascends to the top of our countdown due to the sheer furor it inspired worldwide. Pundits denounced it. The Vatican and numerous Christians took vocal issue with the extended sequence in which Jesus imagines an alternate life for himself (sun-dappled sex scenes included) with the prostitute Mary Magdalene. One French fundamentalist group launched Molotov cocktails into a Paris theater, injuring several patrons. And some countries banned the film sight unseen (it still can't be shown in the Philippines or Singapore). Lost in all the commotion is the film itself: Beautifully performed (especially by Willem Dafoe as Jesus), impeccably shot and scored (Peter Gabriel's propulsive soundtrack is one for the ages), it's the work of a true believer in both movies and mankind. To her dying day, director Leni Riefenstahl insisted she was not a Nazi; she merely made the single most famous piece of propaganda about them ever conceived. The fact that Riefenstahl's magnum opus captures Hitler in full fascistic bloom at the 1934 Nuremberg Rally is enough to qualify her content as repugnant. (Screenings are still forbidden in Germany.) But Riefenstahl's remarkable skill in stylizing the marching troops and the fhrer's screeds makes this film debate fodder to this day. "There were other documentaries about the Nazi rallies," Roger Ebert said. "But no one remembers [them]; they weren't as good." Triumph of the Will remains exhibit A in the argument about aesthetic beauty used in the service of ideological evil. Its indelible compositions and sense of space are undeniably brilliant; the result of its director's creative genius furthered a legacy of evil. Advertising A fearsome gauntlet that all lovers of foreign film must run, Pier Paolo Pasolini's flesh-tearing drama comes from the lurid writings of the Marquis de Sade. Episodes of torture were transposed to Benito Mussolini's Fascist Italy of the early-1940s, where sexual decadence could also function as a political critique of then and now. But good luck trying to engage on that high-minded level: The movie was banned in Britain and Australia, and caused a stir nearly 20 years later in America, when the owners of a Cincinnati video store were arrested for "pandering." The movie has undoubtedly become a influence on provocateurs like Michael Haneke and Lars von Trier. Yet its most upsetting legacy might be the fate of Pasolini himself, mysteriously murdered only weeks before its world premiere. In one fell swoop, D.W. Griffith's Civil War epic gave the filmmaking world the basic grammar of modern cinema. But the same game-changing gesture also distorted history, recast reprehensibly racist attitudes as heroic and helped revitalize the Ku Klux Klan into the most powerful hatemongering organization of its day. No less than President Woodrow Wilson gave the film his blessing, while the NAACP and other groups decried it as being trumped-up propaganda. The more audiences across the country were exposed to white-sheeted good guys riding to the rescue of Lillian Gish, the louder the cries against prejudice grew. Riots erupted in major cities; in Boston, audience members threw eggs at the screen. Even these days, the silent film still sparks outrage: A proposed 2004 screening at Los Angeles's Silent Movie Theatre was canceled after arson threats. The film's formal influence is matched only by its ugliness. Advertising The faux-literary tag line for Stanley Kubrick's adaptation of Anthony Burgess's novel pretty much sums it up: "Being the adventures of a young man whose principal interests are rape, ultra-violence and Beethoven." Let's just say it wasn't the Beethoven that had half of Britain calling for Kubrick's head. A future-shock parable about free will, this vivid depiction of a charismatic gang leader gained instant notoriety for its extreme violence and prolonged scenes of sexual assault. Politicians debated whether the movie's nihilism outweighed any merits it possessed, newspaper columnists around the world called it everything from misogynistic to fascistic, and social critics fretted over whether the movie's cultish fans would become Clockwork copycats. After defending the movie for months, Kubrick himself prohibited the movie from being shown in England, where the controversy had reached a fever pitch. It wouldn't be publicly exhibited there for decades. To fully understand the traumatizing potency of this Hollywood shocker, first try to imagine a director on the power level of a James Cameron. That's basically what Tod Browning was in 1931, after making Dracula a global box-office phenomenon. The time had finally arrived for Browning to advance his long-gestating personal project, about unloved carnival people whose code is broken by an insider. To MGM's horror, Browning insisted on using real circus performers with deformities. Infamously, a test screening induced one woman's miscarriage (and the threat of a lawsuit); several scenes involving violent revenge were excised. A 64-minute version made it to theaters but was quickly dimmed after horrified public reaction. It wasn't until the 1960s that Freaks found a sympathetic audience in the counterculture. By then, Browning's career was long ruined. Advertising Luis Buñuel looses another assault on all that's holy. The Spanish provocateur's masterful tale of the eponymous young nun, whose faith is sorely tested during a visit to her uncle's estate, was the bane of several gatekeepers. Dictator Francisco Franco unsuccessfully attempted to have the film withdrawn from circulation after it won the Palme d'Or at Cannes (in the end, he just banned it at home). And the Vatican made its displeasure known in its official newspaper, describing the movie as blasphemous. (A scene in which a bunch of rabble-rousing vagrants reenact The Last Supper probably had something to do with that.) For the rest of us, Buñuel's potent mix of the sacred and profane is endlessly exhilarating. At the time of its release, the controversy surrounding Bernardo Bertolucci’s erotic drama was mostly contained to the screen. Its perverse eroticism scandalised audiences not accustomed to seeing such frank depictions of sexual power dynamics explored in the realm of a so-called ‘art movie.’ Decades later, however, revelations about the film’s most infamous moment pushed the movie’s infamy beyond the cultural mores of the ‘70s. If you know movies, you know the scene: in an empty Parisian flat, Marlon Brando wrestles co-star Maria Schneider to the ground and anally penetrates her, using a stick of butter as lubricant. A few years before her death in 2011, Schneider claimed Bertolucci did not inform her of how far the scene would go beforehand, and said the experience left her feeling ‘raped’ – an account the director more or less confirmed later on, saying he was attempting to produce a ‘reaction of frustration and rage’ in the actor. It makes an already uncomfortable moment nearly unbearable 50 years on. Advertising Audiences were used to living vicariously through tommy-gun-wielding gangsters breaking the law with panache. What they weren't prepared for was seeing the bloody aftermath of their antiheroes' activities rendered in living color. This film's use of startlingly realistic violence—oddly coupled with jaunty banjos and jokey moments—caused a furor among those who thought it made murder seem sexy and frivolous. Bosley Crowther of The New York Times complained that the movie's "brutal killings [were] pointless and lacking in taste." But younger critics such as Pauline Kael came to the movie's defense, contextualizing its horrors within the civil unrest going on outside of theaters. Crowther eventually lost his job over the review, while Bonnie and Clyde precipitated a vital American New Wave—and opened the floodgates for countless slo-mo bullet ballets. Todd Haynes's groundbreaking indie—a highly stylized and sexually explicit triptych based on the writings of Jean Genet—heralded the arrival of New Queer Cinema and drew the ruthless attentions of family-values pundits after it won the Grand Jury Prize at Sundance. The chief antagonist was Reverend Donald Wildmon, who called for the firing of the chairman of the National Endowment of the Arts, which had given Haynes a $25,000 grant. Several other naysayers followed suit: "I've seen more artistically meritorious productions on America's Funniest Home Videos," said Baptist Church spokesman Jim Smith. The NEA chair did eventually resign under pressure, while Haynes continued to upend conventions in exceptional work like Safe and Velvet Goldmine. Advertising Sam Peckinpah’s penchant for onscreen violence earned him the nickname ‘Bloody Sam’, but the ugliness on display in the director’s most notorious film is notably different from the sort in The Wild Bunch or Bring Me the Head of Alfredo Garcia. Sick of city life, a mild-mannered American mathematician (Dustin Hoffman) moves with his wife (Susan George) to a quiet village in the English countryside, only to discover that, no matter where you go in the world, malevolence can and will find you. Yes, this is a movie where an intruder gets a bear trap clamped on their head, but Straw Dogs’ ignominy mostly derives from a drawn-out scene of sexual assault – which is disturbing enough on its own, but is made infinitely worse by the suggestion that the victim might possibly be enjoying the violation. Interpretations vary, but whatever Peckinpah’s intent, it’s a singularly nauseating moment in a movie that required significant edits to even see release in many countries. One expects raised eyebrows when making a movie about real-life sexual obsession – especially if it includes actual instances of actors getting it on. Nagisa Oshima had to ship his undeveloped film to France to avoid Japan's censorship laws; an American premiere at the New York Film Festival was aborted when authorities confiscated the film at the airport. Its violent, explicit scenes of lovemaking remain a how-far-can-you-go test of tolerance. Advertising Controversy plagued William Friedkin’s leather-bar murder mystery even before it screened for audiences. Gay activists were so offended by the film's purportedly fearmongering depictions of Manhattan’s queer underground that they disrupted shooting. Once it was released, protests only intensified, though the film has since been viewed more favorably (by gay critics, in some cases) and regarded as a time capsule of a lost subculture. 14. Life of Brian (1979) Monty Python's Flying Circus could make fun of the Queen without attracting trouble, no problem. But the minute they made a satire about an average Nazarene layabout mistaken for the Messiah, its members started getting death threats. Picket lines followed, while Christian organizations complained that mocking Jesus was a mortal sin; the irony was that Python was actually ridiculing religious zealots. Advertising Intending to transgress, John Waters left no taboo untried on this, his most beloved cult movie, starring his friend, the rapturously dramatic Divine, and a host of Baltimore misfits. The film is peppered with riotous awfulness: sex with a live chicken, depictions of incest, a close-up of a proudly exposed anus. But it's the shit-eating climax—unfaked—that cements its reputation. The Exorcist welcomed controversy with open arms: This is, after all, a film in which a possessed pre-teen girl repeatedly stabs herself in the genitals with a crucifix. The outcry was so loud that God himself might have joined in the backlash: fires and injuries led director William Friedkin to have the set of his ‘cursed’ film blessed by a priest. Censors cried foul of subliminal messaging tucked into the frames. Linda Blair required a bodyguard for months. This is a film that sent visceral reactions up and down the spine of the cinematic landscape. Even today, it feels dangerous. Advertising David Cronenberg's vividly erotic thriller—about an underground cult that gets off on highway accidents—left censors hot and bothered. U.S. distributors were forced to release separate R and NC-17 versions. Britain approved it, though a local council barred the movie from screening in certain venues. And Italian critics demanded Cronenberg return his Cannes prize. Seems some folks could use a little nookie. In 1960, British filmmakers Alfred Hitchcock and Michael Powell both released prototypical slasher films foregrounding voyeuristic murderers. Hitch’s Psycho would be rewarded with box-office glory and decrees of genius. Powell, meanwhile, found his career detonated in the wake of Peeping Tom, a film whose examination of toxic fandom and empathy for the devil would prove decades ahead of its time. Critics savaged it. Censors ripped it to bits. Finland banned it. Yet it’s now lauded as a masterpiece, thanks in no small part to fellow controversy-courter Martin Scorsese funding a re-release in the late ’70s. Advertising Luis Buuel didn't pull any punches with his first two shorts. The 16-minute "Un Chien Andalou" memorably features a woman's eyeball slit by a razor, while the 60-minute L'Age d'Or, a scathing attack on bourgeois society, so incensed its first audiences that the financiers pulled it from distribution. Would Mel Gibson’s Old Testament approach to the New Testament be so controversial had he not revealed himself to be the anti-semite critics feared he was? It’s hard to say. But the film’s depiction of Jews as bloodthirsty sadists would have raised eyebrows even if this thing was directed by Golda Meir. The debate over messaging was loud enough to drown out concerns about the film’s gruesome violence… not that flayed skin irked the target audience. Consider: Martin Scorsese pissed off the pious by showing Christ in love. Mel Gibson made millions by showing him being ripped apart for two straight hours. Advertising Sexual intercourse is implied rather than shown in this frenzied German film about a love triangle (tame by today's standards). But the close-ups of blushing Hedy Lamarr, in clear rapture during an illicit encounter with a hunky construction worker, were enough to raise the hackles of the National Legion of Decency, which banned its importation. Pope Pius XI publicly denounced it, which didn't help either. Plenty of movies have been made about the secret lives of teenagers, but what icked out critics about Larry Clark’s feature debut is the way he seemed to penetrate those lives with documentary-style voyeurism. Shot in a pseudo-verite manner, Kids follows a group of New York adolescents in living like an NC-17 version Peter Pan’s Lost Boys: drugging, fucking and fighting with little heed to the longterm consequences and basically no adult supervision. Many of its stars – including pre-fame Chloe Sevigny and Rosario Dawson – were either in their teens or just out of them, and Clark almost seems to leer at them through his camera, a quality that would become a troubling signature of his work (see Ken Park below). It starts some important conversations, but doing so means you have to watch it, which is not a terribly comfortable experience. Advertising Many predicted Spike Lee's incendiary take on Bed-Stuy race relations would stir up riots. But the only trash cans hurled through pizzeria windows were verbal: Lee accused reviewers of blind prejudice, while heated editorials were plentiful. The film became a political football, and its provocative influence persists. Queer and feminist activists were vexed by Jonathan Demme's much-lauded chiller, due to its flamboyantly transsexual villain, Buffalo Bill, and his relish for skinning women. Protests were held at screenings, and a clearly shaken Demme tried to atone with his next fiction feature, the courthouse AIDS drama, Philadelphia. Advertising Philip Kaufman's adventurous biopic about libidinous literary mavericks Henry Miller and Anais Nin proved that the new NC-17 rating carried the same stigmas as its X predecessor, with media-outlet boycotts turning the film into cinema non grata. Overnight, Kaufman's erotic love story became a culture-wars flash point. Forget the billing order: The breakout star(s) of this tawdry Western was Jane Russell's bust. Obsessive producer-director Howard Hughes featured Russell's assets prominently in both the movie and its leering promotional material. The outcry over immorality delayed general release for three years—at which point this mammary-obsessed pet project became a mammoth hit. Advertising 27. Faces of Death (1978) Before the internet made accessing footage of beheadings, car accidents and other grisly ephemera alarmingly easy, burgeoning teenage sociopaths had to seek out their sleaziest local video store, recruit the most irresponsible parent in their friend group, and rent this cavalcade of calamity, purported to display ‘the graphic reality of death, close-up’. Only, it was all mostly a lie – something that became disappointingly obvious once introduced to the host of the ‘documentary’, a ‘surgeon’ named ‘Francis B Gröss’. (Get it?) Sure, there’s authentic news footage of suicide jumpers and images of long-gone cadavers in medical research facilities, but the stuff that became schoolyard legend, like the infamous ‘monkey brains’ sequence? Fake, fake, fake. Still, for ’80s and ’90s kids, it’s an instant nostalgia trigger: like smoking cloves or saying ‘Candyman’ in the mirror. Watching with the lights off and your nose pressed against the TV was an adolescent rite of passage the current generation will never understand. When Vilgot Sjman's sexually explicit Swedish drama was brought into this country, custom agents seized it at the airport. Suddenly, this foreign film became a cause clbre; the case went all the way to the Supreme Court before obscenity charges were dropped. The bold movie paved the way for all the art-house smut and porn-chic that followed. Advertising Times Square hustlers, lowlife junkies and free-lovin' hippies—could suburban audiences stomach John Schlesinger's nightmarish New York City? The MPAA didn't think so, instantly slapping this depraved drama with a dreaded X rating. Oscar voters thought otherwise, though, making it the only "adults only" movie to win Best Picture. Fans of Brian De Palma's coke-laced remake owe themselves a visit to the original, considered wildly inappropriate in its day. Hollywood censors objected to the violence, the glamorization of crime and intimations of incest; they insisted on both a new ending and a new title, Scarface: The Shame of the Nation. Megabucks producer Howard Hughes scoffed and disowned the edit. Advertising If you thought Run Lola Run featured an inordinate amount of pavement pounding, check out Melvin Van Peebles’s seminal flick, in which the title character is pursued by the Man for the entire damn picture. The poster proudly declared “Rated X by an all-white jury” and Van Peebles rode the controversy all the way to the bank. His film made millions on a $150,000 budget. The movie became a fashionable urban sensation – no doubt to the delight of many men – and touched the culture at large with its appropriation in the Watergate scandal. But behind its porny surface, and a spot on our list of cinema’s 101 most memorable sex scenes, the flick induced headaches related to its mob financing, its obscenity and conspiracy charges (the latter related to transportation across state lines) and theatrical barrings. Advertising Of course Lars von Trier was going to make our list; the question was only which film. We’ll take this instant Cannes sensation—reportedly born out of the director’s own depression—in which chaos reigns, and some rusty shears are involved in a nasty bit of business involving Willem Dafoe and Charlotte Gainsbourg. Bring your appetite, leave with it spoiled. In the world of late-’70s Italian exploitation flicks, filmmaking became a game of extremist one-upmanship, and Ruggero Deodato far outstripped the competition with this sickening entry to the canon of Eurotrash horror. Travelling into the Amazon, exploiting indigenous tribes and shooting scenes of genuine animal cruelty – the most notorious being the graphic disembowelling and cooking of a live turtle – Cannibal Holocaust sparked not just outrage but legal proceedings: presented as recovered footage of a documentary crew that went into the jungle and never returned, Italian authorities arrested Deodato, accusing him of making a snuff film. It’s not, of course, but sitting through it is a nauseating experience regardless. Advertising It's a key entry in the iconography of Clint Eastwood, and you won't find an action fan who can't recite the entire "Well, do you, punk?" speech by heart. But during its release, the movie sparked a fierce war of words, with prominent critics calling it fascist, bigoted and unnecessarily brutal. They had a point: Police in the Philippines ordered a print for training purposes. "Zip-a-Dee-Doo-Dah" may be one catchy tune, but folks have never been pleased with how this Disney film whistled Dixie about the antebellum South. Plantation life is whitewashed into one big happy-slave playdate. Even during its production, the movie inspired accusations of racism—and don't get us started on the "Tar Baby" section. It remains a taint on the Mouse House to this day. Advertising Paradoxically, the movie isn't all that gory—certainly not like some of the other entries on this list. Yet Tobe Hooper's proto–slasher film unsettled censors around the world, leading to its prohibition in such unlikely places as Sweden, Ireland and Brazil. A thick slab of barbecued menace, the thriller still inspires smart, young directors—and plenty of dumb ones, too. Wes Craven's still-nauseating tale of rape and revenge made many enemies on censor boards. The MPAA slapped it with an X several times (Craven eventually got an R by proxy). And U.K. watchdogs continued to demand cuts on all film and video versions until 2008—a long time to hold a grudge. Advertising Frank Sinatra’s got a monkey on his back in Otto Preminger’s dated but still gripping drama—the first depiction of heroin addiction in a Hollywood movie. Moral watchdogs were panicked at the time but viewers ran the risk of cultivating different addictions: a lifelong craving for elegant Saul Bass title sequences and propulsive Elmer Bernstein film scores. Step aside, Skins: For years, indie provocateur Larry Clark suffered (or maybe relished) attacks by critics, who called his photographs—and movies like Kids (see No. 22) and Bully—teen exploitation. Eventually, Clark decided to properly earn the outrage and make an extreme film. Ken Park, filled with depictions of underage sex, violence and suicide, never found a U.S. distributor. Advertising Indie gadfly Vincent Gallo's mesmerizing road movie was a fiasco at Cannes: The molasses-slow pace sparked catcalls, an unsimulated oral-sex scene (on the director-star himself) dropped jaws, and Gallo had several pointed exchanges with detractor Roger Ebert. But Rog approved of the filmmaker's recut, which excised some flab and kept the blow job. Who says there are no happy endings? Five years still might have been too soon: Even though writer-director Paul Greengrass worked closely with the families of the flight victims (notably not with that of German passenger Christian Adams, portrayed as an appeaser) and reaped huge critical acclaim, his nerve-racking trailer stunned cinemagoers who weren't prepared. One New York theater removed it after complaints. Advertising Otto Preminger’s harmless farce gained instant notoriety for using the words virgin, mistress and seduce; seen today, it’s more of a quaint reminder of censorship ballyhoo from the distant past, and the chance to see age-inappropriate William Holden and David Niven go head-to-head over a young lass. This was the first comedy about devirginization. Major studios like Paramount rarely offer provocations this nutso. Brief though it was, the Jennifer Lawrence–Darren Aronofsky romantic partnership will always have this bit of WTF to its lasting credit. An impressively exposed psychodrama about male artistic ego and the disposability of muses, Mother! represented thousands of billable hours of therapy, converted into mainstream art that played in multiplexes. Cherish that like a unicorn. Advertising Jean-Luc Godard's provocative update of the Virgin Mary story—featuring full-frontal nudity—was denounced by no less than the Pope, and one angry Christian threw a pie in the director's face at Cannes. Godard's intention was to examine modern spirituality; the reaction he engendered, however, wasn't exactly full of grace. Everyone remembers Sharon Stone’s crotch flash, but Paul Verhoeven's thriller (penned by smutmeister Joe Eszterhas in a mere 13 days) produced a fair amount of offscreen heat, too, as gay groups furiously decried the image of homicidal lipstick lesbians. Riot police patrolled locations; no ice picks went unaccounted for. Advertising Ken Russell's crazed stew of sex, violence and religious impropriety in 17th-century France seared the eyes of film censors. So many cuts were demanded that several countries could claim their own versions. Italian tastemakers banned the movie outright, even though Russell won a Best Director award at the Venice Film Festival. Frederick Wiseman's unflinching look inside a Massachusetts facility for the criminally insane was so disturbing (and revealing) that the state tried to permanently bury it. Authorities placed an injunction on public showings that wasn't lifted until 1991. It's one of the few movies banned for reasons other than obscenity, politics or immorality. Advertising These days, it's not extraordinary for Hollywood to release a superviolent spectacle with a body count in the hundreds. But when feisty Sam Peckinpah did it, he pointedly evoked the ongoing war in Vietnam and created a blood-spouting whirlwind that confronted American righteousness. The Western genre never recovered. If this is our lowest-ranking title, you know we meant business. Meir Zarchi's scuzzy rape-revenge thriller (also marketed under the name Day of the Woman) limped into theaters, and was immediately banned all over the world. Its most notorious scene, a bathtub seduction that comes to an edge, inspired critical derision, but also, provocatively, a wave of feminist cheers.
7961	dbpedia	0	62	https://bulletin.wustl.edu/undergrad/artsci/filmandmediastudies/	en	Film and Media Studies < Washington University in St.Louis			[]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	L53 Film 110 First-Year Seminar: Science Fiction Literature & Film: A Contrast in Hyper-imaginative Media This course will present a historical overview of the forms that racial and ethnic representations have taken in American television. The course will chart changes in public perception of racial and ethnic difference in the context of sweeping cultural and social transformations. The course examines how notions of medium and ponders the implications for these identities of the contemporary practice of "narrowcasting." Required Screening. Credit 3 units. A&S: FYS A&S IQ: HUM, LCD Art: HUM BU: BA EN: H View Sections L53 Film 112 First-Year Seminar: Race and Ethnicity in American Cinema From the early documentary roots of cinema through the Civil Rights movement and to the recent democratization of the means of media production, questions of race and ethnicity have proved crucial both to the content of American films and also to the perspective from which they are made. This class will look at the representation of historical moments from the Civil War to Hurricane Katrina, the production of cinematic stereotypes as well as their appropriation for subversive purposes, and the gradual evolution of multi-culturalism as a central factor in the stories told and the telling of stories on the American screen. Students will use film texts to develop a critical understanding of one of the most important issues in American history. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S: FYS A&S IQ: HUM, SD Art: HUM BU: BA EN: H View Sections L53 Film 1122 First-Year Seminar: Multiverses and Mind Games in Film and TV Over the past three decades, contemporary film and television have seen a trend of increasingly complex storytelling, in the US and worldwide. We see such innovative narrative forms in Hollywood films such as Source Code (Duncan Jones, 2011), Inception (Christopher Nolan, 2010), and Butterfly Effects (Eric Bress and J.Mackye Gruber, 2004), as well as in TV serials such as FlashForward (ABC, 2009-10) and Russian Doll (Netflix,2019), not to mention global art cinema Too Many Ways to Be No.1 (Wai Ka-fai, 1997) and Peppermint Candy (Chang Dong Lee, 1999). Named "puzzle films," "mind-game films," or "complex TV," these films and series manifest common new features, such as non-linear narratives, jumbled chronologies, labyrinthine spatial orientation; they creatively use time travel, multiverse, compulsive repetition, and loops to transcend spatial-temporal limitations. These films play with our perception of the reality, present new psychological and cognitive challenges, and thereby create new spectatorial pleasure. This course teaches students to enjoy, view, closely analyze, and critically think about films and series of complex storytelling. Reading these films along with recent film and television studies scholarship, students learn analytical skills and conceptual frameworks to untangle the convoluted narrative logic and discern in the narrative architecture new modes of rethinking identity, reality, history, and future in our contemporary societies. Required Screenings: Wednesdays @ 4pm. This course is appropriate for first-year students. Credit 3 units. A&S: FYS A&S IQ: HUM EN: H View Sections L53 Film 114 First-Year Seminar: Superhero Media This course will examine the superhero as American myth and media industry commodity. We will consider historical, cultural, and industrial aspects of the superhero genre across comic books, films, television series, and video games. Focusing on multiple media allows us to examine an array of medium-specific and cross-media issues (e.g., how criticism of superhero films as "not cinema" reflects a legacy of comics being perceived as juvenile). Our study will encompass a number of critical frameworks, including myth, adaptation, gender, race, and transmedia storytelling. Each course unit will focus on how different media have presented one or more superhero franchises (e.g., Superman, Batman, Black Panther, Captain Marvel, Watchmen). Required screenings. Enrollment limited to first-year students. Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: BA EN: H View Sections L53 Film 115 First-Year Seminar This course will explore the complex relationship between moving images and ideas of the real in both movies and television. It will explore theories of representation, surveillance, authenticity, truth, and realism in this context. From the earliest "actuality" films to the recent phenomenon of reality television programming, it will ask if screen images capture what is "really" happening in front of the camera or if conventions of representation, genre, and narrative mediate the reality of these images. More significantly, it will inquire into why such questions matter. At issue is the role that moving images on both the big and the small screen have in our understanding of the world as it is and ourselves as we experience it. Credit 3 units. A&S: FYS A&S IQ: SSC BU: HUM EN: S View Sections L53 Film 116 First-Year Seminar: Cult TV: Critical Approaches to Fans and Fictions What do such disparate television series as Dr. Who, Star Trek, The Avengers, Monty Python's Flying Circus, The X-Files, Buffy the Vampire Slayer, Xena: Warrior Princess, and Sealab 2021 have in common? They all attract loyal audiences, stimulate "subcultural" sensibilities, lend themselves to "textual poaching," and thus qualify as examples of "Cult TV," a term that has become increasingly salient within critical studies of the medium. In this course we will explore the subject of cult television from a variety of social, cultural, and thematic perspectives, so that by the end of the semester students will have gained a deeper understanding of its historical importance as a barometer of both popular and oppositional tastes. We will examine how these and other examples of genre-based network and cable programming complicate distinctions between lowbrow and highbrow tastes while sustaining worldwide "interpretative communities" years after their original airdates. Students will also examine the importance of syndication, home video technologies, ancillary markets, publishing, and the Internet in the construction of fan cultures. Required Screening. Credit 3 units. A&S: FYS A&S IQ: HUM EN: H View Sections L53 Film 117 First-Year Seminar: Asians in American Film This course surveys the history of Asian representations in American cinema from the silent period to the contemporary era. Throughout the semester we will focus on images of Chinese, Japanese, Koreans, Filipinos, and Vietnamese that have become most ingrained in American popular culture over the last century, from Fu Manchu and Madame Butterfly stereotypes popular during the classical studio era to more recent reconfigurations of racialized imagery in Jackie Chan and Jet Li films. We will also examine selected works by Asian American independent writer-directors-films and videos like Chan is Missing, History and Memory, and Better Luck Tomorrow that challenge the stereotypes and normative tropes of "Orientalism" still permeating mainstream media. Students will be asked to frame textual analyses of key films (such as The Cheat, Daughter of Shanghai, Battle Hymn, Flower Drum Song, and Enter the Dragon) within various political, social, cultural, and industrial contexts (e.g. anti-Asiatic immigration and labor policies; U.S. foreign policies; the practice of "yellowface;" censorship codes; wars in East and Southeast Asia; anti-miscegenation laws; grassroots campaigns to stem the tide of stereotypes and hate-crimes; etc.). Credit 3 units. A&S: FYS BU: HUM, IS EN: H View Sections L53 Film 118 First-Year Seminar: Mr. Kiss Kiss Bang Bang: James Bond in Film, Literature and Popular Culture Originally a character in Cold War spy literature, James Bond has emerged as an international pop culture phenomenon. In this course, we will explore the evolution of James Bond from Ian Fleming to the "spy" parodies in international cinema. We will read several of Fleming's novels and short stories, including Casino Royale (1953), "Octopussy" (1966) and "The Property of a Lady" (1967), and discuss these texts in light of post-war spy literature. We will screen numerous Bond films, and compare and contrast James Bond the literary and cinematic character, how Bond emerged as a franchise hero through the vision of producers Harry Saltzman and Albert "Cubby" Broccoli, and critical aspects of the film franchise, including its storytelling roots in Hollywood serials, its use of gadgets and special effects, and the role of stardom in their marketing (Sean Connery, Ursula Andress, Roger Moore, Madonna, Pierce Brosnan and Daniel Craig). Finally, we will explore the re-envisioning of Bond in various media and art forms in global popular culture, including music, DC and Marvel Comics, games, children's television and in Asian cinema (Stephen Chow's 1994 From Beijing with Love). Required Screenings. Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 119 First-Year Seminar: Anime as Popular Culture In the contemporary media landscape, film, television, games, publishing, and merchandizing are increasingly connected and help distribute cultural products across the globe. Japanese animation is one of the earliest and most successful examples of this powerful strategy. This course examines the global franchising industry of Japanese anime to explore basic questions about media and popular culture: How do we define a medium? How do consumer practices shape media and popular culture? What is the impact of globalization on media, and global media on national culture? Our investigations of Japan "cool" and its avid consumer cultures will cover: animation aesthetics and technology; media convergence; anime fan cultures; science-fiction and remaking the body, history, and identity through global media. No prerequisites. Enrollment limited to fifteen college freshmen. In addition to class meetings, there will be a mandatory weekly scheduled screening. Credit 3 units. A&S: FYS A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 120 First-Year Seminar: Horror Across Media In spite of -- and because of -- its propensity for terrifying readers and viewers, horror has proven to be one of the most resilient and popular genres across all forms of media. Why are audiences attracted to a genre that causes fear, revulsion, and distress? This course will consider the cultural, philosophical, and generic dimensions of horror and explore how it operates across an array of media platforms: film, literature, television, comics, and video games. We will read two literary masters of the genre, H.P. Lovecraft and Stephen King, and we will screen some of the most successful horror films of the last 50 years. We will also study horror through a variety of critical frameworks, including gender, stardom, special effects, transnationality, adaptation, transmedia storytelling, and interactivity. The course will culminate in two extended case studies. In the first, we will compare and contrast literary, filmic, and televisual adaptations of "The Shining." In the second, we will consider "The Walking Dead" as a franchise that spreads its narrative across comics, multiple television programs, and video games. Required screenings. Enrollment limited to first-year students. Credit 3 units. A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 121 First-Year Seminar: Youth Culture and Visual Media Since the advent of cinema through the recent development of online social networking, visual media in the United States and around the world have been identified with a market of youthful consumers and producers. This course will look at the development of youth culture in the United States and its unique relationship to visual media, including film, television, comic books, video games, and the Internet, in the twentieth and twenty-first centuries. We will examine youth culture as a social phenomenon generated by the young, a means of representing the experience of being youthful, and as part of the ongoing debates over the effects of media on the young. As alternately mass culture, popular culture, counter culture, and participatory culture, youth culture holds a privileged place in the history of American visual media and continues to influence production and innovation within the media marketplace. Credit 3 units. A&S: FYS A&S IQ: HUM BU: BA EN: H View Sections L53 Film 200 Special Projects This course is intended for freshmen and sophomores who wish to register for internships. Students must receive Program approval prior to beginning the internship. Please consult the Program guidelines governing internships. Credit variable, maximum 3 units. Credit variable, maximum 3 units. View Sections L53 Film 220 Introduction to Film Studies How do film images create meaning? What are the tools the film artist uses to create images? This course will introduce students to basic techniques of film production and formal methodologies for analyzing film art. Students will learn the essential components of film language -- staging, camera placement, camera movement, editing, lighting, special effects, film stock, lenses -- to heighten perceptual skills in viewing films and increase critical understanding of the ways films function as visual discourse. The course is foundational for the major in Film and Media Studies. Required Screening Credit 3 units. A&S IQ: HUM Arch: ETH, NS, HUM Art: HUM BU: HUM EN: H View Sections L53 Film 225 Making Movies This course introduces the core concepts and skills for producing dramatic narrative film and video, building on the Hollywood paradigm. No previous technical experience is required, but students should have taken or be concurrently enrolled in Film 220. This course teaches students how films are put together to tell stories, negotiating between the possibilities of cinematic language and the practicalities of working with machines and other people. In order to develop an understanding of filmic narration, students will learn the basics of camera operation, lighting, digital video editing, sound design and recording, casting and directing actors, visual composition and art direction, and production planning and organization. These concepts will be put into practice through a series of exercises culminating in a creative, narrative short digital video. This course fulfills the prerequisite for 300 and 400 level video and film production courses in Film and Media Studies and the production requirement in the FMS major. Admission by waitlist only. Prereq: Film 220. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 305 Music and Masculinity in the Movies of Martin Scorsese This course considers the work of American filmmaker Martin Scorsese, with close attention to (1) how Scorsese uses music (and sound) to construct intense cinematic worlds and (2) how his film characters and plots represent various sorts of white American men. The consistent collision between Scorsese's interest in music as a driver of film style and content and his penchant for male-centered, frequently violent narratives makes him an ideal central figure for our study of white American masculinities at the movies over the last five decades. Films to be studied include "Mean Streets," "Taxi Driver," "Raging Bull," "Goodfellas," "Cape Fear," "The Departed," "Shutter Island," and "The Wolf of Wall Street." Required screenings. Credit 3 units. A&S IQ: HUM, SC Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 310 Video Production An advanced course exploring the creative and technical aspects of video production. Students sharpen their knowledge of cameras, directing, lighting, sound recording, non-linear systems, and narrative structures. In addition to acquiring a theoretical understanding of the production process, students will gain practical experience by producing, outside of class time, a short project reflecting their visual and conceptual maturity. Prerequisite: L53 Film 230 (Moving Images and Sound) or permission of the instructor. Credit 3 units. A&S IQ: HUM BU: BA EN: H View Sections L53 Film 311 Documentary Production In parallel with an overview of various documentary genres, ranging from the personal, the poetic, the agitprop, and cinema verité, this course will offer students the opportunity to produce a short documentary piece on the topic of their choosing. Aesthetic and ethical issues will be explored by considering the overall methodology in terms of subjectivity, content, structure, and the possible usage of music and/or voice-over. For the sake of completing the project in time, it is recommended that students be familiar with the subject matter of their investigation, before taking the course. Prerequisite: L53 Film 230 (Moving Images and Sound) or permission of the instructor. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 3164 Adaptations: Literature / Film / TV "The book was better than the movie." "The movie wasn't faithful to the book." "The TV series didn't capture the book like the movie did." These have forever been the complaints of readers watching their favorite works of literature adapted to the screen, and, in a media ecosystem increasingly flooded with adaptations and reboots of existing intellectual property, these complaints won't be going away any time soon. Film and literature have been interconnected since the very first films screened at end of the nineteenth century, but the dynamic between literature and media has sometimes been strained: film reviled as the cheap degradation of a vital art form, the novel anxious at the rise of narrative film - and later television - as rival storytelling media. But, viewing literature and visual media in opposition can obscure what becomes visible if we view them together. This is a course about the history, theory, and practice of adaptation from literature to film and television and back again rooted in both canonical and non-canonical case studies. We will study authors whose works have been repeatedly adapted across eras and media; filmmakers whose works are pastiches of various literary and cinematic sources; rigorously, obsessively "faithful" adaptations; radically transformative "unfaithful" adaptations; and works of literature and media that are themselves about the process and ethics of adaptation. The course will be anchored by a reading of Emily St. John Mandel's 2014 novel Station Eleven and a serial viewing - replicating the unusual original release - of HBO Max's miniseries adaptation. Same as L14 E Lit 3164 Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H View Sections L53 Film 319 Documentary Film and Media From movie screens to cell phones, moving images that "document" life have never been more ubiquitous. What do these images tell us about the relationship between representation and reality? How have film and media makers used moving images to represent major cultural, political, and social upheavals as well as communicated an understanding of everyday life? To answer these questions, this course will survey the rich, vibrant legacy of documentary filmmaking as well as demonstrate its ongoing artistic and cultural relevance to newer media. We will examine key modes of documentary film while contextualizing the historical development of these forms within aesthetic, industrial, and political factors. We will also consider ethical issues in filmic representation, especially in relation to the ethnographic tradition. In addition to studying the work of documentary pioneers, we will explore contemporary activist documentaries, as well as new industrial developments such as serialized online documentary. Required screenings. Tuesdays @ 4pm Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: BA EN: H View Sections L53 Film 320 British Cinema: A History British cinema has gotten a bad rap. French film director François Truffaut once declared that cinema and Britain were incompatible terms since "the English countryside, the subdued way of life, the stolid routine-are anti-dramatic. . . [even] the weather itself is anti-cinematic." Yet British films proudly rank among some of the most acclaimed and beloved in film history: Monty Python and the Holy Grail, A Hard Day's Night, Lawrence of Arabia, The Third Man, Zulu, The Ladykillers, A Night to Remember, Trainspotting, The King's Speech, and the James Bond franchise. Admittedly, British cinema has had its ups and downs, never quite knowing whether to position itself as a distinctive national cinema or as a rival to Hollywood. This uncertainty has fostered a rich diversity and complexity that this course will emphasize in a survey approach. We will give equal attention to the work of high-profile directors like Alfred Hitchcock and Michael Powell and to important "genres" in which the British seem to excel--like black comedy, imperialist adventure, "kitchen sink" drama, documentary, and the so-called "heritage" films that paved the way for television's Downton Abbey. Required Screenings. Credit 3 units. A&S IQ: HUM BU: IS EN: H View Sections L53 Film 3211 Contemporary Chinese Popular Culture With the rise of the Chinese economy and global capitalism, popular culture has proliferated in mainland China in recent years. This course traces the development of Chinese popular and youth culture and society from the 1990s to the present. It also refers back to modern times and ancient Chinese Confucian philosophy for historical background information. The course covers various forms of Chinese popular culture, such as movies, music, television programs, Internet literature, religion, sports, and food. Students observe primary resources and read academic articles to engage in a multiperspective and multimedia view of present-day China in the age of globalization and East Asian regionalization. Same as L04 Chinese 3211 Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM, IS EN: H View Sections L53 Film 322 Contemporary East Asian Cinema This course focuses on films made in Japan, Mainland China, Taiwan, Hong Kong and South Korea over the past three decades. Students will examine how the global/local geopolitics specific to the post-Cold War period, the passing of authoritarian regimes, the boom and bust of the Asian economy, and international film festivals have influenced the shaping of New East Asian cinemas across borders. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 323 The Cinema of Eastern Europe in the Cold War Era This course has two objectives. On the one hand, we will watch masterpieces of European cinema, awarded at international festivals and directed by legendary names such as Milos Forman, Emir Kusturica and Andrzej Wajda, and focus on their artistic genius. On the other hand, we will study the way in which the confrontational politics of the Cold War inform these films, with a special focus on the perplexing predicament of a divided and antagonized Europe. The readings for this class emphasize our dual exploration. We will work with texts dealing with both film history and its aesthetics and with broader analyses of the intellectual and political landscape of the Cold War context. Required Screenings. Credit 3 units. A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 324 History of Chinese Cinemas: 1930s-1990s This course offers an overview of Chinese cinemas, including those of Mainland China, Hong Kong, and Taiwan, over the twentieth century. We will study major trends such as the left-wing filmmaking in the 1930s, the Maoist revolutionary narratives, Taiwanese healthy realism, the New Cinemas of the three regions, and contemporary transnational productions. Major topics include urban modernity, gender formation, national and transnational cinemas within specific historical contexts. All films come with English subtitle. Required Screenings. Credit 3 units. A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 325 French Film Culture Called "the seventh art," film has a long tradition of serious popular appreciation and academic study in France. This course will offer an overview of French cinema, including the origins of film (Lumière brothers, Méliès), the inventive silent period (which created such avant-garde classics as Un chien andalou), the poetic realism of the 30s, the difficulties of the war years, the post-war emphasis on historical/nationalist themes in the "tradition of quality" films, the French New Wave's attempt to create a more "cinematic" style, the effects of the political turmoil of May '68 on film culture, the "art house" reception of French films in the US, and the broader appeal of recent hyper-visual ("cinéma du look") films, such as La Femme Nikita and Amélie. While the primary focus of the course will be on French cinema, we will also discuss the reciprocal influences between American and French film culture, both in terms of formal influences on filmmaking and theoretical approaches to film studies. French film terms will be introduced but no prior knowledge of the language is expected. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: IS EN: H View Sections L53 Film 326 Samurai, Rebels, and Bandits: The Japanese Period Film Tales of heroism, crime, revolt, and political intrigue. Bloody battles, betrayal, madness, and flashing swords. This is the world of jidaigeki eiga, the Japanese period film. In this course, we will analyze the complex (and often flamboyant) narrative, visual, and thematic structures of films about the age of the samurai. We will discuss jidaigeki representations of violence and masculinity, self-sacrifice and rebellion, and the invention of tradition as well as critical uses of history. In addition to the historical content of the films, we will study the historical contexts that shaped jidaigeki film production and discuss relevant transformations in Japanese cinema and society. Period films have been shaped by and exert strong influences on Japanese theater, oral storytelling, popular literature, comics, and international film culture, all of which are helpful for understanding the films. As we track changes in jidaigeki style and subject matter, the course will introduce theories for interpreting narrative structure, genre repetition and innovation, intertextuality, and representations of "the past." All readings will be in English. No knowledge of Japanese required. No prerequisites. Required Screenings Tuesdays @ 7 pm. Credit 3 units. A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 327 Anime and Manga This course examines the production and reception of Japanese animation and comics, with special emphasis on animation techniques and technology, industrial practices, cultural analysis, and fan cultures. Students will learn about the intertwined histories of anime and manga, and engage with contemporary examples. No prerequsites or Japanese language necessary. This course is appropriate for first year students. Credit 3 units. A&S IQ: HUM, LCD Art: VC EN: H View Sections L53 Film 328 History of German Cinema This course explores the major developments of German cinema throughout the twentieth century. More specifically, this course will engage with issues relating to German film culture's negotiation of popular filmmaking and art cinema, of Hollywood conventions and European avant-garde sensibilities. Topics will include the political functions of German film during the Weimar, the Nazi, the postwar, and the postwall eras; the influence of American mass culture on German film; the role of German émigrés in the classical Hollywood studio system; and the place of German cinema in present-day Europe and in our contemporary age of globalization. Special attention will be given to the role of German cinema in building and questioning national identity, to the ways in which German feature films over the past hundred years have used or challenged mainstream conventions to recall the national past and envision alternative futures. Films by directors such as Murnau, Lang, Fassbinder, Herzog, Tykwer and many others. All readings and discussions in English. May not be taken for German major or minor credit. Required screenings. This course is appropriate for first year students. Credit 3 units. BU: IS EN: H View Sections L53 Film 329 Italian Neorealism This course explores the visual language of one of the most influential film movements of the twentieth century. We will concentrate on the origins of neorealism in Italian post-war cinema and history, and focus on the works of film-makers such as Roberto Rossellini, Vittorio De Sica and Luchino Visconti. We will also consider the longer-term influence of the movement both in Italy and elsewhere. Throughout this course, we will reflect on the possibilities of mimesis in cinema, on the social and political engagement of neorealist film, and on the factors that caused its decline. Credit 3 units. A&S IQ: HUM BU: IS EN: H View Sections L53 Film 330 History of American Cinema This course traces the history of the American cinema from the earliest screenings in vaudeville theaters through the birth of the feature film to movies in the age of video. The course will examine both the contributions of individual filmmakers as well as he determining contexts of modes of production, distribution, and exhibition. The course aims to provide an understanding of the continuing evolution of the American cinema, in its internal development, in its incorporation of new technologies, and in its responses to other national cinemas. Required screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: CPSC, HUM BU: HUM EN: H View Sections L53 Film 331 The New Hollywood Cinema This course will examine the history of film culture and the film industry in the United States since the end of the classical Hollywood studio system. It will pay special attention to the period of auteur-centered filmmaking in the 1970s. During this time, the end of the production code, the financial crisis of the industry, the unparalleled influence of European New Wave and Art films, and the introduction of the first generation of film school graduates (the so-called "movie brats") all combined amidst the tumultuous cultural politics of such movements as the counterculture, civil rights, and second wave feminism to form a film-historical moment often called the Hollywood Renaissance. This brief period was soon followed by a newly reinvigorated Hollywood industry focused on the high-concept blockbuster. Such rapid transformations in the practice and nature of American film not only continue to influence commercial filmmaking today but also continue to shape our understanding of the role of authorship, genre, and ideology within Hollywood. The course will consider films of the New Hollywood in the context of tensions between radicalism and populism, progressivism and nihilism, entertainment and ideology, artistic and commercial success. Required screenings. Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 333 Making Movies II: Intermediate Narrative Filmmaking In Making Movies II, students advance their skills in filmmaking through a series of exercises and individual short films culminating in a final narrative project shot in high definition digital video and edited in Adobe CC and Premiere Pro. With faculty guidance, and working in groups, students collaborate in producing a narrative film that is a minimum of 10 minutes in length, following three-act structure and involving elements of motivation, conflict, and resolution. In addition to this structured approach to content, students are encouraged to achieve a unified aesthetic approach to picture and soundtrack that reinforces/enhances the meaning of their final projects. The course develops student skills through lectures, demonstrations, in-class screening of excerpts and critiques. Topics covered include idea development, preproduction planning, directing actors, composition, lighting, and editing. Students are required to assist other students in their productions and attend all classes. 3 credits. Admission by waitlist only. Prerequisite: Film 220 and Film 225 or 230. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 336 Cinema and Ireland Like many other anglophone and francophone countries, Ireland only even started to develop a robust national cinema in the 1970s. As in, for instance, Australia and New Zealand, growth had previously been blocked by the dominance of local screens by films from, on the one hand, the overbearing 'imperial' power, Britain, and, on the other, Hollywood, center of an even stronger cultural imperialism. Increased national self-assertion coincided with the weakening of the grip of those two cinemas in the post-classical period. A major focus of the class is on some of the key works of the film-makers who established themselves in the 1980s, notably Neil Jordan and Jim Sheridan. But, as the title indicates - not simply Irish Cinema - it deals with more than this. Like Ireland itself, Irish cinema is deeply marked by, and preoccupied with, the political and cultural struggles of the past, and recent cinema is illuminated by seeing it in the context of earlier films: Hollywood and British versions of Ireland, whether shot on location or in the studio, as well as the isolated earlier landmarks of an indigenous Irish cinema. We also look at the rich topic of the representation of Irish immigrants in Hollywood films. Required Screenings. Credit 3 units. A&S IQ: LCD BU: IS EN: H View Sections L53 Film 337 Retro Game Design Before they became "retro," games played on platforms of the 1970s and 1980s were just games. But early game-console hardware was designed with very particular ideas of what made a game a game, and under extreme constraints of cost and technical viability. Creators designed for these constraints, and their work then influenced the design of later hardware and software. This is a course about the history, design, and technology of one retro game console, the 1977 Atari Video Computer System (also known as the Atari VCS or the Atari 2600). The first popular home console, the Atari VCS is a truly weird computer: It "boasts" 128 bytes of RAM, no video buffer, and a custom graphics and sound chip designed to interface with then-universal cathode ray tube televisions. Against all odds, creators made fun and successful games within these extreme constraints. Just as an artist benefits from learning the fundamentals of their craft, so a game designer or developer can benefit from returning to these early and crude hardware platforms. In this course, students will learn the technical and creative history of the Atari, and they will also learn the fundamentals of programming its unfamiliar hardware. Students will carry out programming exercises, mostly in the assembly language instructions required to operate this unusual computer. They will then make their own games for the Atari, which will be able to run on the actual, 45-year-old hardware. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM, VC BU: HUM EN: H View Sections L53 Film 338 Global Game Industries This course examines the history and practices of the video game industry from a global perspective. We will begin by charting the history of video games through corporate case studies that reflect industrial turning points. Next, we will review frameworks by which to understand the industry both historically and contemporarily. The final part of the course will be spent breaking down processes involved in the creation, distribution, and consumption of video games. Our analysis of the global video game industry will be based on game studies scholarship, trade press reports, and historical material. Lab meetings will provide the opportunity for engagement with documentaries, gameplay demonstrations, and guest speakers. By the end of the course, you will have gained a better sense of how to both study and participate in the increasingly global video game industry. Weekly requred screening/lab: Tuesdays @ 7pm. This course is appropriate for first-year students. Credit 3 units. A&S IQ: HUM, LCD Art: VC EN: H View Sections L53 Film 340 History of World Cinema The course surveys the history of cinema as it developed in nations other than the United States. Beginning with the initially dominant film producing nations of Western Europe, this course will consider the development of various national cinemas in Europe, Asia, and third world countries. The course will seek to develop an understanding of each individual film both as an expression of a national culture as well as a possible response to international movements in other art forms. Throughout, the course will consider how various national cinemas sought ways of dealing with the pervasiveness of Hollywood films, developing their own distinctive styles, which could in turn influence American cinema itself. Priority given to majors. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM, IS EN: H View Sections L53 Film 341 Transnational Cinema(s): Film Flows in a Changing World Across a century of extreme nationalism, Cold War imperialism, and increased globalization, moving image culture remains deeply tied to the evolution of global economics, shifting notions of local identity, and human migration. Recent changes in the dynamic of international economics and cultural flow have led to new critical approaches that reassess international cinema as being constructed by relationships that transcend national borders. This course examines multiple ways in which cinema works "transnationally", focusing on recent theories of modernism, globalization, and borderless cultures. Exploring a range of contexts from American domination of the early international market, to the recent evolution of Chinese blockbuster action films, to contemporary Palestinian video art, this course looks at the way in which material developments, narrative and aesthetic conventions, and film professionals have circulated over the past century. We will also look at how new technologies of production, distribution, and exhibition challenge traditional notions of cultural borders. Required screenings and in-class textual analysis will be used to complement industrial studies of how transnational flows have come to define contemporary audio-visual media practices. Required Screenings. Credit 3 units. A&S IQ: HUM, LCD BU: IS EN: H View Sections L53 Film 342 Introduction to Video Game Studies This course will introduce students to multiple facets of video games as an art form, as a business, and as a part of American popular culture. The course will begin with a broad establishment of game studies and an investigation of the uniqueness of video games as a medium. Subsequent weeks will introduce different approaches to studying video games -- including historical, industrial, technological, cultural, theoretical, and aesthetic -- drawn from a variety of sources. Weekly lab sections will provide the opportunity for screenings -- including documentaries, news reports, television episodes, web series, and feature films -- and video game play. Students will complete a final research project on a video game of their choice and present on their projects in class. Required lab. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM, VC BU: HUM EN: H View Sections L53 Film 344 Children's Television How does contemporary television imagine children? How does the industry speak to them, with what aims, and using what types of representational strategies and modes of address? In turn, how do young people respond, both as viewers and, with the advent and increasing accessibility of new technologies, as media producers? This seminar will address these and other related questions while introducing students to the study of children's television in cultural and critical media studies. Throughout, we will address the theoretical question suggested by the course's title, a reference to the work of literary scholar Jacqueline Rose: is children's television possible? Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 345 Sexual Politics in Film Noir and Hard-boiled Literature Emerging in American films most forcefully during the 1940s, film noir is a cycle of films associated with a distinctive visual style and a cynical worldview. In this course, we will explore the sexual politics of film noir as a distinctive vision of American sexual relations every bit as identifiable as the form's stylized lighting and circuitous storytelling. We will explore how and why sexual paranoia and perversion seem to animate this genre and why these movies continue to influence "neo-noir" filmmaking into the 21st century, even as film noir's representation of gender and sexuality is inseparable from its literary antecedents, most notably, the so-called "hard-boiled" school of writing. We will read examples from this literature by Dashiell Hammett, James Cain, Raymond Chandler and Cornell Woolrich, and discuss these novels and short stories in the context of other artistic and cultural influences on gendered power relations and film noir. We will also explore the relationship of these films to censorship and to changing post-World War II cultural values. Films to be screened in complete prints or in excerpts will likely include many of the following: The Maltese Falcon, Double Indemnity, Murder My Sweet, Phantom Lady, Strangers on a Train, The Big Sleep, The Killers, Mildred Pierce, The High Wall, Sudden Fear, The Big Combo, Laura, The Glass Key, The Big Heat, Kiss Me Deadly, The Crimson Kimono, Touch of Evil, Alphaville, Chinatown, Taxi Driver, Devil in a Blue Dress, The Bad Lieutenant, and Memento. Required Screenings. Credit 3 units. A&S IQ: HUM, SC, SD Arch: HUM Art: HUM BU: BA EN: H View Sections L53 Film 346 From Golden Age to Wasteland: U.S. Television in the 1950s and 1960s How did television become the dominant news and entertainment medium of the second half of the 20th Century? How did the medium come to define itself and American identities in the post-WWII era? In an era where various social movements began to lay claim to the cultural center, why did "mad men" eventually give way to magical women and fantastic families? This course examines the cultural, industrial, and aesthetic changes in U.S. television broadcasting during a time that was crucial to defining its relationship to the public as well as to Hollywood, the government, critics, and American commerce. The class explores the relationships and shifts that made television the U.S.'s most popular consensus medium but one that also would profit by the expression of alternative tastes, politics and identities. Required screenings. Credit 3 units. A&S IQ: HUM EN: H View Sections L53 Film 349 Media Cultures This course is an introduction to methods in media and cultural studies. We will analyze intersections of media with race, gender, and sexuality by focusing on television and digital media examples. The course begins by exploring questions of representation in media then continues by interrogating how media are implicated in existing structures of inequality and differences of social and cultural power. We will end by discussing some ways that scholars have theorized media consumers as actively engaging with media texts, including scholarship on fan cultures and social media. Required screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM, VC BU: BA EN: H View Sections L53 Film 350 History of Electronic Media This course traces the history of electronic media as they have become the dominant source for entertainment and information in contemporary culture, starting with over-the-air broadcasting of radio and television through to cable and the "narrowcasting" achieved by digital technologies. While some attention will be paid to other national industries, the chief focus of the course will be on electronic media in the United States to determine, in part, the transformative role they have played in the cultural life of the nation. The course will explore the relationship of the electronic media industries to the American film industry, determining how their interactions with the film industry helped mutually shape the productions of both film and electronic media. Required screenings. Credit 3 units. A&S IQ: HUM Arch: ETH, NS, HUM Art: HUM BU: HUM EN: H View Sections L53 Film 352 Introduction to Screenwriting Writers will explore the various elements, structures and styles used in crafting a motion picture screenplay. They will experience this process as they conceive, develop and execute the first act of a feature-length script. Writers will create a screenplay story, present an outline for class discussion and analysis, then craft Act One. Writers will be encouraged to consult with the instructor at various stages: concept, outline, character and scene development, and dialogue execution. While the students fashion their screenwriting independently, the class will also explore the general elements of THEME, GENRE, and VOICE. A more specific examination of mechanics, the nuts and bolts of story construction, plotting, pacing, etc. will follow to support the ongoing writing process. In-class exercises will aid the writer in sharpening skills and discovering new approaches to form and content. Writers' work will be shared and discussed regularly in class. Screening of film scenes and sequences will provide students with concrete examples of how dramatic screenwriting evolves once it leaves the writer's hands. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 353 Writing Episodic Television This class will focus on all the factors that go into preparing and writing an episode for a network TV series (dramas only). Students begin with a "pitch" (verbally or in short outline form) for an idea for a show currently on a network schedule. Once the "pitch" is accepted, the student will then complete a "beat sheet," and ultimately a spec script that can run from 62 to 75 pages. Two drafts of the script will be required. During the course of this process, students will also learn how to research their narrative premises by contacting legal, medical, and law enforcement experts in order to guarantee the accuracy of their scripts. In addition to learning the actual writing process, students will be expected to watch several television shows and to read books, scripts, and industry trade papers as they pertain to the craft and business of television writing. Finally, students will also meet agents, producers, directors, and other television industry professionals in order to gain their insights into the script writing process and to gain a more global view of the steps involved in bringing their ideas to the screen. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 356 Television Culture and Cult TV: Critical Approaches to Fandom Why do television series inspire passionate involvement on the part of some viewers? What are the differences among being a viewer, an audience member, and a fan? How can we make scholarly sense of cultural practices such as learning to speak Klingon or building a repli-car of the General Lee? Studies of fandom have attempted to answer such questions and continue to explore issues that are crucial to understanding contemporary television culture. The phenomenon of "Cult TV" offers fertile ground for examining the complex dynamics at play among fans, popular culture, the institutions of American media, and individual programs. In its exploration of cult television and fans, this course will engage with key issues in contemporary media such as the proliferation of new media technologies and the repurposing of existing media forms, the permeable boundaries between high and low or mass and oppositional culture, and the fragmentation and concentration of media markets. The class will combine close textual analysis with studies of fan practices to examine a variety of television programs, from canonical cult texts such as Star Trek and Doctor Who to "quality" fan favorites such as Designing Women and Cagney & Lacey to contemporary cult/quality hybrids such as Lost and Heroes. In mapping out this cultural territory, we will develop a set of critical perspectives on audience identities and activities and examine the continuing and conflicted imagination of fans by media producers, distributors, regulators, and critics. Required Screening. Prerequisite: Film Studies 220 or Film Studies 350 or consent of instructor. Credit 3 units. A&S IQ: HUM Art: HUM BU: BA EN: H View Sections L53 Film 357 Quality Television and the "Primetime Novel" Over the past four decades, the cultural status of television in the United States has been reconfigured and complicated with changes in industrial structures, audience formations, regulatory presumptions, and production techniques and strategies. This course examines these interrelated forces, particularly as they have fostered a set of programs and practices often hailed as Quality Television. The class will survey the institutional paradigms that gave rise to particular generations of programming celebrated as "quality" and analyze the systems of distinction and cultural value that make the label socially and industrially salient. We will critically investigate the role of audiences and the conceptions of viewer choice at play in these developments. In addition, the course will analyze the textual features that have come to signify narrative complexity and aesthetic sophistication. We will examine foundational historical examples of this phenomenon from The Mary Tyler Moore Show to Hill Street Blues and Cagney & Lacey to Northern Exposure as well as more contemporary broadcast and cable fiction such as LOST, The Wire, and Mad Men. In addition, students will be expected to watch a complete series, chosen in consultation with the instructor, as part of their final research project. REQUIRED SCREENING. Prerequisite: Film Studies 220 or Film Studies 350 or consent of instructor. Credit 3 units. A&S IQ: HUM BU: ETH EN: H View Sections L53 Film 358 Combat Movie Music and Sound after Vietnam This course considers the Hollywood combat movie genre after the Vietnam War (post 1975) by listening closely to how these always noisy films use music and sound effects to tell stories of American manhood and militarism. Centering on an elite group of prestige films--actions movies with a message for adult audiences--the course examines thirty-five years of Hollywood representations of World War II, the Vietnam War, the Gulf War, and post-9/11 wars against terrorism. Close analysis of how combat film directors and composers have used music and sound in conjunction with the cinematic image will be set within a larger context of ancillary texts (source materials, soundtrack recordings, published and unpublished scripts), media folios ( press kits, reviews, editorials, newspaper and magazine stories and interviews), and scholarly writing from across the disciplines. Films to be screened include Apocalypse Now, Platoon, Hamburger Hill, Courage Under Fire, Saving Private Ryan, The Thin Red Line, We Were Soldiers, Flags of our Fathers, The Hurt Locker, and Act of Valor, as well as pre-1975 combat films starring John Wayne. The ability to read music is not required. Required Screenings. Prequisites: None Credit 3 units. A&S IQ: HUM BU: HUM EN: H View Sections L53 Film 359 The American Musical Film Film musicals were crucial to the success of the American film industry from the dawn of sound film in the late 1920s to the demise of the studio system in the late 1950s. This course examines the American film musical from a variety of aesthetic, critical, and historical perspectives, with particular attention to how the genre interacted with popular music and dance and the major political and social trends of the Thirties, Forties, and Fifties. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM BU: HUM EN: H View Sections L53 Film 360 The History of the Film Score This course looks at the role of music in Hollywood films from the beginning of the sound era to the present. Larger themes include the importance of technology, industry structures shaping the nature of scores, notable film music composers, the relationship between music, gender and genre, music's role in the adaptation of literary texts to film, the power of directors to shape the content of film scores, and the importance of popular music as a driving economic and aesthetic force in film music history. Films to be screened include From Here to Eternity, Stagecoach, High Noon, The Night of the Hunter, Butch Cassidy and the Sundance Kid, Born on the Fourth of July, Casino, Jarhead and The Social Network. Required Screenings Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 361 Film Sound Although film critics and theorists tend to think of cinema as a "visual art," this shorthand description of the medium overlooks the importance of film sound in cinematic storytelling. This course is intended to provide a general overview of the way in which film theorists have treated the issue of sound in the cinema. Among the issues addressed in the course are: the contribution sound technology and practice makes to film form; the various possible formal relationships between sound and image; the effects of sound technologies on notions of realism and verisimilitude; the importance of sound to particular genres, like the horror film; and lastly, the role of sound in film spectatorship. The course will also showcase the work of the most important sound stylists in film history, such as Fritz Lang, Orson Welles, Alfred Hitchcock, Robert Altman, and David Lynch. Required screenings. Credit 3 units. View Sections L53 Film 363 Video Post-Production While post-production of the soundtrack has been around for years, post-production of the "visual track" has increasingly become a major phase in the video and movie-making process. It often allows filmmakers to enhance existing footage with potentially dazzling results. As in all our production courses, we will be concerned with developing strong content. The focus is not on special effects per se, but rather on how they may be used to enhance the message. Students find a non-profit organization of vital importance in need of exposure and produce a Public Service Announcement to be broadcast. Key post-production software like Commotion, AfterEffects and Motion are explored throughout the semester. Prereq: Film 230 (Moving Images and Sound) or consent of instructor. 3 units. Credit 3 units. A&S IQ: HUM BU: HUM EN: H View Sections L53 Film 3644 "Look Here, Karen": The Politics of Black Digital Resistance to White Femininity In this course, we will explore the ways in which Black online publics use resistance strategies, such as mimetic imagery and racial humor, to call attention to white femininity and its deployment of the police against African Americans. We will trace the relationship between the police state and white femininity through the historical lens of 'innocence' and protection of the U.S. nation as well as the similarities and differences of Black online publics' responses in relation to past resistance strategies. What does it mean to be a 'typical' Karen in Internet culture? What are the aesthetic boundaries of Karens? And, what do digital platforms afford to Black users who make Karens visible? While paying attention to race, gender and class, this course offers students the skills to be able to collect and analyze online data, such as 'Karen' memes, in order to make critical arguments and observations that are grounded in historical accuracy. Same as L90 AFAS 3644 Credit 3 units. A&S IQ: HUM, SC Arch: HUM Art: HUM BU: BA EN: H View Sections L53 Film 366 Women and Film The aim of this course is primarily to familiarize students with the work of prominent women directors over the course of the twentieth century, from commercial blockbusters to the radical avant-garde. Approaching the films in chronological order, we will consider the specific historical and cultural context of each filmmaker's work. In addition we will be discussing the films in relation to specific gender and feminist issues such as the status of women's film genres, representations of men and women on screen and the gender politics of film production. Required screenings. Credit 3 units. A&S IQ: HUM, SD BU: HUM EN: H View Sections L53 Film 368 Contemporary Women Directors Despite recent media attention to the gender gap in Hollywood, women still account for less than 10% of all directors, and only five women have ever been nominated for the Best Director Oscar. However, these abysmal statistics do not reflect the reality that female directors are producing some of the most innovative and exciting films of the 21st century. This course is intended to provide a general overview of the remarkable contributions of women directors to contemporary cinema (1990 to present). First, we will turn our attention to women in the commercial industry, examining topics such as female authorship, popular genres, and the gender politics of production cultures in Hollywood. Then, we will survey women directors working outside of the system in documentary, independent, and experimental filmmaking modes. Finally, we will adopt a transnational perspective to investigate the contributions of women directors to world cinema, contextualizing the films of "women cinéastes" from countries such as Hong Kong, Argentina, and Iran in relation to their national cinemas and international film festival networks. In addition, we will discuss the films of women directors in terms of feminist and gender issues and as texts that clarify critical issues in film analysis, interpretation, and criticism. Required screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 370 American Horrors Horror movies. Fright films. Scream marathons. Blood and gore fests. Why should we want to look at movies that aim to frighten us? What is the attraction of repulsion? Is there an aesthetics of ugliness? Except for some early prestige literary adaptations like Dr. Jekyll and Mr. Hyde, the horror film began as a low class genre, a notch above exploitation movies. In the 1970s-1980s, it became the dominant commercial genre by offering increasingly graphic images of violence and mayhem. The horror film had arrived: lavish budgets, big stars, and dazzling special effects in mainstream major studio films competed with low-budget, no frills productions that helped establish artistically ambitious and quirky filmmakers like George Romero and David Cronenberg. By a chronological survey of the American horror film, this course will explore how differing notions of what is terrifying reflect changing cultural values and norms. Throughout, we will consider the difficult questions raised by horror's simple aim of scaring its audience. In addition to weekly screenings, work for the course will include analytical and theoretical essays on the horror film. Written analyses of films with a close attention to visual style will be required. Prerequisite: Film 220. REQUIRED SCREENING TIME: [day, time]. Credit 3 units. A&S IQ: HUM BU: HUM EN: H View Sections L53 Film 371 Making War This course examines the cinematic representation of war. Using World War Two as a case study, students will examine a series of combat pictures, documentaries, and "home front" films from the 1940s to the present. Several key questions will guide the class discussion: How do war films respond to and shape the political worlds in which they are produced? How do these films confront the aftermath of war and the soldier's homecoming? Where is the line between the home front and the front line? More broadly, what does it mean to portray the violence and suffering that war inevitably brings? At the close of the semester, students will partake in an in-class symposium presenting their research on the cinematic treatment of other conflicts, from the Civil War to the "War on Terror." Films include: The Boat, Saving Private Ryan, The Thin Red Line, Why We Fight, and Mrs. Miniver. Readings will include works by Susan Sontag, Kaja Silverman, and W.G. Sebald. Required screenings. Credit 3 units. A&S IQ: HUM BU: BA EN: H View Sections L53 Film 376 French New Wave French cinema from 1958-1968 offered "La Nouvelle Vague" or "The New Wave," one of the most innovative, influential, and critically discussed movements in film history. The New Wave marked a major turning point in the relationship between film, thought, and politics in France, as well as a unique bridge between art cinema and pop-culture. Speaking for more than just the youth generation of its own country, it had a major influence on new approaches in subsequent European, American and Asian cinemas. This course offers a detailed look at the social values, artistic motivations, and aesthetic experiments embodied in the French New Wave through the films of Jean-Luc Godard, Agnès Varda, François Truffaut, Alain Resnais, Claude Chabrol, Eric Rohmer, and others, positioning their work within the larger social, political, and cultural environment of this period. As many of these directors collaborated as filmmakers and also were active as film critics and theorists, this class provides a unique insight into the overlapping between visual theory and practice, film and other media, culture and society. Weekly screening required. Credit 3 units. A&S IQ: HUM BU: IS EN: H View Sections L53 Film 379 Expressionism in Theater and Film This course is designed as an advanced introduction to the aesthetic movement of Expressionism as it appeared in Germany and the United States in the media of theater and film. Characterized by stylized settings that "ex-press" the internal spiritual/emotional/psychological state of its central character, Expressionism is usually discussed as a reaction to Realism, given its overt symbolism, telegraphic diction, and episodic action. Beginning with a brief general introduction to the movement (including its manifestation in the visual arts), we will consider its cultural, political, and critical history, while exploring more recent scholarly investigations into the significance of its performance dimensions. Same as L15 Drama 379 Credit 3 units. A&S IQ: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 3826 Contemporary Latin American Cinema: Market Economy, Social Injustice, New Technologies This class studies the relationship between cinema and society in Latin America between 1988 and the present. Latin American cinema in this period has gone to a period of deep crisis to the consolidation of industries and production with significant global recognition and impact. In this, cinema has strong correlations with neoliberalism, the political doctrine tied to free-market reform, democratization and privatization, among other ideas. The class will be based on the study and discussion of key films of the period to develop two themes. First, we will study the way in which cinema has become a cultural practice central to the discussion of the effects of neoliberalism in the region, as well as the opposition to neoliberalism. Topics in this regard will include: the social impact of free market reforms, growing economic and social inequality, the emergence of working class, Black and indigenous communities, the rise and fall of the New Left, the creation of new elites and other related themes. Second, we will study the way in which films are made and distributed and the changes on film production over the past decades. Topics will include the privatization of production and exhibition, the role of home video and streaming, the importance of film festivals and the move from national to translational scenes of production. Prereq: L45 165D or L53 220 or other coursework in Latin American Studies, or Film and Media Studies, desirable but not required. Students without this background are encouraged to contact the instructor. Same as L45 LatAm 3826 Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM EN: H View Sections L53 Film 3900 EALC Seminar: Screening East Asia: From Scroll Painting to Haptic Interface EALC Seminar; topic varies by semester. This course is primarily for sophomores and juniors with a major or minor in the Department of East Asian Languages & Cultures. Other students may enroll with permission. Same as L81 EALC 3900 Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: ETH, HUM, IS EN: H View Sections L53 Film 419 Theories of Mass Media This course explores theories of the mass media with an emphasis on television as well as its convergences with other media and computer technologies. It starts by examining theories that posit the media as instruments of societal maintenance or transformation and then examines the ways in which various theorists have refined or rejected elements of these theories in a quest for both specificity and complexity. In particular, the course examines media and cultural studies' attempts to synthesize critical paradigms ranging from political economy to semiotics to feminism. The course concludes with an examination of the challenges and opportunities posed to theorizations of the mass media by contemporary circumstances such as media conglomeration, niche marketing and micro-casting, and global flows of information, capital, and people. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM BU: BA EN: H View Sections L53 Film 420 Film Theory This course is an introduction to both classical and contemporary film theory. Beginning with the earliest attempts to treat cinema as a new and unique art form, the course will initially review the various ways in which film theory attempted to define cinema in terms of its most essential properties. The course will then examine more contemporary developments within film theory, more specifically its attempt to incorporate the insights of other critical and analytical paradigms, such as semiotics, psychoanalysis, feminism, queer theory, and postmodernism. Throughout the course, we will consider questions regarding the ontology of cinema, its relation to spectators, and the various ways in which its formal properties create meaning. Readings for the course will include the major works of Sergei Eisenstein, Andre Bazin, Christian Metz, Laura Mulvey, and Fredric Jameson. Required screenings. Credit 3 units. A&S IQ: HUM, WI Arch: HUM Art: HUM EN: H View Sections L53 Film 421 Film Historiography This course is a seminar on the writing of film history for advanced students. Through an engagement with the historiographical writings of scholars, such as Dominic LaCapra, Hayden White, and Michel Foucault, students will gain an understanding of various genres of film historical writing, an appreciation for the kinds of research that film historians do, and a familiarity with the ways in which film historians delimit their field of study, form research questions, and develop hypotheses. In addition to reading and classroom discussions, students will be expected to write a fairly lengthy paper (17-20 pages) that involves original historical research and the close examination of trade press, professional journals, fan magazines, and news articles. As preparatory assignments leading up to the final project, students will also prepare project descriptions, bibliographies, and outlines that will be shared and discussed in a workshop format. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H View Sections L53 Film 422 Film Stardom, Performance, and Fan Culture This course focuses the Hollywood star system. We will explore stars in relation to celebrity and consumerism, especially how "stardom" is created by a system that seeks to create effects in film viewers whether conceived as audiences, fans, or spectators. We will examine the performance element of stardom and its relationship to genre, style, and changing film technology. Also of concern will be how stars and the discursive construction of stardom intersect with gender representation, race, ideology, sexuality, age, disability, nationality, and other points of theoretical interest to and historical inquiry in contemporary film studies. While emphasis will be placed on mainstream commercial U.S. cinema, students are encouraged to pursue questions beyond this framework within their own research. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: BA EN: H View Sections L53 Film 423 Histories of Media Convergence Entertainment and communications forms combine and blend, and they have done so across millennia. However, the phenomenon of media convergence has taken on a special salience over the last one-and-a-half-centuries, as exemplified by the growing intermixture of film, radio, television, gaming, and the internet. In particular, critics, consumers, politicians, and producers used convergence as structuring principle in understanding, regulating, and planning for the future of media culture. This course engages with contemporary worries and enthusiasms about convergence by considering the specific conditions in which the phenomenon has been understood and practiced. Tracing a historical arc though the Twentieth Century, we will first examine convergences of radio and film, film and music publishing, television and film exhibition, and disparate corporate entities as basis for understanding more recent media combinations. Building on that foundation, the majority of the course will consist of case studies of media convergence since 1980, considering it in terms of industry, technology, regulation, and audiences. These case studies will also provide students with a survey of and inquiry into questions of historiographic theory and method. Note: This course satisfies the history & historiography requirement for the FMS Graduate Certificate. Required Screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 424 Broadcasting Equality: Radio, Television, and Social Change in Postwar America The period between World War II and the 1970s was one of profound cultural, political, and demographic shifts that brought the problems of ethno-religious and racial prejudice to the forefront of U.S. national consciousness. Religious leaders, secular social activists, media industry professionals, and African American civil rights leaders often worked together to combat intolerance, bigotry, and inequality. What did these activists achieve in their attempts to deploy U.S. broadcast media in what they sometimes referred to as "propaganda against prejudice"? How did this activism relate to the institutions of broadcast media, including governmental agencies, national networks and local broadcasters? What was television and radio's impact on the Civil Rights Movement of the 1950s and 1960s? In addressing these questions, we will consider a wide range of media: public service programming as well as commercially produced series, specials, network news and documentaries produced between the 1940s and the 1970s. Programs considered will include A New World 'A Coming, Amos 'n Andy, American Bandstand, NBC White Papers: Sit In, Sanford and Son, Eyes on the Prize, and Soul Train, among many others. Required screenings. Credit 3 units. A&S IQ: HUM, SC, SD EN: H View Sections L53 Film 425 Seminar in Video Games: Video Games, Gender and Sexuality This seminar considers different topics that illuminate the relationship of video games to culture. Topics vary by semester. The course may have a variety of analytical frames: gender and sexuality, interactivity and reception, narrative and aesthetic theory, industrial or technological history. Prerequisite is graduate status or completion of a 300-level FMS or WGSS course and permission of the instructor. Credit 3 units. REQUIRED LAB/SCREENING TIME weekly. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 429 Mass Culture and Modern Media: Fantasylands: Cinema, Spectatorship, and the Spatial Imagination This course provides an introduction to cultural theories that are pertinent to the study of cinema, mass culture, and modernity. Rotating topics will highlight different aspects of cinema's relationship to popular culture, urbanism, modern technology, capitalism, and mass media. Students will encounter key theorists for understanding modern life and subjectivity, such as Marx, Freud, Foucault, Benjamin, and Raymond Williams. In addition, the course introduces core readings in the history and cultural theory of early cinema, which may include work by Miriam Hansen, Anne Friedberg, Tom Gunning, Charles Musser, Giuliana Bruno, Jacqueline Stewart, and others. Topics may include cinema and modernity, cinema and mass culture, cinema and leisure, cinema and urbanism, and cinema and consumer culture. Credit 3 units. A&S IQ: HUM Arch: HUM Art: CPSC, HUM BU: HUM EN: H View Sections L53 Film 430 Clown Princes "Dying is easy, comedy is hard," runs an old theatrical adage. Nevertheless, some of the most popular actors in American film have chosen the hard path by typecasting themselves in comedy, playing repeated variations on the same character. "Comedian comedy," representing films that showcase the distinctive skills of great clown-actors, is the central concern of this course. We will analyze how individual comedians rework performance traditions through the distinctive concerns of their time and culture to create idiosyncratic comic personae. We will look at films starring Charles Chaplin, Buster Keaton, Harold Lloyd, Laurel and Hardy, the Marx Brothers, Jack Benny, Peter Sellers, Jim Carey and Eddie Murphy. Work for the course will require reading in comic theory and analytical essays. Required screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H View Sections L53 Film 4300 Topics in Chinese Media Culture: Charting Identity in the Digital Age Topics course in Chinese media culture. Subject matter varies by semester; consult current semester listings for topic. Same as L81 EALC 430 Credit 3 units. A&S IQ: LCD BU: IS EN: H View Sections L53 Film 431 Renegades and Radicals: The Japanese New Wave In 1960, the major studio Shochiku promoted a new crop of directors as the "Japanese New Wave" in response to declining theater attendance, a booming youth culture, and the international success of the French Nouvelle Vague. This course provides an introduction to those iconoclastic filmmakers, who went on to break with major studios and revolutionize oppositional filmmaking in Japan. We will analyze the challenging politics and aesthetics of these confrontational films for what they tell us about Japan's modern history and cinema. The films provoke as well as entertain, providing trenchant (sometimes absurd) commentaries on postwar Japanese society and its transformations. Themes include: the legacy of WWII and Japanese imperialism; the student movement; juvenile delinquency; sexual liberation; and Tokyo subcultures. Directors include: Oshima Nagisa, Shinoda Masahiro, Terayama Shuji, Masumura Yasuzo, Suzuki Seijun, Matsumoto Toshio, and others. No knowledge of Japanese necessary. Credit 3 units. Mandatory weekly screening: Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: HUM, IS EN: H View Sections L53 Film 432 Global Art Cinema How do art films tell stories? The dominant storytelling genre of the contemporary festival circuit, the art film has since World War Two combined "realist" and "modernist" impulses. Influenced by Italian neorealism, art films grant priority to characters from working class, sexual, and other exploited and imperiled minorities. Drawing on the fine arts, literature and music, art films also experiment with modernist themes and formal principles, such as subjectivity, duration, serial structure, denotative ambiguity and reflexivity. This course explores art cinema from a variety of national contexts, analyzing storytelling techniques and themes that challenge the "economical" and diverting forms associated with mainstream commercial filmmaking. Required Screenings. Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: IS EN: H View Sections L53 Film 443 Memory, Tears, and Longing: East Asian Melodrama Film Excessive emotion, unreasonable sacrifice, hidden truth, untimely knowledge, and forbidden desire-the power of melodrama and its moving representations have fueled the popularity of hundreds, if not thousands, of books, plays, and films. Melodrama has variously been defined as a genre, a logic, an affect, and a mode, applied to diverse media, divergent cultural traditions, and different historical contexts. The course provides a survey of East Asian melodrama films-as well as films that challenge conventional definitions of melodrama-by pairing Japanese, Korean, and Chinese-language productions with key critical texts in melodrama studies. We will see classics such as Tokyo Story, Two Stage Sisters, and The Housemaid. We will examine melodrama's complex ties to modernity, tradition, and cultural transformation in East Asia; special emphasis will be placed on representations of the family, historical change, gender, and sexuality. In addition to historical background and film studies concepts, we will also consider a range of approaches for thinking about the aesthetics and politics of emotion. No prerequisites. No prior knowledge of East Asian culture or language necessary. Mandatory weekly scheduled screening. Credit 3 units. A&S IQ: HUM, LCD EN: H View Sections L53 Film 444 Topics in Chinese Language Cinema Variable topics associated with the shaping of Chinese-language cinema, whether originating from the PRC, Hong-Kong, or Taiwan. This course may take up themes, directors, film genres, special subjects (such as independent film), formal elements (such as cinematography or sound), or issues (the relationship of film to literature, specific cultural movements or political events). Required Screenings. Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM EN: H View Sections L53 Film 445 Horror in Japanese Media Elements of the macabre and horrific have been present in Japanese culture and media since time immemorial. The 11th-century work The Tale of Genji, for example, features an elite lady's "living ghost" killing off her main rivals for the prince's affections. Tales of ghosts, demons, and the supernatural entities known as yokai continued to appear in collections of Buddhist didactic and folktale literature of the following centuries, finding renewed popularity in the 17th-19th centuries in the form of kaidan or "strange tales" which were enjoyed as printed works, parlor games, and stage plays. Some of the very first films made at the turn of the 20th century in Japan were about the popular ghosts of yore. Building on this long legacy of fearsome creatures in popular media of times now past, this course will consider selections of Japanese horror media (film, literature, anime, manga, and video games) from the mid-20th to early 21st centuries, highlighting the intertextuality that different media within the horror genre has and how the horror genre itself even bleeds into other genres. Analyzing major figures and themes in each work, this course will explore how Japanese horror -the strange realm home to ghosts with a grudge, misunderstood monsters, and merciless murderers-can function not only as thrilling entertainment but can also reflect Japanese societal and cultural anxieties present in the real world, ranging from the problems that technology may create in a changing world to the threats posed by shifts in traditional family dynamics. Although this course will focus on horror media in the Japanese context, understanding how horror can function to highlight such anxieties will prepare students to consider the deeper possibilities of horror media in their own respective cultural contexts. All readings will be in English, and visual media will be in Japanese with English subtitles. Required Screenings Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM EN: H View Sections L53 Film 446 The Israeli-Palestinian Conflict Through Cinema The Israeli-Palestinian "conflict" is often considered the longest-running national conflict in the world. The "dispute," which started in the early 20th century, attracts much attention more than a hundred year later, stirring intense passions and generating controversial headlines. This course explores the Israeli-Palestinian conflict though Palestinian and Israeli cinema. We examine the ways in which cinema depicts the conflict in the Middle East, starting from the British Mandate to the present day. Adopting a relational history reading, the course examines the "treatment," the influences, and the representation of major historical and political events in the region - Israeli independence/Palestinian Nakba (1948), the Six-Day War/Arab Naksa (1967), the Yum Kippur war (1973), the Lebanon War I (1982), the Palestinian uprising Intifada I (1987), the Oslo accords (1993), Intifada II (2000) - in both Israeli and Palestinian films. The course examines the social and historical processes which shape Palestinian and Israeli cinematic narratives, self-representation, the representation of the Other, the relationship to the land, diaspora, national narratives, collective memory, and trauma. This course offers a dialectical cinematic and historic journey from national films to transnational modernist and experimental films, from the collective to the individual, and from hope to despair. Required Screenings: Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: HUM EN: H View Sections L53 Film 450 American Film Genres By close examination of three or four specific types of film narratives, this course will explore how genre has functioned in the Hollywood mode of production. Students will gain an understanding of genre both as a critical construct as well as a form created by practical economic concerns, a means of creating extratextual communication between film artist/producers and audience/consumers. Genres for study will be chosen from the western, the gangster film, the horror movie, the musical, screwball comedy, science fiction, the family melodrama, the woman's film, and others. In addition to film showings, there will be readings in genre theory as well as genre analyses of individual films. Required screenings Credit 3 units. A&S IQ: HUM Art: HUM EN: H View Sections L53 Film 451 American Television Genres Questions of genre are central to any exploration of television's texts, whether they are being analyzed as craft, commerce, or cultural phenomenon. Genre has been used by critics and historians to ascribe "social functions" to groups of programs and to diagnose cultural preoccupations, while genre has been used industrially to manage expectations among audiences, advertisers, programmers, producers, and creative professionals. Investigating genres ranging from the soap opera to the western, workplace situation comedies to sports, and game shows to cop shows, this course will explore the role of genre in the production, distribution, and reception of American television. Students will gain a critical understanding of genre theory and key arguments about the form and function of television texts and will develop a set of tools for analysis of televisual narrative and style, the social uses and meanings of genre, the institutional practices and presumptions of the American television industry, and the persistence of textual forms and audience formations in the face of structural changes such as deregulation, media convergence, and globalization. Required Screenings. Credit 3 units. A&S IQ: HUM BU: BA EN: H View Sections L53 Film 452 Advanced Screenwriting This course is intended for students who have already taken Film Studies 352, "Introduction to Screenwriting." Building on past writing experiences, students will explore the demands of writing feature-length screenplays, adaptations, and experimental forms. Particular attention will be paid to the task of rewriting. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM EN: H View Sections L53 Film 453 Experimental Design for Immersive Media The term "metaverse" (originally coined by novelist Neal Stephenson) has recently come into vogue to describe a loose constellation of emerging technologies related to immersive media-particularly virtual, augmented, and mixed reality. In this course, we will explore new forms of creative practice enabled by this ecosystem. Students will analyze a variety of immersive experiences, ranging from 360 films and animations to interactive room scale experiences to multisensory installations, to understand the creative opportunities and challenges offered by these media. Students will then develop their own creative proposals and prototype an XR experience using a combination of 360 camera systems, digital production software, head-mounted displays, and physical and spatial computing elements. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM, VC EN: H View Sections L53 Film 454 American Film Melodrama and the Gothic American film melodrama has been considered both the genre of suffering protagonists, incredible coincidences, and weeping spectators as well as a mode of action, suspense, and in-the-nick-of-time rescues. In this course, we will examine American film melodrama as a dialectic of sentiment and sensation which draws heavily on Gothic tropes of terror, live burial, and haunted internal states. We will trace the origins of film melodrama and the cinematic Gothic to their literary antecedents, the horrors of the French Revolution, and classical and sensational stage melodramas of the nineteenth century. In addition to the 1940s Gothic woman's film cycle, we will excavate the Gothic in the maternal melodrama, the suspense thriller, film noir, domestic melodrama, the slasher film, and the supernatural horror film. Required screenings. Credit 3 units. A&S IQ: HUM EN: H View Sections L53 Film 457 From Vitaphone to YouTube: Popular Music and the Moving Image This course considers American popular music as represented in audiovisual media from 1926 to the present. The relationship between the popular music industry (a commercial sphere oriented primarily towards the selling of sheet music and audio recordings) and audiovisual technologies (various screens and formats encountered in changing social and commercial contexts) will be explored along two complementary tracks: popular music performers as presented in performance-centered media and popular music as a narrative topic or resource in feature films. Three related analytical frames will shape our discussions: industrial and technological history (the material conditions for the making and distribution of popular music and moving images) the question of "liveness" in recorded audiovisual media aesthetics of various popular music styles as translated into audiovisual forms and contexts The course is in seminar format. The ability to read music is not required but students with music reading or transcription skills will be encouraged to draw upon these tools. Pre-requisites: graduate status or completion of a 300-level FMS or Music course and permission of the instructor Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 458 Major Film Directors What does the film director do? In the earliest movies, film directors modeled themselves on their theatrical counterparts: they chiefly focused on how to stage an action in a confined space for a stationary camera that represented an ideal member of the audience. As the camera began to be used to direct audience attention, first through cutting, then through actual movement, the film director evolved from a stager of events to a narrator. By analyzing the work of one or more major film directors, this course will explore the art of film direction. We will learn how film directors may use the camera to narrate a scene, to provide their own distinctive view of the actions playing out on the movie screen. May be repeated for credit with permission of the instructor. REQUIRED SCREENING: [day, time]. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 460 Taboo: Contesting Race, Sexuality and Violence in American Cinema Pushing the envelope or going too far? What is the boundary between films that challenge us and films that offend us? This is a course about films that crossed that boundary, most often by presenting images of race, sexuality and violence, images that could attract audiences as much as they offended moral guardians and courted legal sanctions. Because they were denied the First Amendment protection of free speech by a 1915 Supreme Court decision, movies more than any prior art form were repeatedly subject to various attempts at regulating content by government at federal, state, and even municipal levels. Trying to stave off government control, Hollywood instituted forms of self-regulation, first in a rigid regime of censorship and subsequently in the Ratings system still in use. Because taboo content often means commercial success, Hollywood could nonetheless produce films that pushed the envelope and occasionally crossed over into more transgressive territory. While control of content is a top-down attempt to impose moral norms and standards of behavior on a diverse audience, it also reflects changing standards of acceptable public discourse. That topics once barred from dramatic representation by the Production Code - miscegenation, homosexuality and "lower forms of sexuality," abortion, drug addiction - could eventually find a place in American movies speaks to changes in the culture at large. In trying to understand these cultural changes, this course will explore films that challenged taboos, defied censorship, and caused outrage, ranging from films in the early 20th Century that brought on the first attempts to control film content through to films released under the Ratings system, which has exerted subtler forms of control. REQUIRED SCREENING: Credit 3 units. A&S IQ: HUM, SC, SD Art: CPSC EN: H View Sections L53 Film 465 Theory and Practice of Experimental Film Filmmaker Stan Brakhage famously wrote the following: "Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception." In this course, we will embark upon our own adventures of perception, examining and producing works of art that challenge our preconceptions of what cinema is or can be. From city symphonies to pop collages, portraiture to handcrafted animation, and ethnography to gender studies, we will explore the multifaceted and transformative avant-garde cinema through the work of its greatest practitioners, contextualize films in relation to aesthetic aspirations (e.g., formalism, opposition, reflexivity, transcendence) and movements in art and cultural theory (e.g., Dadaism, Abstract Expressionism, Pop, Performance Art, Minimalism), and acquire the digital production skills needed to make our own experimental videos. Each week, we will mix the classic with the contemporary to demonstrate the ongoing vitality of -- and make our own contributions to -- this often misunderstood cinematic tradition. Required screenings. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 475 Screening the Holocaust This course surveys the history of Holocaust representation on film, examining a wide range of documentary and fictional works from 1945 to the present day. Discussions will consider a number of key questions, including: What challenges does the Holocaust pose to cinematic representation, and how have filmmakers grappled with them? How have directors worked within and against notions of the Holocaust as unrepresentable, and how have they confronted the challenge of its association with a limited set of highly iconic images? What are the more general ethical and political dimensions of representing the Holocaust onscreen -- its victims as well as its perpetrators, the systematic genocidal violence that characterized it, and the sheer absence of so many dead? We will also probe the changing significance of cinematic representation of the Holocaust, exploring the medium's increasingly memorial function for audiences ever further removed from the historical moment of its occurrence. Screenings may include The Last Stage; Distant Journey; Night and Fog; Judgment at Nuremberg; Shoah; Europa, Europa; Schindler's List; Train of Life; The Specialist; Photographer; A Film Unfinished. Critical readings by figures such as Giorgio Agamben, Jean Amery, Shoshana Felman, Geoffrey Hartman, Marianne Hirsch, Sidra Israhi, Dominick LaCapra, Alison Landsberg, Berel Lang, Michael Rothberg, and James Young. Required screenings Credit 3 units. A&S IQ: HUM, LCD EN: H View Sections L53 Film 478 Topics in Transmedia Franchises This variable topics course for advanced undergraduate and graduate students is an interdisciplinary seminar on transmedia franchises. In particular, it is recommended for those seeking to understand transmedia storytelling as an artistic, industrial, and cultural practice. As such, this course will bring into conversation various methodologies and perspectives, including film and media scholarship as well as other fields of study in the humanities and social sciences. The goal of this interdisciplinary approach is to illuminate how transmedia franchises have developed since the early 20th century to become the dominant product of the American -- and, increasingly, global -- cultural industries. Foci of this course may include such topics as individual franchises; global transmedia history; the franchise strategies of individual cultural industries (e.g., the Japanese media mix); or representation within franchise texts, production cultures, and fan communities. This course serves as a capstone for Film & Media Studies majors. Weekly or bi-weekly screenings or hands-on media labs are required. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 479 (In)Visible Media: Connection and Crisis in Contemporary Japan This variable topics course is an interdisciplinary seminar on film/media designed for advanced undergraduate and graduate students. In particular, it is recommended for those seeking to understand film/media as a lived experience that takes place within cultural frameworks. As such, this course will bring into conversation various methodologies and perspectives, including film/media scholarship, as well as ones drawn from other fields of study in the humanities, sciences, or social sciences. The goal of this interdisciplinary approach is to illuminate how film/media both elicits and represents human response. The foci of this course may include such topics as violence and film/media, the body and film/media, the cognitive impact of film/media viewing, the relationship of environment to experiencing film/media, or the relationship of culturally specific events or trends to film/media production and reception. This course serves as a capstone for Film & Media Studies majors. Weekly or biweekly screenings or hands-on media labs required. Credit 3 units. A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H View Sections L53 Film 485 Visualizing Orientalism: Art, Cinema and the Imaginary East 1850-2000 This seminar examines film and modern art within the framework of "Orientalism" Reading foundational texts by Said, and incorporating theory and historical discourse concerned with race, nationalism, and colonialism, we explore artistic practice in European photography, painting, and decorative arts from 1850 to recent times and European and Hollywood Film. We study how power and desire have been inscribed in western visual culture across the bodies of nations and peoples through conventions such as the harem, the odalisque, the desert, and the mysteries of ancient Egypt. To that end, we will look at artists such as Delacroix, Ingres, Gérôme, Beardsley, and Matisse and will screen films such as _The Sheik_, _The Mummy_, _Salome_, _Cleopatra_, _Pepe le Moko_, _Naked Lunch_, _Shanghai Gesture, Thief of Bagdad, Princess Tam Tam_ and _The Sheltering Sky_. Subjects include the representaion of gender, sexuality, desire, race, and identity as well as the cultural impact of stereotype and "exotic" spectacle. Students will study methods of visual analysis in film studies and art history. All students must attend film screenings. 3 credits Credit 3 units. A&S IQ: HUM, LCD, SD EN: H View Sections L53 Film 495 Special Projects This course is intended for juniors and seniors who wish to register for internships. Students must receive Program approval prior to beginning the internship. Please consult the Program guidelines governing internships. Credit variable, maximum 3 units. Credit variable, maximum 3 units. View Sections L53 Film 499 Study for Honors This course is intended for majors pursuing honors in Film and Media Studies. In order to enroll for this course, students must apply in advance for honors and be approved by a faculty committee. Please consult the Program guidelines for application deadlines and other requirements. Credit 3 units. View Sections
7961	dbpedia	3	3	https://www.silversirens.co.uk/productions/intimate-relations-1953/	en	Intimate Relations (1953 film)			[ "https://www.silversirens.co.uk/gifs/silver-sirens-logo-new-4-transparent.png", "https://www.silversirens.co.uk/raty-2.5.2/demo/img/star-on-big-red.png", "https://www.silversirens.co.uk/raty-2.5.2/demo/img/star-on-big-red.png", "https://www.silversirens.co.uk/raty-2.5.2/demo/img/star-off-big-white.png", "https://www.silversirens.co.uk/raty-2.5.2/demo/img/star-off-big-white.png", "https://www.silversirens.co.uk/raty-2.5.2/demo/img/star-off-big-white.png", "https://www.silversirens.co.uk/gifs/BBFC-X-1951-1970.gif", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/pictures/thumb_intimate-relations-1953-photo-1-william-russell-elsie-albiin.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/thumb_anonymous.jpg", "https://www.silversirens.co.uk/gifs/twitter-logo-new.gif", "https://www.silversirens.co.uk/gifs/facebook-logo-new.gif" ]	[]	[]	[ "" ]	null	[ "Richard Williams" ]	null	Intimate Relations is a 1953 film starring Harold Warrender, Marian Spencer, Ruth Dunning. A tangle of Oedipal, extra-marital and intergenerational liaisons leads to taut interplay.	en	https://www.silversirens.co.uk/favicon.ico	Silver Sirens	null
7961	dbpedia	0	23	https://www.filmlinc.org/press/33528/	en	Complete Lineup for Queer Cinema Before Stonewall	https://www.filmlinc.org…03/myhustler.jpg	https://www.filmlinc.org…03/myhustler.jpg	[ "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/falc-reel-logo-violet-f.svg", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/falc-reel-logo-violet-f.svg", "https://www.filmlinc.org/wp-content/uploads/2016/03/myhustler-920x517-c-default.jpg", "https://www.filmlinc.org/wp-content/uploads/2024/09/unnamed-17-640x360-c-default.jpg", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-daily-logo.svg", "https://www.filmlinc.org/wp-content/uploads/2015/07/Dangerous-Method-600_2-640x360-c-default.jpg", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-daily-logo.svg", "https://www.filmlinc.org/wp-content/uploads/2024/08/NYFF_Poster-1-640x360-c-default.jpg", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-daily-logo.svg", "https://www.filmlinc.org/wp-content/uploads/2024/08/unnamed-16-640x360-c-default.jpg", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/filmlinc-daily-logo.svg", "https://www.filmlinc.org/wp-content/uploads/2024/05/flc_partners_may24_flc_partners_3_580x252_grey.png", "https://www.filmlinc.org/wp-content/uploads/2024/05/flc_partners_may24_flc_partners_3_1400x110_grey.png", "https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/falc-reel-logo-violet-f.svg" ]	[]	[]	[ "" ]	null	[]	2016-03-14T19:08:41+00:00	The Film Society of Lincoln Center announces the complete lineup for An Early Clue to the New Direction: Queer Cinema Before Stonewall, April 22 – May 1.	en	https://www.filmlinc.org/wp-content/themes/filmlinc/dist/img/favicon.ico	Film at Lincoln Center	https://www.filmlinc.org/press/33528/	New York, NY (March 14, 2016) – The Film Society of Lincoln Center announces the complete lineup for An Early Clue to the New Direction: Queer Cinema Before Stonewall, April 22 – May 1. When did queer cinema begin? What did it look like before the German New Wave breakthroughs of Rainer Werner Fassbinder and Ulrike Ottinger, before the flashpoint of William Friedkin’s Cruising, before its efflorescence in the ’90s? The popular understanding of gay and lesbian film prior to Stonewall—that pivotal moment in 1969—is often one of censorship and subtext, of sad young men and Dietrich in a tuxedo. This survey aims to revise that conception dramatically and from a number of different perspectives, considering homophile auteurs in classical Hollywood, visionary grindhouse fare, home movies, sapphic vampire pictures, underground camp stylings, and physique films alongside radical formal experiments and lavender touchstones like Leontine Sagan’s Mädchen in Uniform. Charting a course from the late 19th century to the cusp of liberation, Film Society’s pre-Stonewall program reveals the terrain of early queer cinema as far vaster and more varied than received histories might suggest.“The subject of early queer cinema has long fascinated me; this survey has, in a sense, been in the works for over a decade,” said Programmer at Large Thomas Beard. “Now, the result of those years of research is manifest in the 30 programs that comprise the series, and I’m thrilled that audiences will have a chance to revisit classics like Hitchcock’s Rope while they also discover the many rare items on offer, like Jacqueline Audry’s Olivia and Gregory Markopoulos’s Twice a Man.” The most comprehensive survey of pre-Stonewall queer cinema ever assembled, this landmark series includes 23 features and 25 shorts, and spans 65 years of film history dating back to 1895—from Hollywood productions (Dorothy Arzner’s The Wild Party, John Huston’s Reflections in a Golden Eye, Vincente Minnelli’s Tea and Sympathy) and independent movies (Shirley Clarke’s Portrait of Jason, Andy Warhol’s My Hustler), to films by international auteurs (Carl Theodor Dreyer’s Michael, Ingmar Bergman’s Persona, Germaine Dulac’s Princess Mandane) and bold work from the silent era (Alice Guy-Blaché’s Algie, the Miner, Sidney Drew’s A Florida Enchantment). The series also boasts many rarities: Jose Rodriguez-Soltero’s avant-garde Lupe Vélez biopic Lupe, Andrew Meyer’s An Early Clue to the New Direction, the program’s namesake, and a range of other curios, from ’50s home movie Mona’s Candle Light to No Help Needed, a fragment of vintage lesbian pornography. Organized by Thomas Beard. Acknowledgements: Harry Guerro; Ed Halter; Jenni Olson; Jake Perlin; Bruce Posner; Janet Staiger; Anthology Film Archives; the Bob Mizer Foundation; the Centre national du cinéma et de l’image animée (CNC); Harvard Film Archive; Istituto Luce Cinecittà; the Library of Congress; Milestone Films; the Murnau Foundation; the Museum of Modern Art; Oddball Film + Video; the Outfest UCLA Legacy Project for LGBT Moving Image Preservation; the Prelinger Archives; the Swedish Film Institute; and the Wisconsin Center for Film and Theater Research. Tickets go on sale Thursday, April 7 and are $14; $11 for students and seniors (62+); and $9 for Film Society members. See more and save with the $150 All Access Pass or 3+ film discount package. Visit filmlinc.org for more information. FILMS & DESCRIPTIONS Opening Night Mädchen in Uniform Leontine Sagan, Germany, 1931, 35mm, 88m German with English subtitles Starring an all-female cast, Mädchen in Uniform is an enduring classic of lesbian cinema. Manuela, a sensitive new arrival at a school for the daughters of military officers, falls hopelessly in love with a charismatic teacher, Fräulein von Bernburg, eliciting the wrath of the headmistress, pitiless martinet Fräulein von Nordeck zur Nidden. Made on the eve of Nazi ascendance, the film stands as a nuanced parable of authoritarianism, yet it’s also a moving portrait of burgeoning sapphic desire, rendered with great technical skill. “With this work the pre-war German sound film reached its highest level,” the film historian Lotte Eisner observed. “Leontine Sagan, a stage-actress, directed the dialogue admirably. She brings out the unselfconscious naïvety of the boarders’ confidences whispered across the dormitory, and the flush of love trembling in the cracked voice of the adolescent.” Print courtesy of the Museum of Modern Art. Friday, April 22, 6:30pm (Introduction by filmmaker Su Friedrich) Tuesday, April 26, 2:30pm – Elinor Bunin Munroe Film Center Opening Night Fireworks + Un Chant d’amour + Blood of a Poet (TRT: 101m) Fireworks Kenneth Anger, USA, 1947, 35mm, 20m Un Chant d’amour Jean Genet, France, 1950, 35mm, 26m Blood of a Poet Jean Cocteau, France, 1932, 35mm, 55m French with English subtitles Rounding out the opening night of Film Society’s pre-Stonewall series are three essential instances of early queer cinema, beginning with Fireworks, one of Kenneth Anger’s first films. The movie develops like a fever dream, in which a young man, played by the director, ventures into the night and encounters a gang of hunky sailors, ready to rough him up. “This flick,” Anger quipped, “is all I have to say about being 17, the United States’ Navy, American Christmas and the 4th of July.” Equally oneiric is Un Chant d’amour—the only film by writer Jean Genet—a study of two prisoners in adjacent cells who share moments of great tenderness despite the wall that divides them. Both of these works, like many other experimental films, share a precedent in Cocteau’s Blood of a Poet, a richly imaginative allegory of aesthetic invention in which an artist journeys through the looking glass. Fireworks 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation. Friday, April 22, 8:30pm (Introduction by artist Nick Mauss) Blood and Roses Roger Vadim, France/Italy, 1960, 35mm, 74m English-language version As historian Andrea Weiss perceptively observed, “Outside of male pornography, the lesbian vampire is the most persistent lesbian image in the history of the cinema.” Blood and Roses, a re-creation of the same Sheridan Le Fanu novella that inspired Dreyer’s Vampyr, is a high point of the genre. On the eve of her cousin’s wedding, glamorous aristocrat Carmilla tells a tale about the history of vampires in her family, all of whom were destroyed hundreds of years ago, except for one. Lured by unseen forces to an abandoned abbey, she encounters the tomb of her ancestor and becomes possessed by the bloodthirsty spirit, haunting the grounds of her estate thereafter in a flowing white gown, seeming only to crave the flesh of the women she encounters. A film that draws generously from the visual legacy of Cocteau, Blood and Roses proves to be sapphic horror story of a thoroughly stylish sort. Wednesday, April 27, 9:00pm Boys Beware + Passion in a Seaside Slum + Ron and Chuck in Disneyland Discovery + Hold Me While I’m Naked (TRT: 71m) Boys Beware Sid Davis, USA, 1961, 10m Passion in a Seaside Slum Robert Wade Chatterton, USA, 1962, 16mm, 32m Discovery Pat Rocco, USA, 1969, 12m Hold Me While I’m Naked George Kuchar, USA, 1966, 16mm, 17m George Kuchar began his career in pictures early, making brilliant dime-store approximations of Hollywood spectaculars with his brother Mike while still a teenager in the Bronx. Hold Me While I’m Naked, a stone-cold classic of underground cinema about a filmmaker who finds himself in a crisis when his lead actress quits, was his first solo outing, a candy-colored treatise on the humor and pathos of sexual hunger. Just as funny is Passion in a Seaside Slum, an 8mm rarity featuring the swishy stylings of homosexual clown Taylor Mead, in which he courts some rough trade on a Venice pier. The cruising is a bit more covert in Pat Rocco’s Ron and Chuck in Disneyland Discovery, an encounter between two men shot on the sly at the theme park of the title, though no less charming. Starting things off is Boys Beware, a cautionary educational film about the dangers of predatory gay men, shown here for maximum camp appeal. Boys Beware courtesy of the Prelinger Archives; Passion in a Seaside Slum Preserved by Anthology Film Archives and Los Angeles Filmforum through the Avant-Garde Masters grant program funded by The Film Foundation and administered by the National Film Preservation Foundation; Ron and Chuck in Disneyland Discovery digital transfer courtesy of the Outfest UCLA Legacy Collection. Saturday, April 30, 5:35pm – Elinor Bunin Munroe Film Center Dickson Experimental Sound Film + Algie, the Miner + Vingarne (TRT: 61m) Dickson Experimental Sound Film W.K.L. Dickson, USA, 1895, 35mm, 1m Algie, the Miner Alice Guy-Blaché, Harry Shenck & Edward Warren, USA, 1912, 35mm, 10m Vingarne Mauritz Stiller, Sweden, 1916, 35mm, 50m Swedish intertitles with English subtitles Dickson Experimental Sound Film is of consequence to cinema history as the only surviving film made for the Kinetophone, which combined the phonograph and the kinetoscope. Yet the scene it depicts, of two men dancing while a third plays violin, has long captivated queer artists and audiences alike. Algie, the Miner, meanwhile, is a gay-cowboy movie made nearly a century before Brokeback Mountain, whose fey lead is sent westward so that he might butch up in preparation for the task of heterosexual courtship. Anchoring the lineup is the rarely screened Vingarne, the first film to deal more or less explicitly with a gay relationship. Though once thought lost—a fire at the Svensk Filmindustri archives in 1941 destroyed the negative—a portion of the work turned up at auction in 1987, and from these elements, along with stills housed at the Library of Congress, the present version of Vingarne was reconstructed. Dickson Experimental Sound Film and Algie, the Miner prints courtesy of the Library of Congress; Vingarne print courtesy of the Swedish Film Institute. Saturday, April 23, 1:30pm An Early Clue to the New Direction + My Hustler (TRT: 107m) An Early Clue to the New Direction Andrew Meyer, USA, 1966, 16mm, 28m My Hustler Andy Warhol, USA, 1965, 16mm, 79m Andrew Meyer first became known as a promising young experimental filmmaker, singled out by artists like Gregory J. Markopoulos for his lyrical small-gauge work. An Early Clue to the New Direction is one his best, starring cult actress Joy Bang, poet Rene Ricard, and early gay-rights activist Prescott Townsend, who holds forth on his “snowflake theory” of human sexuality’s myriad varieties. Like Meyer’s film, Andy Warhol’s My Hustler is a kind of underground chamber play whose characters jockey for erotic attention. The prize of this competition is studly Factory denizen Paul America, who plays a sex worker on the clock in Fire Island. Yet a victor never emerges, and after a flurry of brilliantly improvised banter the film is left unresolved. “Warhol’s films don’t have happy endings,” the art historian Douglas Crimp averred. “They don’t have endings at all. They just end.” Saturday, April 30, 3:15pm – Elinor Bunin Munroe Film Center Flaming Creatures + Lupe (TRT: 94m) Flaming Creatures Jack Smith, USA, 1963, 16mm, 45m Lupe Jose Rodriguez-Soltero, USA, 1966, 16mm, 49m Jonas Mekas, along with Ken and Flo Jacobs, was arrested for screening Flaming Creatures in 1964, and the obscenity case that followed would become a central episode of the New American Cinema. The film’s images, idiosyncratically framed and etherealized by the outdated stock they were shot on, feature the extravagantly costumed voluptuaries of the title as they dance, preen, and, most strikingly, take part in a pansexual mock orgy. “Flaming Creatures is that rare modern work of art: it is about joy and innocence,” wrote Susan Sontag. “To be sure, this joyousness, this innocence is composed out of themes which are—by ordinary standards—perverse, decadent, at the least highly theatrical and artificial. But this, I think, is precisely how the film comes by its beauty and its modernity.” Also showing is the unjustly overlooked Lupe by Jose Rodriguez-Soltero, a lushly lo-fi biopic of actress Lupe Vélez starring drag legend Mario Montez. Saturday, April 30, 1:15pm – Elinor Bunin Munroe Film Center A Florida Enchantment Sidney Drew, USA, 1914, 16mm, 63m Lillian Travers, a young heiress, travels from New York to Florida to surprise her fiancé, a doctor who’s seasonally employed at a St. Petersburg hotel. Upon arrival, however, she becomes furious to discover many of the female guests lavishing attention on her husband-to-be, and in a moment of frustration she swallows a seed that transforms men into women and vice versa. Her butch metamorphosis thus begins, and soon she’s kissing and courting every woman in sight, much to the chagrin of her erstwhile lover. Confusions comically mount, and by film’s end the doctor has tried the magic seed as well, to similar effect. In some respects, like its use of blackface, the film is odiously of its moment, yet in other ways it’s quite remarkable, offering an elaborate fantasy of gender variance that transcends the transvestite gags so common to the silent era. Print courtesy of Frameline. Tuesday, April 26, 6:45pm – Elinor Bunin Munroe Film Center A Fragment of Seeking + Geography of the Body + The Case of Mr. Lynn (TRT: 76m) A Fragment of Seeking Curtis Harrington, USA, 1946, 16mm, 14m Geography of the Body Willard Maas, USA, 1943, 16mm, 7m The Case of Mr. Lynn Reuben Siegel, USA, 1955, 16mm, 55m An early film by Curtis Harrington, made while he was still a student and long before he would go on to direct horror movies with AIP, A Fragment of Seeking is a study of adolescent narcissism that articulates the labyrinth of the psyche through an experimental design reminiscent of Maya Deren and Jean Cocteau. Geography of the Body, by contrast, takes as its subject not the mind but flesh itself, abstracting the human form through a montage of extreme close-ups. These avant-garde works set the stage for one of the truly deep cuts of the pre-Stonewall series, The Case of Mr. Lynn, a fascinating document of the carnal at odds with the inner life. The reel is an actual filmed therapy session with a troubled young homophile, made in 1955 under the auspices of Penn State’s Psychological Cinema Register. “When you say that you’re queer,” Lynn explains, “it automatically sets you apart.” Tuesday, April 26, 8:15pm – Elinor Bunin Munroe Film Center The Girl with the Golden Eyes Jean-Gabriel Albicocco, Italy/France, 1961, 35mm, 90m French with English subtitles Henri Marsay, a rakish lothario, enjoys sex as something of a gamble and a sport. While participating alongside his friends in elaborate scenarios of erotic gamesmanship, he becomes increasingly preoccupied with his latest conquest, and grows distraught upon discovering a rival in her lesbian paramour. Though now relatively obscure, The Girl with the Golden Eyes was not without enthusiasts upon its initial release. Amos Vogel even arranged a special presentation of the work at his influential film society Cinema 16, situating it as an alternative to the Nouvelle Vague offerings of the era. “A mysterious, perverse Gothic tale, derived from Balzac and transposed to a deceptively contemporary Paris, probes the secret of a bizarre love in an atmosphere of sophisticated decadence,” wrote Vogel in his program notes. “Opulent in its artificiality, the film is especially noteworthy for its visual pyrotechnics, luxuriant imagination and unexpected continuity.” Thursday, April 28, 9:15pm Friday, April 29, 5:00pm – Elinor Bunin Munroe Film Center Glen or Glenda? Edward D. Wood Jr., USA, 1953, 35mm, 65m Though it was developed as an exploitation film meant to capitalize on popular interest in Christine Jorgensen’s transition, then a tabloid sensation, Ed Wood’s Glen or Glenda? is, for its time, an astonishingly sympathetic portrayal of cross-dressing and gender nonconformity. Nominally resembling an educational reel, the film relates the stories of Glen, who struggles to tell his fiancée that he covets her angora sweaters, and a GI who undergoes reassignment surgery, but Wood conveys this narrative in a style bizarre beyond measure. While the director’s more famous Plan 9 from Outer Space is regarded as the ne plus ultra of bad, low-budget moviemaking, Glen or Glenda?, with its inexplicable dream sequences, portentous narration, stock-footage hyperbole, and terrifically stiff acting, is no less bewildering in its composition. Sunday, April 24, 9:00pm The Killing of Sister George Robert Aldrich, USA, 1968, 16mm, 138m Actress June Buckridge (Beryl Reid) plays a kindly nun in a popular British soap, a role altogether distinct from her off-screen persona: a fabulously brassy butch with a sadistic streak who hits the bottle hard. Her life begins to unravel when plans are made to kill off her character, and, making matters worse, one of the show’s producers has eyes for her much-younger girlfriend. The writer Terry Castle described The Killing of Sister George as “a lesbian fable at once so jolting and so sophisticated, so true and so false, so intelligent and raffish about what women do together, it seemingly had to be forgotten immediately.” Yet revisiting the film, she concluded that “one may feel one still hasn’t caught up with it. Susannah York in lingerie and bunny skuffs, chomping on a cigar fished from the toilet by her lover, a raddled Beryl Reid: it’s a revolution in awareness still waiting to happen.” Sunday, May 1, 8:00pm – Elinor Bunin Munroe Film Center Lot in Sodom + Salomé (TRT: 100m) Lot in Sodom James Sibley Watson & Melville Webber, USA, 1933, 28m Salomé Charles Bryant & Alla Nazimova, USA, 1923, 35mm, 72m “While obeying the biblical account concerning Lot and his family and the function of the two angels who investigate Sodom at the Lord’s behest,” critic Parker Tyler once noted, “the Watson-Webber work uses all its creative accents to depict the sensual responses of the male homosexuals of Sodom to the physical beauty of the foremost angel. Naturally the angel repulses their advances and proceeds (not finding fifty chaste persons present) to condemn Sodom to the flames, but not before we have witnessed, at some length, the orgiastic pleasures of the all-male population.” Lot in Sodom has often shared a double bill with Alla Nazimova and Charles Bryant’s adaptation of Oscar Wilde’s Salomé, and the combination is fitting, as the latter is an equally homoerotic riff on scripture. In reference, no doubt, to the film’s Aubrey Beardsley–inspired mise en scène and rumors of its exclusively gay casting, Kenneth Anger dubbed it “Nancy-Prancy-Pansy-Piffle and just too queer for words.” Prints courtesy of Unseen Cinema: Early American Avant-Garde Film 1893-1941, sponsored by Anthology Film Archives, New York, and Deutsches Filmmuseum, Frankfurt am Main, and underwritten by Cineric, Inc. Saturday, April 23, 3:00pm Love Meetings Pier Paolo Pasolini, Italy, 1964, 35mm, 92m Italian with English subtitles For Love Meetings, Pasolini traveled throughout Italy, from the factories to the beaches, and interviewed passersby about their attitudes toward sex. A charismatic interlocutor, he questions them, mic in hand, on a wide range of topics: the importance of sex in everyday life, prostitution, homosexuality, the legalization of divorce. And while discussing the customs of the country and its changing mores, invariably his subjects begin to broach other topics as well, like the way ideas about sex are informed by nationalism or religion or gender relations. Though a lesser-known entry in Pasolini’s filmography, Love Meetings is endlessly compelling, both as a social artifact and a work of art. “Every man is made differently,” the poet Giuseppe Ungaretti remarks, referring both to their physical constitution and their spiritual disposition. “Therefore all men are, in their own way, abnormal. All men are, in a way, in contrast with nature.” Print courtesy of Istituto Luce Cinecittà. Wednesday, April 27, 4:30pm Friday, April 29, 9:15pm – Elinor Bunin Munroe Film Center Michael Carl Theodor Dreyer, Germany, 1924, 35mm, 93m German intertitles with English subtitles Like Mauritz Stiller’s Vingarne, Dreyer’s film is drawn from Herman Bang’s 1902 novel Mikaël. While Stiller’s approach is significant for its film-within-a-film reflexivity—there, an adaption of Bang’s book is accompanied by a framing story about the making of the adaptation—Dreyer takes a different tack. His variation on the love triangle between a famous artist, the protégé he pines for, and a penniless aristocrat is comparatively muted in its homoeroticism, yet no less powerful as a result. Dreyer counted Michael as a favorite of his early films. The picture speaks through its sumptuous decor, its subtle performances, and, perhaps most crucially, its compositions, expertly lensed by the influential cinematographer Karl Freund. Indeed, Dreyer’s close-ups in Michael, which convey emotion so delicately as to make words superfluous, anticipate those in The Passion of Joan of Arc. Print courtesy of the Murnau Foundation. Saturday, April 23, 5:00pm Tuesday, April 26, 4:30pm – Elinor Bunin Munroe Film Center Mona’s Candle Light + Olivia (aka The Pit of Loneliness) (TRT: 116m) Mona’s Candle Light Director unknown, USA, ca. 1950, 35mm, 28m Olivia (aka The Pit of Loneliness) Jacqueline Audry, France, 1951, 35mm, 88m French with English subtitles “Scripted by Colette, Olivia offered hothouse lesbian passion in an upper class French girls’ school,” wrote Vito Russo in The Celluloid Closet, his classic account of homosexuality and cinema. “It was a perfect ‘shadow people’ film for the Fifties. It featured dark doings in school corridors and ended in the obligatory tragic circumstances. American censors assured the delicacy of treatment for which Pit of Loneliness was touted. One censor’s notation read: ‘Eliminate in Reel 5D: Scene of Miss Julie holding Olivia in close embrace and kissing her on the mouth. Reason: Immoral, would tend to corrupt morals.’” Audry’s feature is preceded by Mona’s Candle Light, an amateur short film shot at popular San Francisco bar Mona’s circa 1950, providing a unique opportunity to consider a big-screen depiction of sapphic yearning alongside a rare, rediscovered lesbian home movie from the same moment. Mona’s Candle Light 35mm print courtesy of the Outfest UCLA Legacy Collection; Olivia print courtesy of the Centre national du cinéma et de l’image animée (CNC). Sunday, April 24, 6:30pm Monte Hanson and Tony Gallo + Queens at Heart + The Queen (TRT: 96m) Monte Hanson and Tony Gallo Bob Mizer, USA, 1964, 6m Queens at Heart Director unknown, USA, 1967, 35mm, 22m The Queen Frank Simon, USA, 1968, 35mm, 68m An evocative time capsule, Frank Simon’s debut takes in the sights and sounds of 1967’s Miss All-America Camp Beauty Pageant. Drag artists throughout the land descended upon Town Hall to vie for the title, but, notes emcee Flawless Sabrina, “There can only be one queen.” Praising its humor and its style, Renata Adler saw the film as a revelation: “It shows us another America.” Made just prior to The Queen, Queens at Heart provides glimpse into the twilight world of ball culture, offering a series of probing interviews with four transwomen, in which they speak with great candor to the struggles of their moment as well as to their hopes. Striking a somewhat different chord is a physique film by the prolific and pioneering gay pornographer Bob Mizer. Here, two scantily clad men pose, wrestle, and jokingly try to out-flex one another in what amounts to a beauty contest of its own. Queens at Heart 35mm print courtesy of the Outfest UCLA Legacy Collection; The Queen print courtesy of Harvard Film Archive. Sunday, May 1, 5:45pm – Elinor Bunin Munroe Film Center No Help Needed + Therese and Isabelle (TRT: 124m) No Help Needed Director unknown, USA, ca. 1940, 16mm, 6m Therese and Isabelle Radley Metzger, France/USA/Netherlands/West Germany, 1968, 35mm, 118m Based on the novel by Violette Leduc, Therese and Isabelle begins with a woman visiting the school grounds of her youth; the buildings are empty, so she speaks “to the ghosts.” Memories from 20 years prior flash into her mind, and she recalls a budding sapphic tryst with a free-spirited classmate. Metzger crafts this saga of first love with emotional honesty and a sensual visual intelligence—no wonder Kathy Acker once wrote that she wanted her dreams to be like Therese and Isabelle. Complementing this masterly softcore effort is No Help Needed, a rare fragment of vintage lesbian pornography from the personal collection of filmmaker and queer film programmer Jenni Olson. Sunday, May 1, 1:00pm – Elinor Bunin Munroe Film Center Oblivion + Winged Dialogue & Plan of Brussels + Twice a Man (TRT: 74m) Oblivion Tom Chomont, USA, 1969, 16mm, 4m Winged Dialogue & Plan of Brussels Robert Beavers, Greece/Belgium, 1967-8/2000, 16mm, 3m/18m Twice a Man Gregory J. Markopoulos, USA, 1963, 16mm, 49m “I wish to demonstrate by the film Twice a Man, a new narrative form which is based on very brief film-phrases used in clusters to evoke thought through imagery,” Gregory J. Markopoulos declared in a statement about his modern restaging of the Hippolytus myth. By intercutting these fleeting moments into longer sequences, he found novel ways to convey the shape of consciousness via cinema, highlighting the psychological and aesthetic force of individual film frames, and the space between them. Beyond the innovations of his approach to composition, Markopoulos was also a tremendously supportive and influential figure for young gay experimental filmmakers in the 1960s, such as Nathaniel Dorsky, Jerome Hiler, Edward Owens, and Warren Sonbert, as well as Robert Beavers and Tom Chomont, represented here by important early works that, each in their own distinct way, plumb the depths of the erotic imagination through complex superimposition and pulsing montage. Friday, April 29, 7:15pm – Elinor Bunin Munroe Film Center Persona Ingmar Bergman, Sweden, 1966, 35mm, 85m English and Swedish with English subtitles What’s so queer about this Swedish auteur? More, perhaps, than one might expect. “The first important lesbian images in cinema for me were: Liv Ullmann and Bibi Andersson in Ingmar Bergman’s Persona,” the writer Sarah Schulman recently explained, “particularly the moment where their intensity of feeling burned up the celluloid.” One of the filmmaker’s most enigmatic works, Persona is the story of an actress who was suddenly fallen mute, and retreats to the countryside with her nurse to convalesce. But this bucolic interlude exacts a psychological toll on the two women, especially the garrulous caretaker, who grows increasingly intimate with, and ultimately resentful of, her silent charge. Aided by Sven Nykvist’s elegant camerawork and artful punctuations in the sound design, an air of violent eroticism prevails throughout. Persona, one of the great movies about the precarious nature of identity, shudders with neurotic life. Saturday, April 23, 8:45pm Portrait of Jason Shirley Clarke, USA, 1967, 105m Portrait of Jason is an extended interview with its eponymous subject: a gay African-American man and a brilliant raconteur. When asked by Clarke early on what he does for a living, he succinctly responds, giggling: “I hustle… I’m a stone whore, and I’m not ashamed of it.” This might be the ultimate film about hustling and being hustled. It becomes clear that Jason’s identity is assumed in more ways than one. He spins hilarious yarns—recounting affairs gone sour, his days of indolent splendor as a houseboy, raising money for a nightclub act that he has endlessly deferred—but eventually they start to unravel. To borrow from Jason’s elaborate lexicon, things get… confused. Are his theatrics for us, or for himself? Are we being had or entertained? Or has Jason shifted around the particulars of his autobiography so often that he’s found it illegible? Maybe all are true, or none. Sunday, May 1, 3:30pm (Introduction by writer Hilton Als) – Elinor Bunin Munroe Film Center Princess Mandane Germaine Dulac, France, 1928, 35mm, 74m French intertitles with English subtitles Though best known for avant-garde works like The Seashell and the Clergyman and The Smiling Madame Beudet, lesbian filmmaker Germaine Dulac also made a number of features, like the beguiling and little-shown Princess Mandane, a loose adaptation of Pierre Benoît’s novel Forgetfulness and her final commercial production. “In my film,” Dulac once said, “Benoît’s hero becomes a victim of the cinema. His obsession with all the glorious adventures on the screen forces him to abandon his peaceful life and roam the world. He becomes transported into a country full of wonders, a marvelous kingdom ruled by a fairy princess. A moral ends the story: After many adventures, my hero prefers to find happiness in simplicity.” Though with this fable comes a final twist, a turn of events that, it has been argued, constitute one of the most explicitly sapphic moments in Dulac’s cinema. Print courtesy of the Centre national du cinéma et de l’image animée (CNC). Saturday, April 23, 7:00pm Reflections in a Golden Eye John Huston, USA, 1967, 35mm, 108m “There is a fort in the South where a few years ago a murder was committed.” So begins John Huston’s adaptation of Carson McCullers’s Reflections in a Golden Eye. Overflowing with gothic atmosphere, the film circles around the stoic, marble-mouthed Major Weldon Penderton, a character rigorously embodied by Marlon Brando. He silently pines for a mysterious young soldier (Robert Forster, in his first screen role) who has secrets of his own, like a fondness for naked horseback riding and a peculiar fixation with the negligee of the Major’s wife, Leonora (Elizabeth Taylor, in a performance so tempestuous it rivals her turn in Who’s Afraid of Virginia Woolf?). Less inhibited is the neighbors’ houseboy Anacleto, a fey, scene-stealing esthete who refuses to conform to the strictures of the military environment that surrounds him, making him something of a rare bird in this stirring examination of repressed longings and their unbearable weight. Saturday, April 30, 9:30pm – Elinor Bunin Munroe Film Center Rope Alfred Hitchcock, USA, 1948, 35mm, 80m “It’s supposed to be about homosexuals, and you don’t even see the boys kiss each other,” Jean Renoir once said of Rope. “What’s that?” This comment, seemingly dismissive, actually reaches to the heart of the movie, a work very much about what we see, and what we don’t. A virtuosic formal achievement, Rope plays out as a single continuous shot, accomplished by the use of hidden cuts. Hitchcock’s first color film was adapted by gay screenwriter Arthur Laurents from a stage play that was, in turn, based on the infamous 1924 Leopold and Loeb case, in which two young lovers murdered a 14-year-old boy in cold blood. Yet the on-screen depiction of homosexuality was verboten in the 1940s, so Farley Granger and John Dall, the queer actors cast as the killers, gamely maneuvered through a scenario that, even by the standards of a Hitchcock film, is drenched in innuendo. Sunday, April 24, 4:45pm (Introduction by Tom Kalin) Monday, April 25, 2:00pm Sylvia Scarlett George Cukor, USA, 1935, 35mm, 95m English and French with English subtitles Condemned by the Legion of Decency and a disappointment at the box office, Sylvia Scarlett was revived decades later and now enjoys a reputation as one of the highlights of Cukor’s impressive filmography. In a scheme to help her embezzling bookkeeper father escape Marseilles for London, young Sylvia (Katharine Hepburn) cuts her hair, dons a fedora, and changes her name to Sylvester. En route, they encounter a “gentleman adventurer” (Cary Grant, at his most louche) and together the trio starts grifting, though Sylvester proves too high-minded for the criminal life. Cukor’s sexuality sometimes found a subterranean expression in his pictures, and this is nowhere more apparent than in Sylvia Scarlett, a gender-bending picaresque tale in which the terms of erotic identification are constantly, cleverly evolving, for the cast and audience alike. “I know what it is,” one character memorably declares to Sylvester, “that gives me a queer feeling when I look at you.” Sunday, April 24, 2:45pm Monday, April 25, 4:00pm Tea and Sympathy Vincente Minnelli, USA, 1956, 35mm, 122m John Kerr and Deborah Kerr reprised their roles from Robert Anderson’s popular Broadway play Tea and Sympathy for Vincente Minnelli’s screen adaptation, a sensitive consideration of virulent homophobia at a boarding school, delineated here in a resplendent color palette by cinematographer John Alton. Tom Lee is different from the other boys, an introvert more inclined toward sewing, gardening, and crooning folk songs than tossing the pigskin, and his fellow classmates terrorize him as a result. He finds a confidante in faculty wife Laura Reynolds, however, and gradually a love flowers between them. Their relationship would suggest that the whispers about Tom are unfounded, but the narrative still raised the hackles of the Production Code office. “In retrospect,” Minnelli recalled, “it wasn’t a very shocking picture, but it might have set up a brouhaha at the time. Ostrich-wise, the censors refused to admit the problem of sexual identity was a common one.” Wednesday, April 27, 6:30pm Thursday, April 28, 4:30pm Victim Basil Dearden, UK, 1961, 35mm, 100m “It is extraordinary,” Dirk Bogarde recalled in his autobiography, “in this over-permissive age, to believe that this modest film could ever have been considered courageous, daring or dangerous to make. It was, in its time, all three.” Shot in the wake of 1957’s Wolfenden Report, a hotly debated government study that recommended the decriminalization of same-sex relations in Britain, Victim is a supremely artful message film. Taking the shape of a detective story, it concerns a closeted barrister who becomes embroiled in a blackmailing scheme targeting gay men, prompting him to take on the extortionists despite the cost to his marriage and promising career. As the first commercial production in the UK to fully address homosexuality, Victim is a social landmark, yet its reverberations can be felt still further across film history; it made a tremendous impression, in particular, on a then-teenage Terence Davies. Thursday, April 28, 7:00pm Friday, April 29, 3:00pm – Elinor Bunin Munroe Film Center Who Killed Teddy Bear? Joseph Cate’s, USA, 1965, 35mm, 94m In a far cry from his signature role as the doe-eyed, crushed-out Plato in Rebel Without a Cause, Sal Mineo is seen to his advantage in Who Killed Teddy Bear? as a brawny busboy working at a New York discotheque. He spends his downtime as a peeping tom with a penchant for making obscene phone calls to his co-worker Norah (Juliet Prowse), who also finds admirers in the club’s tough-talking lesbian manager (Elaine Stritch) and a cop dedicated to the assiduous study of sexual deviancy (Jan Murray). Set amid the smut shops, peep shows, and porno theaters of old Times Square, Joseph Cate’s cult classic anticipates Scorsese’s Taxi Driver with its wonderfully seedy tale of obsessive desire and urban alienation. Print courtesy of the Wisconsin Center for Film and Theater Research. Saturday, April 30, 7:30pm – Elinor Bunin Munroe Film Center The Wild Party Dorothy Arzner, USA, 1929, 35mm, 77m Though officially closeted, as a lesbian filmmaker in the classical Hollywood era, Dorothy Arzner was a unique figure. Following her time as an editor, she eventually worked her way up to the director’s chair with 1927’s Fashions for Women, and would go on to earn a reputation as a star-maker, kick-starting the careers of Lucille Ball (Dance, Girl, Dance) and Rosalind Russell (Craig’s Wife), among others. As Paramount’s first sound movie, The Wild Party marked a turning point for both Arzner and the industry. Clara Bow, the original “It” girl, stars as a student at a women’s college who is “The life of the party and HOW!” Though the plot is driven by the vicissitudes of her blossoming romance with a young anthropology professor, modern audiences are likely to be just as intrigued by the film’s account of female friendship, and the sapphic implication of the homosocial milieu. Sunday, April 24, 1:00pm Special Event Chained Girls: Sensationalism, Pulp, and Mid-Century Queer History A lecture by film scholar Amy Villarejo Tabloid, pulp, and sensational films documented queer lives in the mid-20th century, offering a fascinating glimpse into the world of the clandestine and the closet, revisited recently by Todd Haynes in Carol. What visions of lesbian and gay life do films like Joseph P. Mawra’s 1965 Chained Girls offer to us today, and how do they fit into a retrospective survey of LGBTQ films from the past century? Combining clips from a variety of oddball and orphan sources, this presentation looks into the recesses and margins of film history for hidden traces of our queer past. Monday, April 25, 6:30pm – Elinor Bunin Munroe Film Center, Amphitheater PUBLIC SCREENING SCHEDULE WRT = Walter Reade Theater, 165 W. 65th St. EBM = Elinor Bunin Munroe Film Center, 144 West 65th St. AMP = Amphitheater, Elinor Bunin Munroe Film Center Friday, April 22 6:30 Mädchen in Uniform (90m) WRT 8:30 Fireworks (20m) + Un Chant d’amour (26m) + Blood of a Poet (55m) WRT Saturday, April 23 1:30 Dickson Experimental Sound Film (1m) + Algie, the Miner (10m) + Vingarne (50m) WRT 3:00 Lot in Sodom (28m) + Salomé (72m) WRT 5:00 Michael (93m) WRT 7:00 Princess Mandane (74m) WRT 8:45 Persona (83m) WRT Sunday, April 24 1:00 The Wild Party (77m) WRT 2:45 Sylvia Scarlett (95m) WRT 4:45 Rope (80m) WRT 6:30 Mona’s Candle Light (28m) + Olivia (88m) WRT 9:00 Glen or Glenda? (65m) WRT Monday, April 25 2:00 Rope (80m) WRT 4:00 Sylvia Scarlett (95m) WRT 6:30 Chained Girls: Sensationalism, Pulp, and Mid-Century Queer History AMP Tuesday, April 26 2:30 Mädchen in Uniform (90m) EBM 4:30 Michael (93m) EBM 6:45 A Florida Enchantment (63m) EBM 8:15 A Fragment of Seeking (14m) + Geography of the Body (7m) + The Case of Mr. Lynn (55m) EBM Wednesday, April 27 4:30 Love Meetings (92m) WRT 6:30 Tea and Sympathy (122m) WRT 9:00 Blood and Roses (74m) WRT Thursday, April 28 4:30 Tea and Sympathy (122m) WRT 7:00 Victim (100m) WRT 9:15 The Girl with the Golden Eyes (90m) WRT Friday, April 29 3:00 Victim (100m) EBM 5:00 The Girl with the Golden Eyes (90m) EBM 7:15 Oblivion (4m) + Winged Dialogue (3m) + Plan of Brussels (18m) + Twice a Man (49m) EBM 9:15 Love Meetings (92m) EBM Saturday, April 30 1:15 Flaming Creatures (45m) + Lupe (49m) EBM 3:15 An Early Clue to the New Direction (28m) + My Hustler (79m) EBM 5:30 Boys Beware (10m) + Passion in a Seaside Slum (32m) + Ron and Chuck in Disneyland Discovery (12m) + Hold Me While I’m Naked (17m) EBM 7:30 Who Killed Teddy Bear? (94m) EBM 9:30 Reflections in a Golden Eye (108m) EBM Sunday, May 1 1:00 No Help Needed (6m) + Therese and Isabelle (118m) EBM 3:30 Portrait of Jason (105m) EBM 5:45 Monte Hanson and Tony Gallo (6m) + Queens at Heart (22m) + The Queen (68m) EBM 8:00 The Killing of Sister George (138m) EBM FILM SOCIETY OF LINCOLN CENTER Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility, and understanding of the moving image. The Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Art of the Real, Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, New Directors/New Films, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema, Rendez-Vous with French Cinema, and Scary Movies. In addition to publishing the award-winning Film Comment magazine, the Film Society recognizes an artist’s unique achievement in film with the prestigious Chaplin Award, whose 2016 recipient is Morgan Freeman. The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year-round programs and the New York City film community. 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7961	dbpedia	0	8	https://harvardfilmarchive.org/programs/plaisir-damour-the-films-of-max-ophuls	en	Plaisir d'amour – The Films of Max Ophuls	https://harvardfilmarchi…cf03178a98d3.jpg	https://harvardfilmarchi…cf03178a98d3.jpg	[ "https://harvardfilmarchive.org/public/upload/events/medium_wide/5e9dc5f38193a.jpg?1587398134", "https://harvardfilmarchive.org/public/upload/programs/medium_wide/5cf03178a98d3.jpg?1587399269", "https://harvardfilmarchive.org/public/upload/events/medium_wide/5cf03173c9a18.jpg?1587395208", "https://harvardfilmarchive.org/public/upload/events/medium_wide/5e9dc0d948bb4.jpg?1587397110", "https://harvardfilmarchive.org/public/upload/events/thumb/5cf03173c9a18.jpg?1587395211", "https://harvardfilmarchive.org/public/upload/events/thumb/5cf03174c4690.jpg?1587395639", "https://harvardfilmarchive.org/public/upload/events/thumb/5cf03175ca9e2.jpg?1587395883", "https://harvardfilmarchive.org/public/upload/events/thumb/5cf03176b1115.jpg?1587396478", "https://harvardfilmarchive.org/public/upload/events/thumb_wide/5cf03177a36a4.jpg?1587396669", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc0d948bb4.jpg?1587397115", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc37e9dcf1.jpg?1587397504", "https://harvardfilmarchive.org/public/upload/events/thumb/5cf03175ca9e2.jpg?1587395883", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc4ac9c901.jpg?1587397807", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc5f38193a.jpg?1587398139", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc78c136b8.jpg?1587398543", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc9432ae2c.jpg?1587398984", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc855896bf.jpg?1587398745", "https://harvardfilmarchive.org/public/upload/events/thumb/5e9dc9d244c9a.jpg?1587399128", "https://harvardfilmarchive.org/public/upload/programs/thumb/5cf01dc204126.jpg?1600206319", "https://harvardfilmarchive.org/public/upload/programs/thumb/6679953387857.jpg?1719244085", "https://harvardfilmarchive.org/public/upload/programs/thumb/66b651230fad8.jpg?1723645207", "https://harvardfilmarchive.org/public/upload/programs/thumb/66bd1c957e3d5.jpg?1723671022", "https://harvardfilmarchive.org/public/upload/programs/thumb/66c76af213853.jpg?1724345196", "https://harvardfilmarchive.org/public/upload/programs/thumb/66ccf4585d837.jpg?1724707930", "https://harvardfilmarchive.org/public/upload/programs/thumb/66d2374bc66d3.jpg?1725052748", "https://harvardfilmarchive.org/public/upload/programs/thumb/66d239c85cb74.jpg?1725053702", "https://harvardfilmarchive.org/public/upload/programs/thumb/66d9fb80bfc1c.jpg?1725561731", "https://harvardfilmarchive.org/public/upload/programs/thumb/66da03ea1c964.jpg?1725574035", "https://harvardfilmarchive.org/public/harvard_library.png" ]	[]	[]	[ "" ]	null	[]	2009-01-23T00:00:00	Max Ophuls (1902-1957) was a supreme stylist of the cinema and a master storyteller of romance, doomed love and sexual passion. Fusing the subject of his stories with his endlessly mobile camera, he choreographed emotion, overflowing into ecstatic and ...	en	/public/theme/favicons/apple-touch-icon.png	Harvard Film Archive	https://harvardfilmarchive.org/programs/plaisir-damour-the-films-of-max-ophuls	Max Ophuls (1902-1957) was a supreme stylist of the cinema and a master storyteller of romance, doomed love and sexual passion. Fusing the subject of his stories with his endlessly mobile camera, he choreographed emotion, overflowing into ecstatic and extended moments that merge images of desire with desire for cinema. As his themes focus so closely on people and their extreme feelings, performance and star presence are of the essence in Ophuls’ cinema, and it is often in dance sequences that all of these elements intertwine: in Liebelei (1932), Fritz and Christine fall in love while dancing to a mechanical jukebox, surrounded by mirrors and caught in their movement by the movement of the camera; in Earrings of Madame de… (1953), Louise and Donati’s flirtation develops into amour fou across a series of sequences in which camera, mirrors, human emotions and dance fuse and fragment. Ophuls was a truly international director, born, emblematically, in the Saar, a small state located between France and Germany. His filmmaking career began in Berlin in the early 1930s, in the aftermath of the transition to sound and just before the Nazi party came to power. After 1933, unlike many of his contemporary ethnic exiles, Ophuls attempted to remain in Europe, moving to France, where he worked – with films produced also in Italy and Holland – until forced to move to the US by the German occupation of 1941. Ophuls was the last of the exiles to arrive in Hollywood and found the environment hard. He was comparatively unknown, lacking a U.S. success as a “calling card,” and he came up against studio intransigence with his insistence on persisting with his own idiosyncratic shooting style. His elegant, elongated takes often overstepped the limits of conventional editing rhythm so that disapproving, self-righteous editors would chop his shots or break them up with cutaways (sometimes with the connivance of audience-nervous producers). But Ophuls also flourished in Hollywood, relishing the opportunities offered by highly skilled technicians, the studio sets with walls and staircases that could be moved at will, the tracks, cranes and so on, altogether the most advanced mechanisms of cinema in the world. Ophuls returned to Europe after the war, settling in Paris, where he made the four extraordinary films that form the high point of his career. Lola Montès (1955), his only film made in color, was his last, a tour de force in which an aging courtesan acts out the memories of her notorious affairs nightly in the circus ring. Ophuls wove into the film the storytelling devices of circularity and repetition that characterize his late films as well as the flamboyant cinematic style he had mastered across a lifetime. The personal, professional and financial hopes that he invested in Lola Montès were dashed by its failure both critically and at the box-office, and may well have contributed to his untimely death in 1957. Championed at the time only by the critics of the Cahiers du cinéma, for whom Ophuls had always been a hero, Lola Montès has finally returned, after a long absence from public view, to find its place as a tragic masterpiece from a sublime director. – Laura Mulvey
7961	dbpedia	0	4	http://www.screenonline.org.uk/film/id/1074067/index.html	en	BFI Screenonline: Social Problem Films			[ "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/nav/logo.gif", "http://www.screenonline.org.uk/images/nav/searchicon.gif", "http://www.screenonline.org.uk/images/nav/banner.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1081862.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1022312.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1075528.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/862723.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1074763.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1054365.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/952782.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1120615.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/823359.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1377585.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1074754.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1259476.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/634623.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1118036.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1074011.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/823886.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1076659.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1360903.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/779572.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1360970.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/778206.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/887260.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/865078.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1058678.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/gt/GT_tv_clips02-4x3.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/881410.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/966447.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/files/1072482.jpg", "http://www.screenonline.org.uk/images/spacer.gif", "http://www.screenonline.org.uk/images/nav/lowernav_right_mask.gif" ]	[]	[]	[ "" ]	null	[]	null	British cinema and postwar social change	en			null	Although the term 'social problem film' could be applied to everything from James Williamson's pioneering social realism (A Reservist, Before the War and After the War, 1902) to Ken Loach films made a century later, it generally describes a number of films made between the end of the Second World War and the dawn of the 1960s. During this period, many British filmmakers began to explore subjects that might have been considered off limits in earlier decades, thanks to attitudes summed up by a notorious comment by Lord Tyrrell, President of the British Board of Film Censors (BBFC), in 1937: "We may take pride in the fact that there is not a single film showing in London which deals with any of the burning issues of the day." In fact, the burning issues of the day were already being explored in such films as the Paul Robeson vehicles Song of Freedom (1936) and The Proud Valley (1940) and working-class dramas South Riding, The Citadel, Bank Holiday (all 1938) and The Stars Look Down (1939). The Proud Valley was the second film directed by Pen Tennyson, whose first, There Ain't No Justice (1939), suggested that he might become a leading specialist in the field, but he died tragically young. When war was declared in 1939, the need to present a unified image of national identity became all-important, and films were much less critical of the powers that be. However, films like The Lamp Still Burns (1943) and Launder and Gilliat's Millions Like Us (1943) and Waterloo Road (1944) contained vivid depictions of how the war affected the lives of ordinary women. These last two were made for Gainsborough, much better known for its glossy costume melodramas. However, head of production Edward Black was very interested in social dramas, a philosophy continued by his successor-but-one, Sydney Box, who took over in 1946. Good-Time Girl (1947) was a study of the causes of female delinquency that also incorporated trenchant criticisms of the official treatment of juvenile offenders. Two years later, Gainsborough's Boys in Brown (1949) was set in a borstal, whose governor (Jack Warner) constantly found his liberal instincts challenged by financial restrictions and the refusal of some of his charges (notably a sneering Dirk Bogarde) to co-operate with his rehabilitation programme. Warner and Bogarde resurfaced two months later in The Blue Lamp (1950), a film that looks quaint today - its long-running TV spin-off was the cosy Dixon of Dock Green (BBC, 1955-76) - but which made a far bigger splash at the time thanks to its portrait of what the introduction defined as a new breed of violent young thug, rejected by the established criminal underworld for being too reckless. The fatal shooting of PC Dixon became a turning point for the genre, a step beyond which even the fearsome razor gangs of Brighton Rock (1947) had not been prepared to go. The Blue Lamp was produced by Ealing, which succeeded Gainsborough as the leading producer of British social problem films. Studio head Michael Balcon, previously a father figure (socially and professionally) to Pen Tennyson, encouraged his staff to incorporate social criticism into their films. This even permeated the studio's famous comedies, the best example being the collusion between management and unions to repress innovation in The Man in the White Suit (1951). Ealing also nurtured the careers of the producer-director team of Michael Relph and Basil Dearden, who would make many of the most important examples of the genre. By the early 1950s, the social problem film had been established as a genre worthy of study in its own right. Although drawing on the conventions of other genres (especially melodramas and crime thrillers), the social problem film was distinguished by the way its subject was usually given as much weight as its stars or story: the films used individual human dramas to present a morality tale with wider social repercussions. A significant obstacle, the BBFC's frequent objections to perceived criticism of established institutions (Good-Time Girl's 'approved school' scenes were heavily cut), was lifted in 1951. Following the recommendations of the Wheare Committee report, the BBFC began to take social context and artistic merit into account when assessing films. At the same time, they introduced the X certificate, restricting admission to those over sixteen but giving filmmakers much more freedom to explore adult-oriented subjects. The first X-certificate social problem film was Cosh Boy (1953), a drama about violent young criminals that also tackled unmarried teenage sex, pregnancy and abortion. But its conclusion, in which the police deliberately delay their response so that sixteen-year-old Roy can get a thorough thrashing from one of his victims, underscored another characteristic of the 1950s social problem film: the sensationalist surface often concealed a reactionary core - as also demonstrated by the sexploitation melodramas The Flesh is Weak (1957), Passport to Shame (1958) and 'Beat' Girl (1959). If the film was more liberal in intent, it was often flawed by a naÃ¯ve faith in the incorruptibility of British institutions: Boys in Brown is a good example of this tendency, as are many Dearden-Relph productions such as the probation service drama I Believe in You (1952), and Violent Playground (1958), about the juvenile liaison system. Not all social problem films dealt with criminality. Frieda (1947) examines Anglo-German relations in the immediate postwar era. Dance Hall (1950) depicts social conflict through a portrait of four young women and their contrasting lives at home and on the dance floor. Mandy (1952) explores the impact of a child's deafness on both her family and the institutions charged with her care. The Brave Don't Cry (1952) returns to Proud Valley territory in its treatment of a Scottish mining disaster. Labour relations were the subject of both the comic The Man in the White Suit and the tragic The Angry Silence (1960), while racial prejudice was a significant element of both Sapphire (1959) and Flame in the Streets (1961). Homosexuality was the last 'social problem' to be explored in detail. Made in the wake of the publication of the Wolfenden Report. Victim (1961) depicted two onscreen acts of heroism: the first by the barrister Melville Farr (Dirk Bogarde) in being prepared to reveal his sexual orientation at a time when homosexual acts were illegal, in order to break up a blackmail ring, and the second by Bogarde himself, the first major star to play an explicitly gay character in a British film. But by the early 1960s, the era of the social problem film was largely over. Many of its concerns had been adopted by the British New Wave, whose films generally offered a more complex picture of working-class life than the issue-based caricatures of the social problem films. When coupled with much greater interest on the part of British television in tackling similar issues and the massive social changes of the decade in general, the social problem film rapidly lost box-office appeal, and was more or less defunct in its traditional form by the middle of the decade. Michael Brooke
7961	dbpedia	0	54	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11060935/	en	The visualization of autism: Filming children at the Maudsley Hospital, London, 1957–8	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-sageopen.png" ]	[]	[]	[ "" ]	null	[ "Janet Harbord" ]	2024-04-05T00:00:00	This article examines three films made during the 1950s by Elwyn James Anthony at the psychotic clinic for children at the Maudsley Hospital that marked an important transition in the purpose and practice of visual documentation in a clinical setting: ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11060935/	The role of visual culture in the history of medical and clinical accounts of psychological development is freighted by its association with empiricism. Lisa Cartwright, in her landmark study of the relationship of medicine to imaging, Screening the Body: Tracing Medicine’s Visual Culture (1995), identifies an historical understanding of medical imaging as the continuation of an enlightenment science of typological systems. In the work of Sander Gilman, Cartwright argues, the use of medical photography in the 19th century is regarded primarily as taxonomic, documenting anatomy and physical features of subjects in order to exhibit physical difference as an indicator of capacity and ability. Taxonomy, in this well-rehearsed argument, is the arrangement of visual features as a hierarchy of, for example, racial categories. The use of photography by Jean-Martin Charcot to demonstrate neurological affliction is but a continuation of an ideology in which the capture of surface signs on the body makes legible an internal pathology. Gilman's critique of the visual, Cartwright argues, is in accord with Jaqueline Rose's argument that the reliance on the visual as an indicator of mental pathology was only challenged when Freud questioned the meaning of the visible symptom: ‘It was only in penetrating behind the visible symptom of a disorder and asking what it was the symptom was trying to say’, argues Rose, that the self-evidential nature of hysteria was challenged (Rose, quoted in ibid.: 50; original emphasis). What takes place through these two critical readings, she suggests, is a revised hierarchy of the senses. Both Rose and Gilman prize speaking and listening over observing and documenting, a shift consolidated more recently with the philosopher Jean-Luc Nancy's meditation on listening that asserts its specificity over and above visuality. In Rose's account, Freud's method manifested the break from an objectifying visual regime of the clinic associated with Charcot, in turning to a cure based on the auditory. 1 By the mid 20th century, Cartwright argues, visuality in the medical field had ‘survived its association with empiricism’, emerging in the second half of the 20th century ‘at the centre of a vast medical industry’ (Cartwright, 1995: 51). My purpose in this article is to examine a trilogy of clinical films produced during the 1950s that marked an important passage in the practice of visual documentation in this setting: clinical filming was transitioning from the recording of external signs as indicators of internal subjective states, to the capture of the visual flow of communication between subjects. Such an approach took departure from the psychoanalytic model of examining pathology through individual familial history, to a new focus on the here and now, the dynamic of relational interplay, or indeed its absence. It is a shift, I will argue, that had a particular impact on the emergent classification of autism, a modality not yet properly separated from the broader term of psychosis, as a non-relational condition whose visual capture demonstrated a void of intra-human communicational exchange. The filmed behaviour of autistic children remained opaque to interpretation, a ‘finding’ that fuelled conceptual modelling of diverse neurological states as isolated, alienated, and automaton-like, and inhabiting a separate temporality. The impact of the Second World War on the psychic life of families, recently described by Michel Shapira, has produced an account of the anxiety associated with the temporary breaking of attachment bonds. Yet a more diffuse feature of war was a new fascination with covert communication; the practice of code breaking and the modelling of communication as enigmatic systems of signals focused attention on psychic relationality as both networked and disguised. ‘Scientific interest in human communication took a new turn after World War II, inspired in part by information theory and cybernetics’, David McNeill argues, a topic explored in the Macy Conferences on Cybernetics (1946–53), a philanthropically funded experiment in interdisciplinary approaches to the social, behavioural, and medical sciences. In attendance at the conferences were the anthropologists Gregory Bateson, a prominent figure of a new distinctive way of thinking about behavioural patterns across cultural, psychiatric, and environmental contexts (Bateson, 1972); and Ray Birdwhistell, the founder of kinesics, the study of body motion as an aspect of interpersonal communication (McNeill, 1992: 4). As Seth Watter has argued, the figure of Birdwhistell ‘united the most fashionable theories of social behavior, the most advanced means of analyzing behavior, the utilization of cinema to record this behavior’, establishing a method of recording and micro-gestural analysis of frames that constituted a new object of study: non-verbal communication (Watter, 2017: 35). 2 In the field of cybernetics, the analysis of non-verbal communication patterns (relays of micro-gestures that may be in concert or in conflict with the spoken word) opened onto a new conceptualization of subjecthood as both explicitly and covertly, consciously and unconsciously, relational. In the discipline of psychiatry, the question of a body's intelligibility emerged as a key indicator of ‘pathological’ states. Whether a patient's movements could be mapped onto a matrix of shared code, preferably exhibiting intent to communicate, held particular significance for clinical research of conditions within which spoken language was not present, such as an emergent autism. 3 Film was particularly valuable as a clinical research tool with a capacity to record behaviour as patterns of movement, orientation, and reaction. During the 1950s, the act of recording (or documentation) became eclipsed by methods of visual analysis afforded by post-production, where meaning could be constructed through the assembly of film materials according to different variables. Clinical films could be assembled along the principle of self-injury, facial tics, or comportment, providing a database of behaviours rather than narratives of individual or generic development (for example, James Robertson's films of infants). This article examines three films made under the direction of psychoanalyst Elwyn James Anthony at the Maudsley Hospital during the years 1957–8 that, as a series, track the changes in approach to and conceptualization of ‘psychotic states’, facilitating an emergent definition of autism in the decade that follows. These little-known yet particularly data-rich illustrations of clinical research, according to Bonnie Evans, play a significant part in the history of autism in Britain (Evans, 2017, 2019, 2024), while I have argued that these films contribute to the division of bodily gesture into typical and atypical formulations (Harbord, 2019, 2021: Eastwood et al., 2022). The first film, Approaches to Objects by Psychotic Children (1957a), recorded with a static camera in a small room, documents children undergoing a series of tests. The second, Aspects of Childhood Psychosis (AOCP; 1957b), is conceptually and formally the most complex of the three, presenting short sequences of children in motion, their movement cross-referred to diagnostic categories. The third film, The Natural History of a Psychotic Illness in Childhood (1958b), is a case study of one child, Margaret, where the standard markers of documentary narrative and form shape the enquiry as an unfolding story of developmental disorder. As a trilogy, the films bridge a behavioural approach to clinical work characteristic of the previous decade, and a documentary style of empathetic observation of the ‘patient’ prefiguring the educational films of the decade to come. The term psychosis, which appears in each film title, was used interchangeably during this decade with a number of others with whom its relationship is not clearly defined. ‘Unlike Kanner's more or less coherent syndrome of “early infantile autism” (1943)’, writes Berend Verhoeff, ‘diagnostic terms such as childhood psychosis, childhood schizophrenia, “atypical child”, and autism were used rather loosely and interchangeably in a psychoanalytical approach to infantile psychopathy and problems with developing relationships’ (Verhoeff, 2016: 119). Autism featured more often in clinical work as an adjective – as in the description of ‘autistic withdrawal’, for example – rather than as a noun, although this was about to change. In a detailed history of autism in Britain, Bonnie Evans argues that the meaning of the term autism undergoes a reversal in the post-war period, in which Bleuler's description of autistic states of excessive infantile hallucination and fantasy is turned inside out: autism moves from hot to cold, becoming a model of affect and fantasy deficiency (Bleuler, 1911). ‘From the mid-1960s onwards, child psychologists in Britain used the word “autism” to describe the exact opposite of what it had meant up until that time’, she states (Evans, 2017: 10; original emphasis), a critical shift aligned with a broader transition in the way that mental illness was conceived within the post-war period that Katie Joice identifies as ‘no longer characterised by an excess of emotion but by affectlessness’ (Joice, 2020: 109). This article examines how the three films produced at the Maudsley contributed to the transformation of the meaning of the term autism during the 1950s, preparing the ground for the emergence of a ‘second’ autism in the following decade. While the films exercise different approaches to the subject, each presents gestures as symptoms that could, in the editing room, be cut from the flow of activity, and as isolated features, presented as illegible hieroglyphs, ambiguous signs from another world or time. With the foregrounding of bodily movement, clinical attention, which until this point had tended to focus on autistic verbal atypicalities such as echolalia, became inclusive of questions of the intelligibility of gestures. The films demonstrate what Israel Kolvin, in his follow-up study of Anthony's work, published in 1971, would select as a key feature of early-onset autism, in ‘stereotyped movements’ and ‘poor relations’. Evans argues that it is through Israel's testing of Anthony's hypothesis that the second autism, drawn from a model of early-onset psychosis, ‘became dominant’ and its features properly mapped (Evans, 2017: 237). That is not to say that film revealed autism, or that autism was diagnosed as a result of certain film techniques, but that film and autism are constitutive elements in the same field of events in which the body's intelligibility, its capacity to communicate and be read, was undergoing a thorough remaking. Filming at the Maudsley In 1948, in a bid to adjust the reputation of the Maudsley Hospital Medical School, its name was changed to the Institute of Psychiatry. According to historians Edgar Jones and Shahina Rahman, if the remit of the Maudsley had in part been to raise the status of academic psychiatry in Britain, in its early years it had struggled to establish itself as a respected research institution. It was only shortly before the Second World War that it began to gain traction in this respect with approval of research funding awarded by the Rockefeller Foundation (Jones and Rahman, 2009). The work of Elwyn James Anthony and Kenneth Cameron in the psychotic clinic for children was part of a drive for the Maudsley's reputational gain, feeding into national legal frameworks legislating for ‘maladjusted children’ (Evans, 2017). The deployment of film within the clinic spoke to the interplay of these various interests and positions. Film provided documentation of the research being conducted in the children's unit, and with findings circulated internationally, the method promoted the Maudsley's institutional reputation. Furthermore, the capacity of film to record movements that could be extracted from the context as though they were discrete units appeared to offer a method for greater clinical precision in the segregation of so-called disease entities. In 1952, Anthony was appointed as Senior Consultant to Children at the Maudsley Institute (Anthony, 2010). His task, as he describes it in a lecture to the British Psychological Society in April 1958, was ‘the reinstatement of the psychotic within the theoretical framework of our normal practice’ (Anthony, 1958a: 215). 4 As a clinician, Anthony was exposed to a wide range of eclectic influences, beginning with an upbringing and training fundamentally shaped by the forces of the British Empire, and subsequently the Second World War. Born in Calcutta, India, in 1916, and educated by Jesuits in Darjeeling, Anthony emigrated to Britain to train in medicine at Kings College. 5 During the war, as a serving officer, he was assigned a posting at Hollymoor Military Hospital, Northfield, where he met Sigmund Foulkes, the psychoanalyst with whom he would collaborate on a book that was to establish the foundations of group psychotherapy. Foulkes had trained as an analyst in Frankfurt in the sociopolitical milieu of the Frankfurt School of Marxist sociologists, encountering Max Horkheimer, Herbert Marcuse, and Frieda Fromm-Reichmann (Harrison and Clarke, 1992). At Northfield Military Hospital, Foulkes led a second series of therapeutic experiments between 1942 and 1948, building on the work of Wilfred Bion and John Rickman in the first series, utilizing the therapeutic properties of groups. 6 The experiments in group treatments provided an economy to dealing with the number of war-traumatized patients; it also represented a British iteration of a psychoanalytic and psychiatric turn towards relationality that was concurrently being debated in the US. Northfield was, according to Sidney Bloch, a centre of innovation where Bion and Foulkes experimented with group methods of treatment that were to prove influential in the following decades. Bloch writes, ‘After the war Bion's work influenced therapists of the Tavistock School while Foulkes was the all-important figure behind the establishment of the Institute of Group Analysis’ (Bloch, 1986: 741). The Northfield experiments symbolized the social and political importance of psychiatry, both during the war and in its immediate aftermath, in its treatment of war trauma, and yet, write Harrison and Clarke, ‘important lessons were learned and subsequently forgotten’, arguing that those practising therapeutic group analysis in the health service were continuously obliged to defend its methods (1992: 698). Following the war, Anthony applied to train at the British Psychoanalytic Institute, and was allocated Foulkes as his analyst. In an account in which he reflects personally and professionally on his relationship with Foulkes, Anthony recalls Foulkes as figure who maintained ‘a steely mastery of technique’ in a manner that could appear dismissive and remote. ‘I … pulled out my history of a very disturbed childhood conducted, without the help of parents, high up in the Himalayan Mountains and tutored by Jesuit priests’, he writes, in the face of which Foulkes appeared unmoved. Yet the analysis with Foulkes was formative, leading Anthony to reflect during a year's training with Jean Piaget, in Geneva, that ‘I became more intensely aware of my dedication to the understanding of children’ (2010: 83). Towards the end of his analysis, Foulkes invited Anthony to attend group meetings at his home, where ‘I found myself surrounded by psychiatrists, sociologists, developmentalists, philosophers, psychologists and a range of academicians all immersed in an extraordinary interchange of a huge variety of opinions and reactions’, and ‘it began to move me from my psychoanalytic position into a group-analytic world that seemed to be in the making’ (ibid.: 82–3). The figure of Foulkes, with whom Anthony worked closely during this decade, is a critical connector or conduit between these various constituents of research whose interests were the body's communicative capacities, therapeutic treatments, and experimentation in techniques of observational research. The three films that were made at the Maudsley each take a different approach: a documentation of clinical testing, a clinical taxonomy of psychiatric conditions, and a narrative account of autism as it emerged in a single child. The first film, Approaches to Objects by Psychotic Children (1957a), observes children undertaking object permanence tests. Filmed on 16 mm black-and-white stock in a small hospital room, a fixed camera records the activities of each child, seated at a table, as they dutifully respond to questions and tasks, presented by a person (left of field) whose arm is the only visible marker of their presence. Far more imposing on the scene is the apparatus of recording, evident via the children's preoccupation with the camera, the operator, and the strong film lights: the children smile into the camera or just above it, look away and back again, stare distractedly at the lens, and squint into the harsh light. The clinical framework marking this event as research appears in the form of a letter/number allocated to each child for each test, situated on the wall in the back right of the frame. Intertitle cards explain the test in a summary of Piaget's theory of object permanence, a set of stages through which a child moves from an early age, initially demonstrating a disregard for the object through to an understanding that when out of sight it continues to exist. The use of film is straightforwardly to document the procedure of clinical testing, to extend the opportunity, as it were, for the observation of clinical practice. Notably, the intertitles make no mention of the formal limitation of the absence of sound recording, nor is there reflection on the demonstrable effect that the recording apparatus has on the experience of the children during testing. The film AOCP is a more complex, contradictory, and powerful presentation of clinical work whose post-production techniques bind film form to clinical content. That is, the extraction of children's gestures from the context of their recording, and their recombination as data sets, transforms sequences of activity into brief repetitious acts. These repetitive and ‘restrictive’ behaviours were to become a key visual marker of autism in its future classification (Wing, 1981), ‘the motions that are most typically read or made legible on the autistic body’ (Yergeau, 2018). A research film that observes children at play, AOCP is notable for its minimal narrative, its lack of sound, and, in the opening sections, the use of intertitles directing the viewer to read for certain gestures as symptoms. In total, almost 30 minutes of black-and-white footage discloses the interior of a clinic populated by children between three and nine years of age, engaged in various activities: in the presence of nurses and doctors, children play with sand, flick a light switch on and off, grab at a milk bottle, hop on the spot, place a blanket over their head. Children sit on laps and stare into the lens, glance back and forth between the camera and its operator, and squint into the bright film lights. The film-making apparatus, that is, visibly operates as a presence in the scene being observed. This is a film that Anthony refers to as ‘giving expression to my belief in the continuity of psychosis with the other diagnoses of child psychiatry’ (Anthony, 1958a: 214). 7 The film's front-loading of information in the form of intertitles privileges the instructional over the evidential in the first part of the film; intertitles constitute approximately a ratio of one-third (88 sequences) to two-thirds recorded sequences of filmed children (164), with 66 intertitles appearing in the first 10 minutes of the film. As the volume of intertitles decreases, the film moves into a mode of short sequences of children at play. It is likely the film was shot on a spring-wound camera with a shot length limited to approximately 20 seconds, placing a formal limitation on the material, but in the editing room these sequences were reduced to far shorter sequences of between 4 and 8 seconds. The opening and closing sequences are notably distinct from the main content of the film. As ‘bookends’, they personalize the data that the film delivers through a series of photographs of children shown first as babies and then several years later, by which time their faces, according to the title cards, register ‘signs’ of psychosis. The film closes on an example of a boy who is singled out for his capacity to learn to engage: the sequence begins with a montage of interactions between the boy and a doctor within the clinic, culminating in a shot filmed in the grounds of the hospital in which the boy runs into the arms of the same doctor. Yet between these two more affective fixtures, the film's most pronounced formal properties are short clusters of fragments of ‘behavior’, decontextualized recordings of movement. A cinemetric analysis of AOCP, an approach from film studies that sifts the film's underlying construction through decisions of cutting and joining sequences in post-production, shows the average shot length of the film to be 7.5 seconds. 8 In the camera's close attention to the children in the foreground, the viewer is invited to follow their activities against an inert background populated by the shadowy figures of nurses and doctors, unlit and barely discernable, their heads and torsos regularly cropped from the frame of reference. Nonetheless, they are the functional adjuncts to what is being captured on film, which is the refusal of relationship. Multiple scenes begin with an outstretched hand in the frame, which becomes more persistent in its offering of objects ranging from toys and individually wrapped sweets to bottles of milk, or a hand reaching in to retrieve an object, such as a book. The camera observes the reactions of children, their facial expressions, and the ways in which their bodies move in response to both things and people, yet it is almost exclusively the impossibility of the intra-human relation that is presented. The brief sequences of filming bear a resemblance to what Katie Joice has described as a privileging of the ‘temporal fragment’ in post-war social science, a recorded detail that is removed from the flow of time and place, and subjected to intense scrutiny (Joice, 2020: 110). The practice of microanalysis, she writes, not only brings into view ‘small behaviours’ that otherwise evade the eye, but (following Stephen Kern) reconfigure space and time, particularly in increasing the density of lived experience as a ‘thickened reality’ (Kern, 2003: 81). Cinema, as a time-based medium with the capacity to compress, extend, slow, accelerate, and create ellipses, inevitably shapes an experience of temporality (Charney, 1998; Doane, 2002). The temporality of AOCP, however, achieves the opposite of microanalysis: the clipped gesture, a fragment of a longer sequence, isolates the body's animation. The film's method is extractive: movement is lifted from its environment, a radical decontextualization that emphasizes and energizes activity. Removed from the wider context, the children's actions become a compendium of rocking, shaking, flicking, grimacing, hopping, and jumping, prefiguring a contemporary fascination with decontextualized images of bodies in movement set on loops of pleasurable repetition (images in Graphics Interchange Format, or GIFs). The children as they jump, flap, and grimace, appear to be figures caricatured by their own automatism. As if to underscore this association, Anthony includes in the film one drawing by a child: it is of a human–robot hybrid figure. A second consequence of the editing techniques is that the formal non-relational quality of the shots amplifies the non-relational features of the emotional environment. Unlike the classical use of cutting and joining film in fiction to build suspense or to create a narrative arc, the arrangement of shots does not follow a logic of suspense and active questioning (if A follows B, what then of C?), but a logic of (non-relational) addition. The brief shots ‘stacked’ one on top of the other suggest that they are linked by an affinity (A is like B is like C), within which qualitative variation is found. The brief sequences are not dialogically engaged in the production of a meaning that unfolds through points and counterpoints, but singular instances of a behaviour, the film's structure subtending the diagnosis that these children are not ‘in relation’. The commentary of the intertitle cards offers the terms of reference for autism, caught here in the process of sedimentation as a clinical profile: ‘rigidity of behavior and endless repetition’, ‘flat affect’, ‘bizarre motor behavior’, ‘robot-like drawings’, ‘primitive relations with things’. Fixed in their gestures of rigidity and repetition, the children's refusal of hands and their busy preoccupation with objects and materials translates as ‘devitalising people into tools’. In contrast to Anthony's first film of children undergoing tests, AOCP had an identifiable occasion, purpose, and addressee, the typical features of institutionally produced, or ‘useful’, films according to media historians Vinzenz Hediger and Patrick Vonderau (2009: 10). AOCP was Anthony's presentation of the most significant Maudsley research to the Second International Congress of Psychiatry in Switzerland, a large international gathering of experts in the field of psychiatry: 1900 participants from 59 countries were registered (Campbell, 1958: 318). In September 1957, Anthony travelled to Zurich to present the film at this event, whose subject was ‘The Present State of Our Knowledge About the Group of Schizophrenias’: contributions addressed the cause, diagnosis, aetiology, and symptomatology of this umbrella term that was regularly invoked alongside psychosis. Published reports of the conference, however, are somewhat disappointing, with a headline in an American journal claiming that ‘nothing startlingly new’ was presented (ibid.). One of the attendees at the conference was Leo Kanner, who delivered an account of his current work. In his report of the event published the following year, Kanner failed to mention Anthony's film (Kanner and Eisenberg, 1959: 609). Seven months after the Geneva congress, Anthony delivered a public lecture in which he expressed a degree of scepticism towards the psychiatric community and the ‘cult’ of naming psychiatric conditions after ‘distinguished pioneering clinicians’. Noting wryly that ‘there did not seem to be a sufficiency of symptoms to share out among the various prospectors’, Anthony singles out Kanner for the particular criticism of vigorously resisting any ‘territorial encroachment’ upon the term autism (Anthony, 1958a: 213). This perhaps was a retort for his film, and research more widely, not having been given sufficient recognition: in AOCP, Anthony had included a roll call of psychiatric luminaries including Margaret Mahler, Michael Heller, Lauretta Bender, and indeed Leo Kanner. 9 What might Anthony have aimed to achieve with this film, and what was the outcome in clinical terms? In a written reflection on the research conducted at the Maudsley, including this film, Anthony states his aim as ‘attacking a conception of childhood psychosis as a bizarre, atavistic condition’ (Anthony, 1958a: 211). ‘Every child begins its life in an autistic state’, he writes, emerging from this state when the environment offers a constancy of stimulation (ibid.: 216). Autism as a developmental stage persists when an environment fails to provide adequate stimulation (in the provision of care), leading to ‘non-emergence’. Or, when a child is overstimulated, autism becomes a form of retreat, a model that Anthony links to Freud's concept of an infant's ‘protective barrier’ in The Pleasure Principle (1922), and to the sensitive children with an inadequately ‘thin’ protective barrier proposed by Bergman and Escalona (1949). The instances of primary and secondary autism described by Anthony manifest constitutional barriers that are either too thick, in the case of the former, or too thin, in the case of the latter (Anthony, 1958a: 218). In either regard, the concept of a constitutional barrier that is ineffective brings into view a world of overwhelming sensory stimulation that a subject must establish defences against, such as creating routines or rituals to impose order. In this, autism might be positioned historically on the same horizon as Jonathan Crary's late 19th-century modern subject, whose capacity to protect against the excessive sensory stimuli of an increasingly technologized and mediated urban environment was only ever partially achieved (Crary, 1999: 362). If AOCP was Anthony's professional bid for recognition from a clinical community, the third film, The Natural History of a Psychotic Illness in Childhood, appears to have different aspirations: to address a non-specialist audience, adopting the mantle of public information films to come in the following decade that would seek to educate the audience through individualization and domestication of psychiatric conditions. The focus of the film is an individual child, Margaret, whose condition is given narrative form by the film and socially contextualised in the broadest sense. Spatially, the story has broadened to include locations outside of the clinic, locating psychosis in familiar milieu: a street, a playground, Margaret's home and garden, countryside, the seaside. Structurally, the film is a story recounted by a narrator. The film opens with an arresting image of a group of children in an urban space, walking authoritatively and directly towards the camera in a manner that immediately breaks the fourth wall of cinema. The sequence records apparently ‘normally’ developing children in an urban milieu, yet statistically a high percentage of children will require ‘psychiatric guidance’, and very occasionally, the narrator announces dramatically, a child will develop psychosis. The film visually produces this difference in a striking sequence where Margaret is introduced. A long shot records Margaret walking towards the camera, holding the arm of a nurse: the nurse looks at Margaret while Margaret looks at the ground. The next sequence films Margaret in close-up sitting in an armchair in a field of long grass. It is a surreal introduction, a bucolic setting in which the domestic feature of the comfortable armchair is incongruent and visually jarring. This introduction of Margaret effectively marks her ‘pathology’ through its mise en scène, mixing the signifiers of domestic and public space, internal and external worlds. The story of Margaret is the story of a pathology unfolding over time, drawing on three technologies of inscription, each of them documents from the domestic sphere: family photographs, home movies, and a mother's diary. 10 Photography perhaps was seen to contribute something more personal as well as evidential to the cases described. 11 The photograph album in this film positions Margaret within the timeline of a family, and like Kanner's case histories, describes the occupations, sensibility, and comportment of the parents. It also moves back in time generationally to explore the possibility of hereditary conditions. The Natural History of a Case of Psychosis in Childhood prefigures what is to come in the following decade as autism as a diagnostic category begins to stabilize as separate from psychosis, and autistic children become the topic of a rising number of documentary films addressed to a general public. In the UK, Illustrations of Childhood Autism (Dermod McCarthy and Harold Lowenstein, 1969), shot in Stoke Mandeville Hospital, would recount in marked sympathetic tone the plight of an autistic child named Lucy, using the practice of stop-motion to pause on the smallest gestures, ‘the outward sign of bizarre thoughts and fears’. In the US, a film titled Autism's Lonely Children is broadcast on the National Educational Television Network in 1964, a pilot study of twin autistic boys, Marty and Peter, by Frank Hewett of the Neuropsychiatric School at UCLA. The film opens with the remark that ‘time stands still’ for these children who inhabit a separate world where a shared temporality does not apply. In a similar hybrid of educational-emotive appeal, a American documentary about an autistic four-year-old girl, A Time for Georgia (Peter Scheer, sponsored by the Pre-schoolers Workshop, 1970), is screened, winning an award. 12 The many temporal references in these films about autistic children to an atomized and etiolated sense of time that fails to register change or to structure experience recall a modernist cultural aesthetic. Patrick McDonagh argues that the very same features through which autism was to become diagnosed and defined – ‘isolation and alienation, the need to establish personal rituals to impose order on the world, the removal of referential and conventionally communicative functions from language – also appeared as critical components of the modern (and modernist) identity’ (McDonagh, 2007: 113). The case for an alliance or series of correspondences between autism and modernist literature has been made by a number of prominent scholars. Ato Quayson, for example, argues that the problems of the interpretation of language that autism historically presents are mirrored in Samuel Beckett's novel Murphy, where the author ‘institutes a series of gaps between language and its discursive referents … an epistemological impasse between narrative and the representation of emotion’ (Quayson, 2010: 838). Julia Mieles Rodas notes the reverence for autistic features or affinities in the realm of art and literature, and their denigration in the realm of psychiatry (2018). Sonja Boos identifies in Kafka's fictions unintelligible gestures that ‘shift our focus to the concrete manifestations of a very real aspect of modernity: the way in which the body becomes the playing field upon which medical science and the humanities will increasingly pursue their interests’ (Boos, 2019: 845). One might also make the case that modernist affordances of film, particularly the practices of montage in post-production, produced an aesthetic that separates events and atomizes subjects; attends to surfaces, patterns, and planes; and remains on the outside of gestural intelligibility. 13 McDonagh makes the argument, through literature, that ‘modernity and modernism made possible the recognition of autism’ (2007: 101). I would make a similar argument for the import of film in the recognition of autism as a category. As a constituent part of the milieu in which debates about the mind, capacity, and relationality pivoted on an understanding of the body in motion, film was able to capture, demonstrate, and model the intelligibility, or otherwise, of bodies. Denaturalizing histories of communication If, in the mid 20th century, an emerging picture of autism as a condition of indecipherable gestures, social isolation, and affectlessness was gradually cohering, it was against a background of research into typical communicative ‘behaviour’ that the contours of autism were brought into relief. During the 1950s, a decade in which the communicative capacity of the human body was subject to intense speculation and enquiry, the visual ‘conundrum’ of autistic body movements posed the question of whether autism had a body language at all. As Brenda Farnell argues, anthropological interest in visual aspects of human communication and movement considerably predates a new form of public-facing research emerging in the 1950s and 1960s that used filmed data as their primary material (Farnell, 2003). Building on the work of anthropologist Franz Boas and linguist Edward Sapir, who during the 1920s had demonstrated the significance of non-verbal behaviour in communicative acts, a range of interdisciplinary scholarship sought to understand the dynamically embodied action scripts of social encounter. George Trager and Edward Hall, working at the Foreign Service Institute in the US Department of State, had in 1953 published their work The Analysis of Culture, a study of communication behaviours external to spoken language (Hall and Trager, 1953). Hall was to go on to develop the subfield of proxemics, a topography of spatial features of communication practice, simultaneous to Erving Goffman's sociological modelling of a dramaturgical presentation of a self that was mobilized situationally (Goffman, 1959[1956]). However, the most famous theoretician of bodily communication, whose work crossed over into the public realm and captured imagination with the term ‘body language’ (a term that he later came to regard as a vulgarization of his method; Watter, 2021: 250), was the anthropologist Ray Birdwhistell. 14 The bold premise of Birdwhistell's thesis was that at least three-quarters of communication in any social exchange was non-verbal, and film was a crucial tool sensitive to minute corporeal flexes and tones (Birdwhistell, 1952). Birdwhistell recorded social interactions on 16 mm film, projecting the recordings at varied rates to reveal micro-gestures that challenged the primacy of verbal exchange. This time-consuming method of frame-by-frame analysis is a practice that Martha Davis describes as the use of ‘film projectors as microscopes’, a blend of scientific and aesthetic instruments (Davis, 2001–2). 15 Farnell contends that without a conceptual model to make bodily movement finite, and therefore suitable for analytical purposes, ‘Birdwhistell's analyses tended to dissolve into microanalytical minutiae from which he seemed unable to emerge’ (Farnell, 2003: 50). Yet the expanding field of human interaction studies was able to demonstrate the intellectual gains of reading the body as a semiotic text through exemplary detail, from the value of studying eye movements during an exchange, to the meaning of how proximate a speaker chose to be to others. The broad strokes of this work delivered a concept of interaction that included conscious and unconscious acts, verbal and non-verbal ‘behaviour’, that was orchestrated in and through the body. Positioned against this expanding definition of how and when individuals were in correspondence, autism appeared as the limit case, an extreme instance of non-complexity in the field of human communication studies. The recordings of children at the Maudsley demonstrated such ‘failures’ of communication, represented in vignettes of a refusal of contact and instances of physical and social isolation. Anthony was not unaware of the extensive research in the field of communication; indeed, his work with Sigmund Foulkes directly engaged with some of the same ideas in the study of group dynamics in a psychoanalytic context. Since meeting in 1941 on the tennis courts at Northfield Military Hospital, Anthony's relationship with Foulkes had evolved on many fronts. In 1952, Anthony and Foulkes were part of a group of experts from cognate disciplines, including the German sociologist Norbert Elias, to establish the Group Analytic Society in London. In 1952, Foulkes had attempted, unsuccessfully, to establish an NHS unit for group psychotherapy at the Maudsley Hospital (where he was consultant physician from 1950 to 1963). 16 In the same year that Anthony presented the film AOCP to a conference in Zurich, Anthony and Foulkes published the co-authored work Group Psychotherapy: The Psychoanalytic Approach, a book that followed on the heels of Foulkes’ earlier inaugural text on group therapy Introduction to Group Analytic Psychotherapy (1948). The co-authoring of the book Anthony describes as ‘a new development in our relationship’, one in which Anthony appeared to have become a more equal partner to Foulkes, a promotion from his status as junior analysand. ‘We worked separately, and quite independently to produce a volume that became an immediate best seller’, Anthony recounts in a faintly romantic mode, ‘and our two names seemed to be forever linked together’ (Anthony, 2010: 83). Marking the occasion of Foulkes’ death in 1976, Anthony's obituary recalls this decade as a rich braiding of influences; he was not only Senior Consultant to Children at the Maudsley, where he worked with Kenneth Cameron, and part of the emerging movement of group analysis in Britain with Foulkes, but also a lecturer at the Anna Freud Institute (Anthony, 2010). 17 In contrast to a well-rehearsed historical account of the mid-century development of psychiatry and psychoanalysis in Britain, which foregrounds the dramatic moment of the Freud–Klein controversies of 1941–5 (King and Steiner, 1991), Anthony's career brings into view the 1950s as a decade characterized by a more dynamic, international, and fluid set of debates in which child psychiatry was being shaped by interconnected and interdisciplinary enquiries about human communication, embodiment, and capacity. Foulkes was a key connection for Anthony during this time. When Foulkes had fled Germany following the rise of Hitler as chancellor in 1933, and arrived in London, via Switzerland and France, he had taken his departure from a group of radical analysts who were forced, like him, to become what Paul Weindling names ‘alien psychiatrists’, scattered across Europe and the United States (Weindling, 2010). Foulkes, along with Frieda Fromm-Reichmann, had trained at the Neurological Institute in Frankfurt and worked with the dynamic psychiatrist and neurologist Kurt Goldstein. Foulkes and Fromm-Reichmann shared a political sense of the powerful potential of psychiatric treatment to create transformation beyond the individual, to affect the complex interrelationships of groups or systems, be that families, cultures, or societies. Fromm-Reichmann fled to Strasbourg and then Palestine, settling eventually in the United States. Shortly after her arrival, she became a resident psychiatrist at Chestnut Lodge Hospital in Rockville, Maryland, the institution that Anthony would, towards the end of his career and having also taken up permanent residency in the United States, become director. In the years in which Anthony and Foulkes were co-authoring their book on group analysis (1955–6), Frieda Fromm-Reichmann was initiating what was to become the most famous experiment of this decade in the field of social communication, a research project that was methodologically dependent on film: the Natural History of an Interview (NHI). In the detailed account of the NHI by Wendy Leeds-Hurwitz and Adam Kendon, the motivation for the project arose with Fromm-Reichmann's ambition to understand the precise moments in the psychoanalytic encounter when a patient is most receptive to understanding and insight (Leeds-Hurwitz and Kendon, 2021: 148). She was awarded a fellowship at the Centre for Advanced Studies in the Behavioral Sciences (CASBS) in Palo Alto, to further her ambition to identify moments of treatment success in order to improve her method and better inform her teaching. Initially, Fromm-Reichmann recruited the linguist, Norman McQuown, to study transcripts of her sessions with patients at Chestnut Lodge, subsequently involving a number of other colleagues (Henry Brosin, expert in interpersonal psychiatry, and Charles Hockett, whose expertise was descriptive linguistics) at the CASBS. With the realization that the body movements of patients were as significant to the process of therapeutic work as spoken words, Fromm-Reichmann expanded the group further, issuing invitations to anthropologists Ray Birdwhistell and Gregory Bateson, the latter additionally an expert in information theory with extensive experience of using sound-synchronous film in his research into schizophrenia and interaction. With the inclusion of Bateson, the assembled researchers decided on the analysis of a series of three films that Bateson had recorded with a participant known in her anonymised name as Doris: the films were recorded in her home during July 1956. Although Doris was undergoing psychotherapy, the focus of research had shifted from a clinical context to a domestic setting. The materials were subject to fine-grained analysis through a process known as ‘soaking’, the repeated viewing of the films leading to a selection of key sequences for detailed analysis and transcription. The project, initiated conceptually in 1955, continued in some form until 1968. The team worked together on the materials for a year, and then subsequently in disparate institutions, for a further 10 years or more, without the findings ever being published as a complete account. The NHI, however, is frequently credited for its innovations, providing an influential new model of communication research in a ‘natural’ setting, for the ‘first systematic analyses of both verbal and non-verbal aspects of social interaction’ (McElvenny and Ploder, 2021: xiii), and the use of continuous visual recording as a primary tool. 18 Henning Engelke suggests, drawing on Adam Kendon's assessment of the NHI, that the project marks a change in the conceptualization of communication in this decade, moving away from an understanding of gestures as symptomatic of inner states and towards a model of individuals operating within systems of relay, and in film embedded within an environment. ‘The project initiated a shift from film as a means of capturing individual expression to a perspective, informed by cybernetics and systems theory, and based on filmic “specimens”’, he writes, ‘that regarded the actors in human communication “as participants in complex systems of behavioral relationships instead of as isolated senders and receivers of discrete messages”’ (Engelke, 2021: 109, citing Kendon, 1979). If kinesics expanded the semiotic field of meaning to include manifold movements of the body, systems theory introduced the idea of feedback loops, continuous communication wherein meaning is incrementally and rhythmically produced between participants: that is, meaning is immanent to the participants and emergent in the situation. For Katie Joice, Birdwhistell's method was complicit in the identification of maternal affectlessness as a pathological factor in an infant's development, an instance wherein the communication loop is incomplete (Joice, 2020). Mothers, she argues, ‘particularly emotionally absent mothers, formed the ontological, and social, backdrop to his research’, a foundation upon which a model dividing healthy from pathological communication could be situated (ibid.: 110). What, then, are the implications of this research, and its mapping of bodily communication, for the films made concurrently at the Maudsley, and the diagnosis of autism? On a purely comparative level, Anthony's films appear to evidence a communicative deficit in a group of children existing outside of the complex communicative relay apparent in the interactions recorded in the NHI. However, the kinetic study of behaviour did not simply support typical accounts of communication, but challenged a number of normative precepts, most significant of which (in the context of this discussion) is intention (Yergeau, 2018). 19 The historical valorization of intention as a driver of social communication-as-expression was radically downgraded by the assertion that communication was not necessarily, and in Birdwhistell's view only minimally, a conscious act. The implication of kinesis, borne out by the films of the NHI, was that nobody was fully in control of their gestures, that signification was somehow in excess of conscious intent. Indeed, it was quite probable that an individual's spoken account was at variance with their bodily communications. By reducing the value of intention in a communicative event, this insight made the question of what was meaningful behaviour more difficult to identify, leading to methodological problems in defining the object, or indeed field, of study. In a sense, the NHI was suggestive of communicative complexity in all contexts, including the clinic. What is conclusive about the difference between these two types of research film that are each attentive to body language, yet in different ways, is that the language of film – the choice of film techniques in the stages of recording and post-production – is implicated in determining the outcome. The sense of a thickened, dense time that accompanies the NHI materials is produced through long takes: in film historical terms, a Bazanian preference for duration within a research context. In contrast, the fragmented, incoherent time of the clinic arises from a style of editing that might be more closely aligned with Eisenstein's fractured montage of a clinical scenario, capturing the titular ‘aspects’ of an environment as colliding shards. The echo of the NHI in the title of The Natural History of a Case of Psychosis in Childhood suggests that an emerging multidisciplinary approach in anthropology, linguistics, and communication studies, appropriating from natural history the method of observing an unfolding process, was in the ether. If Anthony was at all influenced by the method of observational recording of interactions, he was not persuaded that the medium of film was critical to this enterprise. The three films he made at the Maudsley appear to be his last. They also mark the end of his career at that institution, and indeed in Britain. In the year that he completed the film of Margaret (1958b), Anthony accepted a post in the United States, taking up the prestigious position of the first endowed chair in child psychiatry, the Blanche F. Ittleson Professorship, at Washington University. He continued to research in the field of child development, conducting longitudinal studies of children and producing influential publications and guidance on the concepts of resilience and risk in childhood, the topics for which he is mostly remembered (Anthony, 1974; Anthony and Cohler, 1987). The trilogy of films made at the Maudsley offer nothing conclusive to the identification of autism and its causes in the post-war period. Anthony's reflection on the outcomes of this period of experimental research as ‘partial knowledge’ received in ‘our current state of ignorance’ indicates the degree to which he is reluctant to put forward a specific claim (1958a: 211). The films, rather, are an attempt at a comprehensive mapping and visual illustration of theories of childhood psychosis in the late 1950s, with autism emerging as a distinct category apart from psychosis. This work proved influential to those who followed, among them Michael Rutter, as experimental research transitioned into a more distinct field of autism research. In 1966, Rutter was appointed consultant psychiatrist to the Maudsley, and two years later he published an article in the Journal of Child Psychology and Psychiatry that continued Anthony's efforts at mapping the field of experimentation and analysis: ‘Concepts of Autism: A Review of Research’. In a manner that borrows from Anthony's scoping of theoretical positions, Rutter arrived at a tentative conclusion: that autism was not the result of styles of parenting or social deprivation, nor a form of childhood schizophrenia, but the result of a cognitive difference that manifest in language and perception. ‘Of all the hypotheses concerning the nature of autism’, he writes, ‘that which places the primary defect in terms of a language or coding problem appears most promising’ (Rutter, 1968: 21). What is striking in Rutter's summary is the echo of computational language, the imaging of language ‘defect’ as a type of coding problem, leading to a lack of relay or looping, a view consonant with the visual presentation of autism in Anthony's films. The films did not deliver an outcome in terms of a nosology of autism. Rather, they were part of something of a different order: an increased attention to the intelligibility of bodies-in-motion that was playing out variously in the domains of social science, anthropology, and psychiatry, which laid the foundations for the classification of autism as a communication deficit. Film was not simply a vector transmitting communication effects, but an apparatus whose techniques of documentation and post-production atomized and automatised the subjects recorded. However, viewed through the lens of 21st-century interests, the films evidence something else in the behaviour of these children: a deep engagement with the material world of things and a sensitivity to the sensory aspects of the environment. The recordings of children at play reveal a fascinated interest in textures, patterns, and material properties of things, a fascination that gave rise to interactions of rhythmic intensity, or trance-like states of reverie. In other words, an arresting feature of the films is the way in which these children have not succumbed to the demotion of the material world as a feature secondary to human significance and signification systems. Accompanying this contemporary insight, the films afford something equally stark: the visualization of clinical speculation itself. The films implicitly capture what the historian of science Hannah Landecker has described (of a different moment and context) as ‘scientific looking’ itself (Landecker, 2006: 121). A repeated visual motif in the recorded sequences is the quizzical look into camera as the children try to puzzle what it is that is looking at them. Under such scrutiny, autism in 1957–8, not quite a category of its own yet, is becoming conceptually more distinct, visually identifiable, for better or more often for worse, as it journeys on to meet a different regime of statistical observation and analysis in the decade that follows.
7961	dbpedia	0	42	https://www.popmatters.com/british-cinema-2646056169.html	en	Old British Films, Boring? 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With a few exceptions, they were talky sub-Hollywood productions, at best well-acted but lacking oomph and pizzazz and élan and je ne sais quoi. I partly got this impression from English critics, and some of the tatty VHS and TV prints I saw reinforced this idea. As the years passed, I had to note more and more exceptions until the old canard became festooned with mental asterisks and parentheses. Today, with so many classic British films that haven’t circulated in the US finally hitting Region 1 in sparkling restorations on Blu-ray, I’m officially concluding that the spotty dismissal of British cinema is what deserves to be dismissed. I believe three factors have been at work in promoting this fiction about boring English films. The first is that critics and reviewers everywhere seem to be blind to the qualities of their own country’s film production. This partly explains why English critics seemed dismissive of their own cultural legacy. It’s the natural result of having to sit through every uninspired local movie and getting so weary that you take it all for granted. Thus, Americans had to be told by postwar French auteurists that Hollywood’s popular cinema was full of artistic masterpieces. Meanwhile, those same French critics were awfully hard on their own national cinema, referred to derisively as “the cinema of quality”, and only now are historians re-evaluating much of that material. Dancers by hsvbooth (Pixabay License / Pixabay) Similarly, the upstarts of New German Cinema, in an understandable attempt to differentiate themselves from a compromised past, swept out “Opa’s kino” or “grandpa’s cinema”, and it’s been taking a while to examine that legacy. I think we’ve been slow to study Franco-era Spanish cinema for similar reasons, and pre-war Italian films. In Russia and China, there are times when it has been policy to avoid praising specific eras. I fancy certain critics in Hong Kong or India have had to to be informed of the value of much of their blatantly commercial cinema by foreigners. Even today’s American reviewers are more comfortable dismissing mainstream Hollywood in praise of foreign films. Perhaps upstart critics in Brazil or Bengal shall one day inform Americans of the masterpieces of superhero cinema. This brings up the second factor: the passage of time tends to make things more interesting, not less, contrary to what people have long assumed about “dated” cinema. In addition, a third factor is more specific to English culture, where it’s considered bad taste to toot your own horn. British cinema has been created by vulgar self-promoters like J. Arthur Rank (literally banging a gong) and brassy boots like Michael Powell and Emeric Pressburger or Hammer’s Michael Carreras or the Kordas (imported Hungarians) or Anatole de Grunwald (imported Russian) or the imported Yanks of Amicus (it helps to be a bloody foreigner), and they faced whiffs of critical sniffery about the sort of thing that just isn’t done. But then, there’s the work. The British Film Institute and others have been beavering away, restoring their country’s legacy, because it’s all they can do, poor dears, and the results are continually dropping our jaws and making us rewrite our impressions of drab British cinema. These thoughts are triggered by yet another handful of British postwar classics of the late 1940s and ’50s arriving on Blu-ray to put paid to the old libels. Let’s take the films in the order of public unleashing. Brighton Rock (1948) Director: John Boulting Richard Attenborough in Brighton Rock (1948) (IMDB) This dark Catholic gangster thriller opens with a statement that might have been crafted by the Brighton Chamber of Commerce. We’re told that Brighton is a wonderful vacation spot an hour from London, but that between the wars it had “back alleys” of crime that caught police attention. “This is a story of that other Brighton — now happily no more” avers the prologue, as though such things are gone with the war, and a headline quickly establishes that the story takes place in June 1935. Maybe so, but the extensive location shooting also makes the movie a documentary of postwar Brighton as a tatty pleasure-land for the lower and middle classes. This detailed and populous film, shot in expressive high-contrast black and white, provides a rich snapshot that seamlessly mixes location and studio work. It’s normal that studio sets provide all sorts of angles and shadows, but even the outdoor locations are presented with distortion and clamor. Scripted by Graham Greene and Terence Rattigan from Greene’s 1938 novel, which he called one of his “entertainments”, the film is loaded with Catholic dialogue and symbolism, sometimes carefully underlined. For example, both the villainous Pinkie and his naïve girlfriend identify as Catholics and believers, with Pinkie declaring “Atheists don’t know what they’re talking about” and “Of course there’s a hell.”This recalls Mephistopheles’ famous statement in Christopher Marlowe’s Doctor Faustus: “Why this is hell, nor am I out of it.” Just to make sure every viewer makes the same connection, another character quotes this later in the film. And when Pinkie commits a significant malapropism by referring to a “suicide pax”, his background as an altar boy requires him to spell out that “pax” is Latin for “peace”. Such underlining could be heavy-handed but it’s mostly delightful for recovering English majors. Wait, we’re forgetting the story. At 17, Pinkie Brown (Richard Attenborough) is a cold, affectless gangster who has assumed control of his little four-man racket since the death of a previous leader he loved. After being introduced in a moody, shadowy title portrait excerpted from later in the film, Pinkie makes his first appearance in the story as a pair of hands playing cat’s cradle. The hands are jutting up into frame, tangled in their string, foreshadowing the hands of Harry Lime poking up through the sewer grate in Carol Reed’s The Third Man (1949), another thriller by Greene. These be-stringed hands might make us think he’s going to strangle someone, but he never does. He does, however, push a journalist to his death from a thrill ride (called Dante’s Inferno!) in the movie’s most vivid and terrifying set piece. With glowing ghouls and ghosts flashing subjectively in the viewer’s face, this nerve-wracking and extravagantly edited sequence almost anticipates 3-D. For a moment, Brighton Rock turns into a horror film. Apparently, some English critics of the time found it objectionably horrible because of two razor-slashing scenes — that crossed a the line into depraved violence. Aside from the details of Pinkie’s troubled relations with his three followers (we might call them disciples, although they don’t prove that disciplined, and there will be a Judas), the film details his relations between two diametrically opposed women who seem to fill him with horror. Rose (Carol Marsh), probably named as a typical “English rose”, is an idealistically naïve 17-year-old who loves him as unconditionally as God, saying “I don’t care what you’ve done.” That he hates and rejects such love is part of his dwelling in hell. Greene was on record as strongly objecting to the final scene’s ironic reversal of the similar scene in his novel, in which Rose seems about to discover the truth of Pinkie’s love. The film’s remarkable, relentless avenging angel is Ida Arnold, a traveling music-hall singer who dresses up as Pierrette on stage, all black and white. As played by Hermione Baddeley, who could play this kind of role in her sleep, she’s free and easy and loud and outspoken (Pinkie calls her “the brass”), blowzy, a bit of a tart, the kind of Cockney skirt made fun of in other films. In this film, she’s the world’s ethical center, the embodiment of civil conscience, and the smartest person on screen. Introduced as a comic figure, she becomes our inspiration as she uses her loaf with the penetration of Sherlock Holmes and never shows fear. She insists that justice is “what everybody wants” and identifies herself with the titular Brighton rock candy, the same all the way through. When she spots Rose with Pinkie and announces “I’ve got to save that girl,” her companion says, “Forget it. She doesn’t want to be saved.” Ida replies, “What does that matter?” There’s her theological framework in a nutshell, and it’s born from a semi-pagan belief in communicating psychically with spirits of the dead. As a Catholic, Rose only believes in salvation for those who repent and ask forgiveness, which is why she looks with horror on suicide as a mortal sin, as opposed to merely looking upon it as death. This beautifully made noir is among the many films produced by versatile filmmaking twins John and Roy Boulting, with John taking the director’s chair in this case. Kudos to cinematographer Harry Waxman and his camera operator Gilbert Taylor (also to be a major cinematographer), editor Peter Graham Scott (a future director and TV producer), and art director John Howell. Together, they fashioned as important and stylish an English postwar noir as Carol Reed’s two Greene projects, The Fallen Idol (1948) and The Third Man (1949). And that brings us neatly to our next film, the one Reed made right after those items. Outcast of the Islands (1951) Director: Carol Reed Trevor Howard and Ralph Richardson in Outcast of the Islands (1951) (IMDB) After establishing a world reputation with three remarkable British noirs in a row, Carol Reed chose to get off that ferris wheel and go in a direction that, in retrospect, seems almost bound to disappoint. And yet, just like those noirs, Outcast of the Islands is about the disappointment of learning that someone falls painfully, tragically short of your hopes for them. Instead of ending in some decisive act of violence, upon which resolutions thrive in film and other media, the movie ends in bitter ambiguity and the inability to act, the inability to foresee a future. In that sense, it feels almost anti-cinematic, and yet of course it’s not. It simply chooses to avoid melodrama. That’s because it’s not merely a personal story but an allegorical one about the discontents of colonialism. Scripted by William Fairchild from Joseph Conrad’s 1896 novel, the film seeks to channel the outsider perspective of Conrad, who began as a poor seafaring Polish boy, on the clash between seemingly ineluctable forces: the natives of a given place and the outside traders and colonizers who take credit for bringing “prosperity”, especially their own. The film opens in Singapore as a picturesque harbor conveyed partly by process shots of studio actors and documentary backgrounds shot on location in Ceylon. Peter Willems (Trevor Howard) had been picked up as a 12-year-old orphan by Captain Lingard (Ralph Richardson), who secured him a job as manager for a trader (Frederick Valk). The trader accuses Willems of theft, to the delight of a toadie (Wilfrid Hyde White). Glimpsed briefly is Willem’s bitter wife (Betty Ann Davies), left behind gladly in his humiliation. In these early scenes and the rest of the picture, the actors are directed to step on each other’s lines as part of the realistic jumble of the sound mix. The disappointed Lingard arrives to whisk away Willems, who is probably guilty, and deposits him on a remote Indonesian island where Lingard does an exclusive trade managed by his associate and son-in-law, Almayer (Robert Morley). The latter dotes on his daughter (Annabel Morley, the actor’s daughter), and tolerates his wife (Wendy Hiller), who looks to be continually at the end of a fraying rope while pretending otherwise. There’s literally nothing for Willems to do but dessicate until he falls under the spell of a visiting tribal chief’s daughter, Aissa (played by the single-named Kerima). First he dogs her heels while she imperiously ignores him. When she finally takes the initiative and approaches, he resists her boldness. Mrs. Almayer warns Willems that she’s said to be braver than her brothers. “She used to fight at her father’s side. They say that she’s very brave and quite merciless.” Kerima in Outcast of the Islands (1951) (IMDB) The camera continually looks up at Aissa from lower angles to emphasize her strength, a quality accentuated by her angry piercing eyes and by the fact that she’s not heard to speak. This decision seems to have been motivated by Kerima’s lack of actor’s training and her pronounced French accent. (The TCM website’s entry on this film states that she was born in Paris to an Algerian father and French mother.) Necessity became a virtue as she projects as vivid a presence as any silent film star. Aissa is part of the politics of native schemer Babalatchi (George Coulouris in convincing makeup), who speaks perfect English in a low, unexcited tone that implies endless depths of patience in his determination to form an alliance with a rival Arab trader (Peter Illing) and take advantage of Willems’ piloting knowledge. Aissa is to be part of the package. Tellingly, her father is blind. Allegorically, the adoptive Willems represents the frittering decadence of a “second generation” left behind by colonial pioneers like Lingard who carved a territory for themselves, while Aissa embodies a native culture that has its own reasons for forging a liaison in the frustrated hopes of benefiting from it. Both are doomed, separately and together, for the screenplay sees only mutual exploitation, enervation, and stasis. It sees optimism in neither foreign control nor independence. Both Lingard and Aissa are disappointed by Willems, who’s nobody’s solution. When he tells Lingard not provoke him, Lingard can only ask, “What is there in you to provoke?” In other words, the film is the opposite of a paean to Empire and not even an elegy for it. It’s more beady-eyed and sour than that, if the eyes of modern values can look past the cross-ethnic casting. This anti-celebratory and even anti-moral stance may be part of why the film didn’t seem satisfying to some and has been relegated to Reed’s minor films. There’s a spiritual connection between Conrad’s vision of the tragedies of self-deluded and avaricious foreigners and Greene’s political novels set in various corners of the decaying empire, so that’s another reason why Outcast of the Islands isn’t as much a change in direction as it might have looked. A major element in the film’s visuals are the dozens of natives of various types who fill every available space, from naked children to ancient elders. Although it’s usually Europeans who do the talking, what the viewer remembers is those sharply etched faces who, presented in constant and usually impassive cutaways, become a de facto chorus observing and implicitly judging the antics of those who presume to benefit them. These closeups resemble the cutaways to richly lived faces, the kind not usually graced with closeup in commercial western movies, used in later films by Pier Paolo Pasolini. It takes only a shift in perspective to realize that these inserts aren’t distractions from the drama; they are the site of the drama. Research indicates that some roles described as half-caste in the book, like Mrs. Almayer, were refashioned as English to avoid censorship issues. Even so, IMDB reports that seven minutes were removed for the US release. Naked children? The passionate kisses between Willems and Aissa? This digital restoration provides the full thing, evidently on home video in Region 1 for the first time. Alexander Korda’s London Films produced, with his brother Vincent Korda as art director. John Wilcox and Edward Scaife (who shot An Inspector Calls, see below) photographed, and future master Freddie Francis was their assistant as well as an uncredited Gerry Fisher. Percy Day was in charge of the matte photographic effects, used especially in Singapore scenes and the tricky navigation sequences. That’s a lot of photographic firepower, and the rich, often high-contrast and expressionist photography looks like a million bucks. Assistant director Guy Hamilton (who directed An Inspector Calls) would marry Kerima. The Sound Barrier (1952) Director: David Lean Ann Todd and Nigel Patrick in The Sound Barrier (1952) (Photo by George Courtney Ward – © 1952 – London Film Productions / British Lion Film Corporation / IMDB) Outcast of the Islands and producer-director David Lean’s The Sound Barrier were nominated against each other for the BAFTA in 1952, and Lean’s film won. Ralph Richardson stars in both. Like all Lean’s black and white films, and indeed all his films before he launched his epic international era with Bridge on the River Kwai (1957), it applies virtuoso technique to emotion with a facility overshadowed by that later period. And, like Brighton Rock, it’s another film scripted by Terence Rattigan. The film opens with deceptive quiet and pastoral glory as the camera pans from the clouds down to the fabled white cliffs of Dover, then over to the wreckage of a plane with a Nazi swastika painted on its side. Anti-aircraft guns are stationed here to shoot down such planes, and we hear a lonely harmonica as the soldiers lounge on the ground. Malcolm Arnold’s music cuts in suddenly as a British plane is introduced, as though the plane brings that music, which cuts in and out as the pilot (John Justin) goes into a dive. The plane begins shaking and rattling, and then the pilot pulls out of the dive with a grinning collapse that looks orgasmic. There’s no getting away from that, as this is a movie not only full of big gleaming phallic objects from fuselages to a huge telescope but one that insists all this business is something men obsess over to the puzzlement of their down-to-earth wives, who think in terms of family and security. It’s a tribute to Rattigan’s sensitivity that he makes this sexual conflict a real theme in which the women’s point of view is taken seriously. The lure of the unknown, the ecstasy of flight and the promise of “breaking through barriers” into unexplored territory is presented as a kind of mistress in competition against which family life has little chance. By the way, a bonus interview with Lean finds him stating plainly that this opening segment is about contrasting beauty with violence. He credits the idea to Charles Chaplin’s Limelight (1952), a film that came out after The Sound Barrier. Maybe he saw a preview, or maybe his memory is mixing things up. The movie’s true emotional arc belongs not to a pilot-husband or to the driven aeronautical businessman-father but to Susan (Ann Todd, then Lean’s wife), whose life has been defined as daughter, then wife, then mother. She looks on in bemusement, then mystification, then anger as the men around her are driven to risks and responsibilities in which she sees no point. The first half hour takes place during the war without really being a war film. Susan’s in uniform in this male-created crisis, and this first act shows the weakness of her brother Chris (Denholm Elliott), who’s afraid to tell their father, the illustrious ex-pilot and airplane manufacturer John Ridgefield (Richardson), that flying’s not his cup of tea. Here Rattigan introduces the idea that the famous English low-key reticence, so celebrated when doing one’s duty, can itself be a fatal character flaw. Only when Susan sees men expressing emotion in moments of great duress does she begin to understand that human feeling can exist in these enterprises. Susan carries the burden of the viewer’s identification through the maze of sometimes literally explosive events. Incidentally and without fuss, which is the way everyone does everything in the picture, she marries ace pilot Tony Garthwaite (Nigel Patrick), who’s almost literally seduced by the most exciting sound he’s ever heard: a top-secret new jet propulsion engine. The project’s head boffin, appropriately named Will Sparks (Joseph Tomelty), refers to Ridgefield as a “vile seducer” because of his ability to sweep others into his determination to break the sound barrier, also known as flying past mach one. Technical progress and exploration, and ultimately the goal of outer space, are defined literally as patriarchal interests embodied by Susan’s wealthy father on his way to knighthood. In a detail easy to overlook, Susan and her late mother are associated with “modernist music”, which is also a form of progress, though one that passes the art-blind Ridgefield. The notion that wives and mothers are something of a drag on progress, with their insistence on children and clothes and their husbands’ salaries, comes out of a world in which the women can’t participate in the one and are circumscribed by the other, but nobody in the film puts this together. Rattigan’s script is unfettered by historical accuracy, since all these characters are invented, as is the poetic and “Edgar Allan Poe-ish” idea of pulling out of a dive because the controls “become reversed”. The dialogue refers to the real historical incident that inspired Lean, the 1946 death of pilot Geoffrey de Havilland Jr. Viewers looking for a more accurate account on film must turn to the first part of Philip Kaufman’s The Right Stuff (1983). Released in the US as Breaking the Sound Barrier, Lean’s film adopts a certain style of English WWII films, the low-key, stiff-upper-lip, semi-documentary mode as seen in Lean’s In Which We Serve (1942), Reed’s The Way Ahead (1944), Humprey Jennings’ Fires Were Started (1943), and later Michael Anderson’s The Dam Busters (1955) and Leslie Norman’s Dunkirk (1958). As with The Dam Busters, we’re a good hour of preparation into the picture before we finally embark on the titular mission. Like Outcast of the Islands, this film is produced by Alexander Korda’s London Films, with Vincent Korda on art direction. Jack Hildyard is primary photographer, with Denys Coop as his operator. One of the aerial photographers is John Wilcox of Outcast of the Islands. As mentioned, the sound design is important, and in fact the sound recording won an Oscar. The Captain’s Paradise (1953) Director: Anthony Kimmins, and Barnacle Bill (1957) Director: Charles Frend Alec Guinness and Yvonne De Carlo in The Captain’s Paradise (1953) (© Courtesy of Rialto Pictures / IMDB) This double-feature of nautical Alec Guinness comedies pairs The Captain’s Paradise, a project of Korda’s London Films, with Guinness’ last comedy for Ealing Films, Barnacle Bill (aka, All at Sea). That joins this disc to the parade of Ealing restorations currently hitting Blu-ray. The Captain’s Paradise is based on the old joke about a wife in every port, and Barnacle Bill is based on the other old joke about the captain who hates the sea. The Captain’s Paradise opens with the bedraggled Captain Henry St. James (Guinness) being escorted before a firing squad and refusing a blindfold. The setting is a Moorish castle on the coast of North Africa, and people are thronging the gates, held back by soldiers. As the rifles fire, the film cuts to the captain’s ship, The Golden Fleece, at anchor from its regular business of shuttling back and forth from British-run Gibraltar to Spanish-run Kalique on the African coast. Chief Officer Carlos Ricco (Charles Goldner) bemoans the fate of his late captain to the captain’s bewildered brother (Miles Malleson). Ricco declares that the captain was a genius, and proceeds to tell the story in flashback. In its own good time, this 90-minute film unveils the captain’s set-up. In Gibraltar, he lives with his wife of three years, Maud (Celia Johnson), a perfect housewife and cook in a proper English mold. In Kalique, he lives with his wife of two years, Nita (Yvonne De Carlo), a Spanish bombshell he takes out dancing every night — cue dynamic nightclub scenes. Between wives, he associates only with men for intellectual stimulation. Thus, St. James feels he’s found the secret to life by dividing his wives not only by port and nationality but function: one domestic and one untamed, one sexless and one over-sexed–in short, one English and one foreign. The captain not only has different wives, he’s a different person with each of them. Nita knows him as Jimmy while Maud calls him Henry. Although this isn’t one of the films where Guinness plays multiple roles, it almost masquerades as one. From the beginning, cracks show in the ideal arrangement when the captain insists each woman conform to national types. Although he tries to ignore it, both wives chafe in their assigned boxes. Maud yearns for more fun, to go out to parties instead of turning in promptly at ten. Nita doesn’t understand why her husband doesn’t want her to learn cooking, not even to boil an egg. She’s overjoyed when he accidentally gives her an apron meant for Maud, while Maud is deliriously happy to receive Nita’s bikini. The captain’s efficient unflappable elan and sang-froid gets shaken by a few near disasters, and the lesson he won’t quite learn until it’s too late is that by limiting his wives’ capacity, he’s also hemming himself in. This is probably why the film’s comedy wears well, despite what first sounds like a sexist premise. Johnson and De Carlo are much better than necessary, for part of the point is that their characters are ultimately more dynamic than the captain, whom Maud pronounces a colossal bore. The film says nothing about bigamy, and that was apparently a source of contention with US censors. Amid much publicity, which may have helped the film, several minutes were trimmed for the US release. Yet, according to Wikipedia’s sources in Variety, this movie did better business in America than Guinness’ previous comedies. This print is complete, down to the ending of very British black humor. Versatile producer-director Anthony Kimmins, also a successful writer of plays and films, feels like an overlooked figure in English cinema. His output includes a postwar noir, Mine Own Executioner (1947), and a mystery scripted by Alec Coppel from his own novel, Mr. Denning Drives North (1951). These would be welcome on Blu-ray, as would a beleaguered Technicolor epic, Bonnie Prince Charlie (1948), never properly released in the States. Coppel received an Oscar nod for the story of The Captain’s Paradise, which he co-scripted with Nicholas Phipps, who appears in the film. Irene Browne and Alec Guinnessin Barnacle Bill (1957) (IMDB) Barnacle Bill, released in the US as All at Sea, is another tale told in flashback. We gather from the opening scene that Captain Willliam Horatio Ambrose (Guinness) has famously distinguished himself in some naval disaster. He sits down with a reporter to tell his story, and first we’re treated to a series of slapstick historical skits in which Guinness plays various naval ancestors of more reputation than accomplishment, from a caveman through a captain in WWI. His own incurable seasickness gets him nicknamed “Midshipman Queasy”, but his illustrious ancestry means the Navy finds him a docket on dry land, and he spends the war testing seasick remedies. The action proper gets underway when he sinks his savings into purchasing a very English property, a sort of funhouse and entertainment concession at the end of a pier. It’s a pathetically scaled-down version of the amusement piers seen in Brighton Rock, and the lackadaisical workers dress in sailor costumes. As new owner, the Captain whips everybody into shipshape while setting up his hammock in the tilted Crazy Cottage. His doggedness and ingenuity win over a lot of people, including local jive-talking skiffle-playing youths who give us another chance to watch Guinness dance. After conflicts with the town counsel and a rivalry with swimming-hut concessionaire Arabella Barrington (Irene Browne), the latter joins Ambrose against the greed-mongering of shady Mayor Crowley (Maurice Denham). The solution is pure Ealing comedy, as re-purposed by writer T.E.B. Clarke from his own Passport to Pimlico (1949). Using bureaucratic loopholes, Ambrose claims the pier as the Arabella, a “ship” registered to some banana republic called Liberama. After the story has methodically arrived at this impudent absurdity, the disaster occurs for which Ambrose was receiving his medal at the start of the picture. A one-liner that might refer to The Captain’s Paradise occurs when a rude music-hall comic asks Ambrose, “How did you leave the wives? Still in ignorance, I hope.” Barnacle Bill is considered a minor Ealing comedy in comparison with the dizzy heights of the most famous examples. That’s a fair judgment. Still, the movie boasts what characterizes so many of them, such as the photography of Douglas Slocombe and the direction of Charles Frend, who directed Guinness in the underrated Ealing comedy A Run for Your Money (1949). Most of all, here’s the run-down, class-conscious, English sense of community and subversion against the Powers That Be, modern progress, bureaucracy, crony capitalism and other diseases that T.E.B. Clarke believes can be defeated by will and whimsy. Perhaps we’re not pushing it too much to call his scripts a link between the Surrealists and the Situationists. And here’s a well-populated who’s who of English character actors, including Percy Herbert, Victor Maddern, Richard Wattis, Lionel Jeffries, George Rose, Donald Pleasence, Allan Cuthbertson, Harold Goodwin, Eric Pohlmann, Joan Hickson, Miles Malleson, Warren Mitchell, Sam Kydd and Elsie Wagstaff. Jackie Collins (Joan’s sister) plays a pretty young woman. An Inspector Calls (1954) Director: Guy Hamilton Brian Worth, Eileen Moore and Alastair Sim in An Inspector Calls (1954) (IMDB) Are all happy families alike, as Tolstoy asserted? This trenchant little number opens on a happy upper-middle class English family enjoying a dinner in 1912, with the credits shown over the well-laden table in what announces itself as a classic drawing-room drama. The father leads the group in congratulating themselves on living in a time destined to be marked by progress, and he roundly dismisses any talk of war with a slap on the table. Of course, history buffs will be aware that the Titanic was about five minutes away from sinking, and this event instantly acquired a socio-historical symbolism out of proportion to a mere shipping tragedy. The party consists of archetypal self-satisfied factory owner Arthur Birling (Arthur Young), his proper and uncomfortably accoutred wife Sybil (Olga Lindo), their radiant daughter Sheila (Eileen Moore) and “squiffy” or inebriated son Eric (Bryan Forbes), and Sheila’s betrothed, Gerald Croft (Brian Worth), who’s above them on the class scale and chooses this evening to present Sheila with an engagement ring. Eric’s almost surly drunkenness is the only flaw in the scene’s perfect surface, the crack in the china, the Buddhist imperfection in the zen of contentment. The grinning and calmly “impertinent” Inspector Poole (Alastair Sim), renamed from Goole in J.B. Priestley’s play, suddenly stands in the open French window leading to the garden. When Sheila and Gerald are later in that garden, there’s an almost subliminal moment when their attention is caught by a shadow before a jump-cut, but let’s not get ahead of ourselves. Poole explains that he’s investigating the death of a young woman named Eva, who seems to have drunk poison in the evening. Then begins a peculiar and unnerving ritual as he shows each of them a photo of Eva and prods their flashbacks to their personal encounters with her. The first is Arthur’s story of how he fired her from the factory for being a “troublemaker” among the women agitating for higher wages. He gets angry when his son points out that they try to fetch the highest price for their product, so isn’t it reasonable of workers to want the highest wages they can get? The story makes an immediate linkage of class prejudice and capitalism that will be followed relentlessly in the variety of situations that unfold in flashback. It’s impossible to discuss the plot without spoiling a property so dependent on surprise, and at least half of any effective surprise is not knowing there’s a surprise. This is a movie best walked into cold, as Poole walks in from the garden. Even so, Sheila’s uneasy forebodings about the nature of what’s happening allow viewers the room to guess much of it so that revelations can arrive with satisfaction and confirmation while still leaving room for ambiguity. One of the masterstrokes, to which we can only refer indirectly, is the possibility that the wild coincidence of everyone’s having independently known Eva may not be so — and also that this doesn’t matter and even underlines the point. Anyway, the nature of the property has opened the door to the wildly improbable. We’re sorry if this sounds vague, but there’s nothing for it. The script by future director Desmond Davis smooths a three-act play into a tidy 80 minutes with many canny flashbacks, as directed with equal smoothness by Guy Hamilton, future James Bond director. One crucial change is that Eva is never seen in Priestley’s play, whereas she becomes a central character in the film. She’s a difficult part to play convincingly, and Jane Wenham does an excellent job of fleshing out a figure who comes close to saintliness in her suffering and pride but fortunately avoids it. The closest English theatrical property to which Priestley’s 1945 play might be compared is Jerome K. Jerome’s The Passing of the Third Floor Back (1908, filmed in 1935), in which a mysterious visitor alters the lives of everyone in a boarding house. An Inspector Calls may be the flipside of that idea. The Night My Number Came Up (1955) Director: Leslie Norman Sheila Sim, Denholm Elliott and Alexander Knox in The Night My Number Came Up (1955) (IMDB) Here’s a classic Ealing film, not a comedy, that’s almost unknown outside England. The film opens in Hong Kong, where it was partly shot, and finds Commander Lindsay (Michael Hordern) barging into an office where an official (Nicholas Stuart) coordinates the search for a missing airplane. Without revealing the source of his information, Lindsay implores him to search a certain area on the northern coast of Japan, very far from anyone’s calculations. Lindsay refuses to say more because he won’t be believed. The order is given based on his reputation, and then the film shifts back in time a couple of days to when Lindsay met Air Marshal Hardie (Michael Redgrave) and Lt. McKenzie (Denholm Elliott, the jittery pilot in The Sound Barrier) and dined with them at the home of a Mr. Robinson (Alexander Knox). Lindsay is persuaded to recount a strange, vivid dream he’d had the night before, in which Hardie and several others passengers died in a plane crash after being lost off course in northern Japan. Although most of the dream’s details differ from Hardie’s itinerary, facts begin uncannily conforming with the dream. This quiet falling into place creates a frisson of unease in the characters and the viewer. Since the viewer already knows something untoward has happened, we watch in helpless suspense as the film teases us by dangling more possibilities before us. Will the right number of people, 13, be gathered for the flight? Will at least one predicted detail go awry? Can someone choose another path? The characters come to feel trapped by fate or historical forces that determine the shape of their lives, forces that they usually ignore successfully. These forces are hinted at by the fact that the passengers’ plans are affected by a frustrated desire to fly over the historical sites of Nagasaki and Hiroshima. Clouds and storms prevent this diversion, so both nature and history are examples of unstoppable forces that circumscribe the characters’ choices. This film conforms to Alfred Hitchcock’s famous definition of suspense whereby the audience knows a bomb is going to go off and we can only sweat it out. At the same time, R.C. Sherriff’s screenplay emphasizes human interaction and the pressure of fear and speculation, as believing in something terrible might possibly bring it about. Hardie explains, for example, that pilots shouldn’t be informed of omens because it may affect their psychology at a crucial moment. Without giving anything away, that turns out to be true in a very intriguing way. The lone woman on board (Sheila Sim, married to Attenborough of Brighton Rock) states that when bad things happen, we blame fate, and when good things happen, we take credit. She says her experience as a prisoner of war made her skeptical, and McKenzie had a similar evolution as a fighter pilot who experienced a “complete breakdown” during the Battle of Britain. The dialogue poses the problem as one of ancient atavistic superstition, represented by Chinese culture, opposed to modern rationalism ascribed to themselves by the English who run Hong Kong. We know, however, that whenever dialogue leans so heavily on dismissing superstition in favor of modern logic, and a Chinese way of thinking in favor of English, and dreams in favor of something called reality, the story is working overtime to demonstrate the opposite. Therefore, the film has an almost subliminal element of exposing the fears and quandaries buried under the confident exterior of empire and its military structure, hardware, and culture. Almost nothing of the era’s overt politics is stated — nothing of the Cold War or Korea or the waning British Empire, only glancing references to WWII — yet the implications are unavoidable. They’re built into the choice of characters, their personal collisions, and the symbolism. For example, the curtains of storm clouds and the threat of ice freezing on the wings have Cold War undercurrents. As skeptical, scoffing characters have their veneer of logic challenged and begin to fear the adding up of details, they debate the meaning of cause and effect, whether dreams can be glimpses of the future, and whether everything is ordained or free will exists. Hardie asserts that we must behave as if we have free will. “It’s our duty to God,” he declares by way of dismissing superstition, and we can be sure Sherriff intended every irony. The script offers a minor mystery in plain sight, and I’ll bet it’s mostly overlooked. The characters obsess over the plane having eight passengers, so we obsess over it too. It’s highly possible that when trying to recall them later, you’ll only recall seven. The odd man in is a curious-looking mustached fellow with almost no lines who hovers, looking on, occasionally changing seats, even sleeping through a storm. He’s Kent (Charles Perry), the secretary of Lord Wainwright (Ralph Truman), and his most decisive action is to hand his boss a Penguin mystery novel. Wainwright critiques the novel by discussing a corpse left disguised as a scarecrow for six weeks. “You’d think after that time they’d have started to notice something,” he says. He questions the human capacity to overlook unpleasant facts staring them in the face, the most unpleasant fact being death, yet that’s what the film is demonstrating. It’s possible for viewers never fully to register Kent, but if you notice him, he becomes an ambiguous presence of possibly symbolic weight, and thus he contributes unobtrusively to the atmosphere. Ursula Jeans, Nigel Stock, Alfie Bass, Bill Kerr, George Rose, Victor Maddern and Percy Herbert are among those actors contributing to another Ealing film about “community”, in this case a very confined and nervous one whose assumptions and complacencies are shown to be as fragile as a seemingly solid airplane in the sky. The characters mix classes and professions and accents, ranging from ordinary soldiers to officers, government bigwigs, a brash nouveau capitalist, and a career woman grateful for the assignment. When one man tries to discourage the woman from coming along, she assumes he’s being sexist because she doesn’t know of the dream. When the same man refuses the soldiers, they take it for class prejudice. This, of course, has been the man most contemptuous of Chinese superstition. How knowledge of the dream affects people is part of the fascination, including how they attempt to deny it. Almost all of them wish they’d never heard of the dream, and yet the film’s moral may be that you must be aware of the abyss, and this is healthier than ignoring it. Sherriff and director Leslie Norman based the film more or less directly on an incident reported by Air Marshal Sir Victor Goddard in a 1951 article recounting something he said he experienced in 1946. Norman brought the idea to producer Michael Balcon’s attention. The resulting film is suspenseful, uncanny, and philosophical with subtle political undertones, a rare combination. This film from the end of Ealing’s run compares fascinatingly with Alberto Cavalcanti’s wartime propaganda Went the Day Well? (1942), another Ealing fantasy about coziness endangered by the catastrophe it has enabled. All these Kino Lorber Blu-rays offer superb digital scans licensed from StudioCanal, and all except the Guinness two-fer have historical-critical commentaries. Peter Tonguette gives background on The Sound Barrier and Outcast of the Islands; he defends the latter film but seems uninterested in defending Reed’s later movies. Tim Lucas provides scene-specific research on Brighton Rock. Samm Deighan discusses The Night My Number Came Up as a cross of postwar blues and the so-called “film blanc” school of optimistic fantasies. David Del Valle’s remarks on An Inspector Calls discuss the history of Priestley’s play and Sim’s career.
7961	dbpedia	3	17	https://www.newyorker.com/magazine/1996/10/21/why-i-wrote-the-crucible	en	Why I Wrote “The Crucible”	https://media.newyorker.…961021_ra603.jpg	https://media.newyorker.…961021_ra603.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header.svg", "https://media.newyorker.com/photos/5c143565bcac9740eb03c608/master/w_2560%2Cc_limit/961021_ra603.jpg", "https://media.newyorker.com/photos/5b5e0c8df1fa587e27c86a67/1:1/w_200%2Cc_limit/Eustace-Fiction.png", "https://media.newyorker.com/photos/5d128b0d8290af0008c98847/4:3/w_480%2Cc_limit/561027_ra646.jpg", "https://media.newyorker.com/photos/5d128b0d8290af0008c98847/4:3/w_480%2Cc_limit/561027_ra646.jpg", "https://media.newyorker.com/photos/5d127579b710aa76e63ea32f/4:3/w_480%2Cc_limit/471213_ra643.jpg", "https://media.newyorker.com/photos/5d127579b710aa76e63ea32f/4:3/w_480%2Cc_limit/471213_ra643.jpg", "https://media.newyorker.com/photos/5909688ac14b3c606c106d28/4:3/w_480%2Cc_limit/110613_r20996_g2048.jpg", "https://media.newyorker.com/photos/59097e221c7a8e33fb390702/4:3/w_480%2Cc_limit/720311_r29369.jpg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "china", "the crucible" ]	null	[ "Arthur Miller", "Truman Capote", "Wolcott Gibbs", "Jhumpa Lahiri", "Janet Flanner", "Condé Nast" ]	1996-10-21T00:00:00	Arthur Miller shares the story behind his play about the Salem witch trials.	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/magazine/1996/10/21/why-i-wrote-the-crucible	As I watched “The Crucible” taking shape as a movie over much of the past year, the sheer depth of time that it represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty years ago, in an America almost nobody I know seems to remember clearly. In a way, there is a biting irony in this film’s having been made by a Hollywood studio, something unimaginable in the fifties. But there they are—Daniel Day-Lewis (John Proctor) scything his sea-bordered field, Joan Allen (Elizabeth) lying pregnant in the frigid jail, Winona Ryder (Abigail) stealing her minister-uncle’s money, majestic Paul Scofield (Judge Danforth) and his righteous empathy with the Devil-possessed children, and all of them looking as inevitable as rain. I remember those years—they formed “The Crucible” ’s skeleton—but I have lost the dead weight of the fear I had then. Fear doesn’t travel well; just as it can warp judgment, its absence can diminish memory’s truth. What terrifies one generation is likely to bring only a puzzled smile to the next. I remember how in 1964, only twenty years after the war, Harold Clurman, the director of “Incident at Vichy,” showed the cast a film of a Hitler speech, hoping to give them a sense of the Nazi period in which my play took place. They watched as Hitler, facing a vast stadium full of adoring people, went up on his toes in ecstasy, hands clasped under his chin, a sublimely self-gratified grin on his face, his body swivelling rather cutely, and they giggled at his overacting. Likewise, films of Senator Joseph McCarthy are rather unsettling—if you remember the fear he once spread. Buzzing his truculent sidewalk brawler’s snarl through the hairs in his nose, squinting through his cat’s eyes and sneering like a villain, he comes across now as nearly comical, a self-aware performer keeping a straight face as he does his juicy threat-shtick. Sign up for The New Yorker’s Books & Fiction Newsletter » McCarthy’s power to stir fears of creeping Communism was not entirely based on illusion, of course; the paranoid, real or pretended, always secretes its pearl around a grain of fact. From being our wartime ally, the Soviet Union rapidly became an expanding empire. In 1949, Mao Zedong took power in China. Western Europe also seemed ready to become Red—especially Italy, where the Communist Party was the largest outside Russia, and was growing. Capitalism, in the opinion of many, myself included, had nothing more to say, its final poisoned bloom having been Italian and German Fascism. McCarthy—brash and ill-mannered but to many authentic and true—boiled it all down to what anyone could understand: we had “lost China” and would soon lose Europe as well, because the State Department—staffed, of course, under Democratic Presidents—was full of treasonous pro-Soviet intellectuals. It was as simple as that. If our losing China seemed the equivalent of a flea’s losing an elephant, it was still a phrase—and a conviction—that one did not dare to question; to do so was to risk drawing suspicion on oneself. Indeed, the State Department proceeded to hound and fire the officers who knew China, its language, and its opaque culture—a move that suggested the practitioners of sympathetic magic who wring the neck of a doll in order to make a distant enemy’s head drop off. There was magic all around; the politics of alien conspiracy soon dominated political discourse and bid fair to wipe out any other issue. How could one deal with such enormities in a play? “The Crucible” was an act of desperation. Much of my desperation branched out, I suppose, from a typical Depression-era trauma—the blow struck on the mind by the rise of European Fascism and the brutal anti-Semitism it had brought to power. But by 1950, when I began to think of writing about the hunt for Reds in America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite their discomfort with the inquisitors’ violations of civil rights, were fearful, and with good reason, of being identified as covert Communists if they should protest too strongly. In any play, however trivial, there has to be a still point of moral reference against which to gauge the action. In our lives, in the late nineteen-forties and early nineteen-fifties, no such point existed anymore. The left could not look straight at the Soviet Union’s abrogations of human rights. The anti-Communist liberals could not acknowledge the violations of those rights by congressional committees. The far right, meanwhile, was licking up all the cream. The days of “J’accuse” were gone, for anyone needs to feel right to declare someone else wrong. Gradually, all the old political and moral reality had melted like a Dali watch. Nobody but a fanatic, it seemed, could really say all that he believed. President Truman was among the first to have to deal with the dilemma, and his way of resolving it—of having to trim his sails before the howling gale on the right—turned out to be momentous. At first, he was outraged at the allegation of widespread Communist infiltration of the government and called the charge of “coddling Communists” a red herring dragged in by the Republicans to bring down the Democrats. But such was the gathering power of raw belief in the great Soviet plot that Truman soon felt it necessary to institute loyalty boards of his own. The Red hunt, led by the House Committee on Un-American Activities and by McCarthy, was becoming the dominating fixation of the American psyche. It reached Hollywood when the studios, after first resisting, agreed to submit artists’ names to the House Committee for “clearing” before employing them. This unleashed a veritable holy terror among actors, directors, and others, from Party members to those who had had the merest brush with a front organization. The Soviet plot was the hub of a great wheel of causation; the plot justified the crushing of all nuance, all the shadings that a realistic judgment of reality requires. Even worse was the feeling that our sensitivity to this onslaught on our liberties was passing from us—indeed, from me. In “Timebends,” my autobiography, I recalled the time I’d written a screenplay (“The Hook”) about union corruption on the Brooklyn waterfront. Harry Cohn, the head of Columbia Pictures, did something that would once have been considered unthinkable: he showed my script to the F.B.I. Cohn then asked me to take the gangsters in my script, who were threatening and murdering their opponents, and simply change them to Communists. When I declined to commit this idiocy (Joe Ryan, the head of the longshoremen’s union, was soon to go to Sing Sing for racketeering), I got a wire from Cohn saying, “The minute we try to make the script pro-American you pull out.” By then—it was 1951—I had come to accept this terribly serious insanity as routine, but there was an element of the marvellous in it which I longed to put on the stage. In those years, our thought processes were becoming so magical, so paranoid, that to imagine writing a play about this environment was like trying to pick one’s teeth with a ball of wool: I lacked the tools to illuminate miasma. Yet I kept being drawn back to it. I had read about the witchcraft trials in college, but it was not until I read a book published in 1867—a two-volume, thousand-page study by Charles W. Upham, who was then the mayor of Salem—that I knew I had to write about the period. Upham had not only written a broad and thorough investigation of what was even then an almost lost chapter of Salem’s past but opened up to me the details of personal relationships among many participants in the tragedy. I visited Salem for the first time on a dismal spring day in 1952; it was a sidetracked town then, with abandoned factories and vacant stores. In the gloomy courthouse there I read the transcripts of the witchcraft trials of 1692, as taken down in a primitive shorthand by ministers who were spelling each other. But there was one entry in Upham in which the thousands of pieces I had come across were jogged into place. It was from a report written by the Reverend Samuel Parris, who was one of the chief instigators of the witch-hunt. “During the examination of Elizabeth Procter, Abigail Williams and Ann Putnam”—the two were “afflicted” teen-age accusers, and Abigail was Parris’s niece—“both made offer to strike at said Procter; but when Abigail’s hand came near, it opened, whereas it was made up into a fist before, and came down exceeding lightly as it drew near to said Procter, and at length, with open and extended fingers, touched Procter’s hood very lightly. Immediately Abigail cried out her fingers, her fingers, her fingers burned. . . .” In this remarkably observed gesture of a troubled young girl, I believed, a play became possible. Elizabeth Proctor had been the orphaned Abigail’s mistress, and they had lived together in the same small house until Elizabeth fired the girl. By this time, I was sure, John Proctor had bedded Abigail, who had to be dismissed most likely to appease Elizabeth. There was bad blood between the two women now. That Abigail started, in effect, to condemn Elizabeth to death with her touch, then stopped her hand, then went through with it, was quite suddenly the human center of all this turmoil. All this I understood. I had not approached the witchcraft out of nowhere, or from purely social and political considerations. My own marriage of twelve years was teetering and I knew more than I wished to know about where the blame lay. That John Proctor the sinner might overturn his paralyzing personal guilt and become the most forthright voice against the madness around him was a reassurance to me, and, I suppose, an inspiration: it demonstrated that a clear moral outcry could still spring even from an ambiguously unblemished soul. Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it, and a play began to accumulate around this man. But as the dramatic form became visible, one problem remained unyielding: so many practices of the Salem trials were similar to those employed by the congressional committees that I could easily be accused of skewing history for a mere partisan purpose. Inevitably, it was no sooner known that my new play was about Salem than I had to confront the charge that such an analogy was specious—that there never were any witches but there certainly are Communists. In the seventeenth century, however, the existence of witches was never questioned by the loftiest minds in Europe and America; and even lawyers of the highest eminence, like Sir Edward Coke, a veritable hero of liberty for defending the common law against the king’s arbitrary power, believed that witches had to be prosecuted mercilessly. Of course, there were no Communists in 1692, but it was literally worth your life to deny witches or their powers, given the exhortation in the Bible, “Thou shalt not suffer a witch to live.” There had to be witches in the world or the Bible lied. Indeed, the very structure of evil depended on Lucifer’s plotting against God. (And the irony is that klatches of Luciferians exist all over the country today; there may even be more of them now than there are Communists.) As with most humans, panic sleeps in one unlighted corner of my soul. When I walked at night along the empty, wet streets of Salem in the week that I spent there, I could easily work myself into imagining my terror before a gaggle of young girls flying down the road screaming that somebody’s “familiar spirit” was chasing them. This anxiety-laden leap backward over nearly three centuries may have been helped along by a particular Upham footnote. At a certain point, the high court of the province made the fatal decision to admit, for the first time, the use of “spectral evidence” as proof of guilt. Spectral evidence, so aptly named, meant that if I swore that you had sent out your “familiar spirit” to choke, tickle, or poison me or my cattle, or to control my thoughts and actions, I could get you hanged unless you confessed to having had contact with the Devil. After all, only the Devil could lend such powers of invisible transport to confederates, in his everlasting plot to bring down Christianity. Naturally, the best proof of the sincerity of your confession was your naming others whom you had seen in the Devil’s company—an invitation to private vengeance, but made official by the seal of the theocratic state. It was as though the court had grown tired of thinking and had invited in the instincts: spectral evidence—that poisoned cloud of paranoid fantasy—made a kind of lunatic sense to them, as it did in plot-ridden 1952, when so often the question was not the acts of an accused but the thoughts and intentions in his alienated mind. The breathtaking circularity of the process had a kind of poetic tightness. Not everybody was accused, after all, so there must be some reason why you were. By denying that there is any reason whatsoever for you to be accused, you are implying, by virtue of a surprisingly small logical leap, that mere chance picked you out, which in turn implies that the Devil might not really be at work in the village or, God forbid, even exist. Therefore, the investigation itself is either mistaken or a fraud. You would have to be a crypto-Luciferian to say that—not a great idea if you wanted to go back to your farm. The more I read into the Salem panic, the more it touched off corresponding images of common experiences in the fifties: the old friend of a blacklisted person crossing the street to avoid being seen talking to him; the overnight conversions of former leftists into born-again patriots; and so on. Apparently, certain processes are universal. When Gentiles in Hitler’s Germany, for example, saw their Jewish neighbors being trucked off, or farmers in Soviet Ukraine saw the Kulaks vanishing before their eyes, the common reaction, even among those unsympathetic to Nazism or Communism, was quite naturally to turn away in fear of being identified with the condemned. As I learned from non-Jewish refugees, however, there was often a despairing pity mixed with “Well, they must have done something.” Few of us can easily surrender our belief that society must somehow make sense. The thought that the state has lost its mind and is punishing so many innocent people is intolerable And so the evidence has to be internally denied. I was also drawn into writing “The Crucible” by the chance it gave me to use a new language—that of seventeenth-century New England. That plain, craggy English was liberating in a strangely sensuous way, with its swings from an almost legalistic precision to a wonderful metaphoric richness. “The Lord doth terrible things amongst us, by lengthening the chain of the roaring lion in an extraordinary manner, so that the Devil is come down in great wrath,” Deodat Lawson, one of the great witch-hunting preachers, said in a sermon. Lawson rallied his congregation for what was to be nothing less than a religious war against the Evil One—“Arm, arm, arm!”—and his concealed anti-Christian accomplices. But it was not yet my language, and among other strategies to make it mine I enlisted the help of a former University of Michigan classmate, the Greek-American scholar and poet Kimon Friar. (He later translated Kazantzakis.) The problem was not to imitate the archaic speech but to try to create a new echo of it which would flow freely off American actors’ tongues. As in the film, nearly fifty years later, the actors in the first production grabbed the language and ran with it as happily as if it were their customary speech. “The Crucible” took me about a year to write. With its five sets and a cast of twenty-one, it never occurred to me that it would take a brave man to produce it on Broadway, especially given the prevailing climate, but Kermit Bloomgarden never faltered. Well before the play opened, a strange tension had begun to build. Only two years earlier, the “Death of a Salesman” touring company had played to a thin crowd in Peoria, Illinois, having been boycotted nearly to death by the American Legion and the Jaycees. Before that, the Catholic War Veterans had prevailed upon the Army not to allow its theatrical groups to perform, first, “All My Sons,” and then any play of mine, in occupied Europe. The Dramatists Guild refused to protest attacks on a new play by Sean O’Casey, a self-declared Communist, which forced its producer to cancel his option. I knew of two suicides by actors depressed by upcoming investigation, and every day seemed to bring news of people exiling themselves to Europe: Charlie Chaplin, the director Joseph Losey, Jules Dassin, the harmonica virtuoso Larry Adler, Donald Ogden Stewart, one of the most sought-after screenwriters in Hollywood, and Sam Wanamaker, who would lead the successful campaign to rebuild the Old Globe Theatre on the Thames. On opening night, January 22, 1953, I knew that the atmosphere would be pretty hostile. The coldness of the crowd was not a surprise; Broadway audiences were not famous for loving history lessons, which is what they made of the play. It seems to me entirely appropriate that on the day the play opened, a newspaper headline read “ALL THIRTEEN REDS GUILTY”—a story about American Communists who faced prison for “conspiring to teach and advocate the duty and necessity of forcible overthrow of government.” Meanwhile, the remoteness of the production was guaranteed by the director, Jed Harris, who insisted that this was a classic requiring the actors to face front, never each other. The critics were not swept away. “Arthur Miller is a problem playwright in both senses of the word,” wrote Walter Kerr of the Herald Tribune, who called the play “a step backward into mechanical parable.” The Times was not much kinder, saying, “There is too much excitement and not enough emotion in ‘The Crucible.’ ” But the play’s future would turn out quite differently. About a year later, a new production, one with younger, less accomplished actors, working in the Martinique Hotel ballroom, played with the fervor that the script and the times required, and “The Crucible” became a hit. The play stumbled into history, and today, I am told, it is one of the most heavily demanded trade-fiction paperbacks in this country; the Bantam and Penguin editions have sold more than six million copies. I don’t think there has been a week in the past forty-odd years when it hasn’t been on a stage somewhere in the world. Nor is the new screen version the first. Jean-Paul Sartre, in his Marxist phase, wrote a French film adaptation that blamed the tragedy on the rich landowners conspiring to persecute the poor. (In truth, most of those who were hanged in Salem were people of substance, and two or three were very large landowners.) It is only a slight exaggeration to say that, especially in Latin America, “The Crucible” starts getting produced wherever a political coup appears imminent, or a dictatorial regime has just been overthrown. From Argentina to Chile to Greece, Czechoslovakia, China, and a dozen other places, the play seems to present the same primeval structure of human sacrifice to the furies of fanaticism and paranoia that goes on repeating itself forever as though imbedded in the brain of social man. I am not sure what “The Crucible” is telling people now, but I know that its paranoid center is still pumping out the same darkly attractive warning that it did in the fifties. For some, the play seems to be about the dilemma of relying on the testimony of small children accusing adults of sexual abuse, something I’d not have dreamed of forty years ago. For others, it may simply be a fascination with the outbreak of paranoia that suffuses the play—the blind panic that, in our age, often seems to sit at the dim edges of consciousness. Certainly its political implications are the central issue for many people; the Salem interrogations turn out to be eerily exact models of those yet to come in Stalin’s Russia, Pinochet’s Chile, Mao’s China, and other regimes. (Nien Cheng, the author of “Life and Death in Shanghai,” has told me that she could hardly believe that a non-Chinese—someone who had not experienced the Cultural Revolution—had written the play.) But below its concerns with justice the play evokes a lethal brew of illicit sexuality, fear of the supernatural, and political manipulation, a combination not unfamiliar these days. The film, by reaching the broad American audience as no play ever can, may well unearth still other connections to those buried public terrors that Salem first announced on this continent. One thing more—something wonderful in the old sense of that word. I recall the weeks I spent reading testimony by the tome, commentaries, broadsides, confessions, and accusations. And always the crucial damning event was the signing of one’s name in “the Devil’s book.” This Faustian agreement to hand over one’s soul to the dreaded Lord of Darkness was the ultimate insult to God. But what were these new inductees supposed to have done once they’d signed on? Nobody seems even to have thought to ask. But, of course, actions are as irrelevant during cultural and religious wars as they are in nightmares. The thing at issue is buried intentions—the secret allegiances of the alienated heart, always the main threat to the theocratic mind, as well as its immemorial quarry. ♦
7961	dbpedia	0	15	https://dokumen.pub/intimacy-in-cinema-critical-essays-on-english-language-films-9780786479245.html	en	Intimacy in Cinema: Critical Essays on English Language Films 9780786479245	https://dokumen.pub/img/…780786479245.jpg	https://dokumen.pub/img/…780786479245.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/feature-films-in-english-language-teaching-9783823369523.jpg", "https://dokumen.pub/img/200x200/old-english-literature-critical-essays-9780300129113.jpg", "https://dokumen.pub/img/200x200/critical-essays-on-thomas-pynchon-0816183201.jpg", "https://dokumen.pub/img/200x200/critical-essays-on-margaret-atwood-0816188408-9780816188406.jpg", "https://dokumen.pub/img/200x200/english-as-an-international-language-education-critical-intercultural-literacy-perspectives-english-language-education-33-3031347013-9783031347016.jpg", "https://dokumen.pub/img/200x200/the-films-of-claire-denis-intimacy-on-the-border-9780755698721-9781848859548.jpg", "https://dokumen.pub/img/200x200/essays-on-english-and-american-literature-9781400877393.jpg", "https://dokumen.pub/img/200x200/east-asian-perspectives-on-silence-in-english-language-education-9781788926775.jpg", "https://dokumen.pub/img/200x200/english-language-learning-materials-a-critical-review-9781474212182-9780826493507.jpg", "https://dokumen.pub/img/200x200/critical-essays.jpg", "https://dokumen.pub/img/200x200/intimacy-in-cinema-critical-essays-on-english-language-films-9780786479245.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	Though intimacy has been a wide concern in the humanities, it has received little critical attention in film studies. I...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/intimacy-in-cinema-critical-essays-on-english-language-films-9780786479245.html	Table of contents : Acknowledgments Table of Contents “I feel different inside”: An Introduction to Intimacy in English Language Cinema • David Roche and Isabelle Schmitt-Pitiot Touch and Gesture: On the Borders of Intimacy • Thomas Elsaesser Exposing and Threatening Female Intimacy and Sexuality: How Traffic in Souls Depicts the White Slave Trade in New York • Clémentine Tholas-Disset Fictions of Intimacy and the Intimacy of Fiction: “Going into people’s houses” and the Remediation of 1920s Film Reception • Fabrice Lyczba The Impossible Sex Life of Couples in the Screwball Comedy • Grégoire Halbout Intimacy Shared in Laughter and Tears: Brief Encounter and The Seven Year Itch • Raphaëlle Costa de Beauregard The Intimate Gaze: (Deviant) Uses of the Subjective Camera in Lady in the Lake and La Femme défendue • Christophe Gelly Shooting Stars and Poet Friends in My Bedroom: Domestic and Poetic Intimacy in Pull My Daisy • Céline Murillo Public Confessions in American Revolution 2 • Zachary Baqué The Limits of Hypermasculinity: Intimacy in American Science Fiction Films of the 1980s • Marianne Kac-Vergne “I’ve got you under my skin”: No Exit from Insane Intimacy in Bug • Christophe Chambost Filming Fantasy, Imitating the Intimate in Eyes Wide Shut • Yann Roblou J. Edgar: Staging Secrecy • Anne- Marie Paquet- Deyris Intrusions of the Other: Intimacy in the Films of Atom Egoyan • Jean- François Baillon Hidden Worlds and Unspoken Desires: Terence Davies and Autobiographical Discourse • Wendy Everett “Extimacy” and Embodiment in Hunger and Shame • Isabelle Le Corff Keira’s Kiss: The Affordance of “Kissability” in the Film Experience • Adriano D’Aloia Melancholy, Empathy and Animated Bodies: Pixar vs. Mary and Max • Richard Neupert About the Contributors Index Citation preview
7961	dbpedia	0	73	https://archive.org/details/british-war-movies	en	𝐁𝐑𝐈𝐓𝐈𝐒𝐇 𝐖𝐀𝐑 𝐌𝐎𝐕𝐈𝐄𝐒 : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/services/img/british-war-movies	https://archive.org/services/img/british-war-movies	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/services/img/opensource_image", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=320461179", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=792881193" ]	[]	[]	[ "" ]	null	[]	null	𝐁𝐑𝐈𝐓𝐈𝐒𝐇 𝐖𝐀𝐑 𝐌𝐎𝐕𝐈𝐄𝐒 The Best British War MoviesSpanning nearly a century worth of movies, here are the...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/british-war-movies	Spanning nearly a century worth of movies, here are the greatest British war movies of all time, as voted on by cinephiles like you. The British have been involved in a lot of wars in their time: The Boar Wars, World War One, World War Two, The Falklands, Desert Storm, Afghanistan and Iraq, just to name a few. For that reason it was only natural for us to create this list of the best British war movies, with the help of your votes. Some of the best English war movies are represented here, A Bridge Too Far (World War II), Master and Commander: The Far Side of the World (the Napoleonic Wars), and Lawrence of Arabia (World War I). Plenty of Hollywood legends are represented in the UK war movies below, including Michael Caine (Zulu), Steve McQueen (The Great Escape), Russell Crowe (Master and Commander: The Far Side of the World), William Holden (The Bridge on the River Kwai) and it goes on…
7961	dbpedia	0	24	https://journals.publishing.umich.edu/gs/article/id/2534/	en	The Man without a Country: British Imperial Nostalgia in Ferry to Hong Kong (1959)	https://journals.publishing.umich.edu/gs/article/id/2534/file/12246/	https://journals.publishing.umich.edu/gs/article/id/2534/file/12246/	[ "https://journals.publishing.umich.edu/media/cover_images/bd0e2054-b154-4e0f-b67f-8f1acf719ca2.png", "https://journals.publishing.umich.edu/gs/article/id/2534/file/12246/", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0001.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0002.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0003.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0004.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0005.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0006.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0007.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0008.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0009.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0010.jpg", "https://journals.publishing.umich.edu/gs/article/id/2534/gs.2534-f0011.jpg", "https://orcid.org/sites/default/files/images/orcid_16x16.png" ]	[]	[]	[ "" ]	null	[ "Kenny K. K. Ng", "Kenny K.K. Ng" ]	null	On New Year’s Eve 1959, Ferry to Hong Kong was screened at the Lee Theatre and the Astor in Hong Kong. Produced by Rank as its first CinemaScope feature, the big-budget movie tells the real-life tale of Steven Ragan (he was also known as Michael Patrick O’Brien), a stateless drifter who was stuck for ten months on the ferry sailing between Hong Kong and Macau from September 18, 1952, to July 30, 1953. The British film was Rank’s major Anglo-American joint venture of the year. Positioned within Cold War contexts, Ferry to Hong Kong could be seen as a British cultural-diplomatic response through cinematic soft power to reestablish national assurance on Asian Cold War fronts, following the 1956 Suez Canal debacle that witnessed the death of Britain’s imperial might at the hands of the Eisenhower administration. Unlike such vaunted Hollywood pictures as Soldier of Fortune (1955), Love Is a Many-Splendored Thing (1955), and The World of Suzie Wong (1960), which imagined the incursions of American white knights into Hong Kong (as a stand-in for China), Ferry to Hong Kong conveyed imperial nostalgia and loss. The film turns the antihero into a paragon of British gallantry who saves the passengers and refugees from the hands of Chinese (Communist) pirates. The sinking ferryboat is the traumatic device used to recall British naval war stories and retell romantic and narcissistic tales of British valor and international influence. More than an adventure of a vagabond, Ferry to Hong Kong was an espionage thriller in uneasy disguise. The film preceded Gilbert’s three James Bond films, all of which affirmed the power of the individual in cracking transboundary networks of espionage and political intrigue.	en	/media/cover_images/80b53301-0085-4e84-bd96-0d59429804b5.png	Global Storytelling: Journal of Digital and Moving Images	https://journals.publishing.umich.edu/gs/article/id/2534/	On New Year’s Eve 1959, Ferry to Hong Kong was screened at the Lee Theatre and the Astor in Hong Kong. Produced by Rank Organization as its first CinemaScope feature, and directed by Lewis Gilbert, the British film was shot on location in Hong Kong and Macau from October 1958 to February 1959.1 The big-budget film tells the real-life tale of Steven Ragan (also known as Michael Patrick O’Brien), a stateless drifter who was stuck for ten months (315 days) between 1952 and 1953 on the ferry shuttling between Hong Kong and Macau. Born an Austro-Hungarian, Ragan had previously worked in a Shanghai bar before he escaped from China, after the Communist takeover, and set foot in Macau in 1952. When his permit was revoked in the former Portuguese colony, he sneaked onto a Hong Kong-Macau ferry to avoid deportation to mainland China.2 The international press keenly reported on his unusual but hard-to-be-vindicated experience, which was subsequently fictionalized by Simon Kent (the penname of Max Catto) in the book Ferry to Hongkong.3 In the film adaptation, the Hong Kong police deport Mark Conrad (played by Curt Jurgens), a drunken Anglo-Austrian exile, tossing him aboard a ferry with a one-way ticket to Macau. When Macau rejects him as an undesirable, Conrad is condemned to be a man without a country. Taking the ferry as his makeshift home, he finds himself in a romantic encounter with Liz Ferrers (Sylvia Syms), a kindhearted schoolteacher cruising daily with her Chinese students on the passenger boat. Ferry to Hong Kong was marketed as an “international film” targeting the US market.4 Rank contracted British box-office star Curt Jurgens and famed American director and actor Orson Welles (fig. 1). Figure 1: Source: “Ferry to Hong Kong (1959) Programm der Gala World Premiere, London (GB),” Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, 1959, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-programm-der-gala-world-premiere-london-gb/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. But British critics unanimously disapproved of Orson Welles, who played Captain Hart of the ferryboat, as giving his worst-ever performance.5 They ridiculed Welles’s deliberately bogus upper-class accent as a caricatured combination of Winston Churchill and the American comedian Jackie Gleason.6 Welles intended to “bluster to the extent that he [got] many unintentional laughs,”7 but his outrageous performance simply made audiences gasp in disbelief. The collaborations between Gilbert, Welles, and Jurgens did not work out smoothly. Gilbert described the shooting experience as outright “nightmarish,” mainly because of Welles’s arrogance.8 Jurgens and Welles swapped their roles before filming: Welles played the captain of the ferryboat and Jurgens the tramp.9 Welles had an interest to make the film a comedy, and often changed his own lines in filming, while Jurgens played the role seriously.10 Jurgens felt that his star status was being undermined by Welles and threatened to walk out.11 The British and American stars hated each other (fig. 2). Figure 2: Source: “Ferry to Hong Kong (1959) Werkfoto 4,” Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, 1959, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-werkfoto-4/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. In Gilbert’s memoirs, Welles on the set insisted on wearing a false nose, at one point holding up shooting for two days because he lost the correct false nose (fig. 3).12 Figure 3: Source: Brian Bysouth, Ferry to Hong Kong (UK Release Poster), 1959, Gregory J. Edwards on eBay, https://www.ebay.com/itm/120680537769. He spoke with a bizarre voice with the false nose, and post-synching of his dialogues word by word only added to the weird effect.13 Notably, the disservice Welles’s overwhelming presence in the crew did to the filmmaking outweighed the value his fame was meant to add to the picture.14 In Hong Kong, David Lewin of China Mail conducted a four-installment interview series entitled “Third Man in Hong Kong” to echo The Third Man (dir. Carol Reed, 1949), an espionage noir set in postwar occupied Vienna. In the film, Welles portrayed the American racketeer Harry Lime, a fugitive sought after by the British military for trafficking in bogus penicillin to make a fortune.15 Making allusions to the Cold War, Welles remarked on Hong Kong as the “new Third Man territory” and the “free, wide-open city.”16 Taken as he was by the perilous charm of the underground world in Britain’s last colonial outpost, Welles viewed the city’s illegal businesses as “all part of the Third Man style,”17 notoriously as a haven for crime and adventure. Gilbert’s reminiscences present an unruly Welles, who could not work with his British partners. Forget about the charisma of Welles and his cinematic classic Citizen Kane (1941). I take the untold story of Welles in Hong Kong and, more importantly, the uncomfortable cooperation between the British and American filmmakers in making Ferry to Hong Kong as emblematic of a rift in the Anglo-American alliance to defend Hong Kong against Communist China’s alarming aggression. The Anglo-American cinematic collaboration throws light on the uneasy relations between the two major Western Cold War allies, one a collapsed empire and the other an ascending global power. On Asian Cold War fronts, the defense of Hong Kong had serious geopolitical and international implications for the United States. As Chi-kwan Mark contends, throughout the 1950s when conflicts in Korea, Indo-China, and the Taiwan Straits raised the specter of a Sino-American war in Asia, Hong Kong became a crucial concern in US foreign policy.18 As Britain kept on withdrawing its overseas garrisons due to its shrinking domestic economy, Hong Kong was rendered indefensible against an overt attack, save with US support. Anglo-American relations involved complicated negotiations—not only over the protection of Hong Kong but also concerning the general relationship of the two Western powers and the extent to which Britain was willing to support US causes in international affairs. Mark argues that Hong Kong was put in a difficult position as a “reluctant Cold War Warrior”19 in the Anglo-American alliance, as Britain had to juggle between the discordant commitments to maintaining friendly relations with China and avoiding ruptures in the American partnership.20 An allegorical reading of the production of Ferry to Hong Kong can deepen understanding of the underlying geopolitical narratives of Cold War Hong Kong. Gilbert agreed to make the film in the shadow of Britain’s special relationship with the United States, as embodied by Welles. The American filmmaker not only assumed an intimidating presence on the film set but also saw Hong Kong in Cold War terms as a city of political intrigue. Welles’s remark reminds us of Edward Dmytryk’s Soldier of Fortune (1955), in which Hong Kong was imagined as an “East Asian Casablanca,” a safe transit place for refugees and escapees from Red China and a refuge for Hank Lee (Clark Gable), the US Navy deserter turned smuggler and pirate.21 Welles observed that the frontier with China—“a collision of two worlds”—made the border one of the world’s most dangerous and exciting contact zones. As a famed American filmmaker—and a tourist—Welles gained special permission from colonial authorities to visit the China border area. He appreciated it as “the only place in the world where Britain ha[d] a common frontier with a Communist country and the Union Jack [flew] opposite the Red Flag.”22 When Welles alluded to Hong Kong as “the new Third Man territory,” he could have been voicing British fears of Soviet aggression in central Europe as much as the infiltration of Chinese Communism in Hong Kong and Southeast Asia. By 1949, British policymakers propagated the view that Hong Kong was the “Berlin of the East”—the linchpin of the eastern front of the Cold War—where rival empires had converged in the British colony.23 In September 1949, British foreign secretary Ernest Bevin told US secretary of state Dean Acheson that “Hong Kong was the rightwing bastion of the Southeast Asian front.” If Hong Kong were to be lost to the Communists “the whole front might go.”24 Hong Kong governor Alexander Grantham, who served his term of office in 1947–1957, perceived the new Chinese Communist regime as “violently anti-Western, anti-British, and anti-Hong Kong.”25 The political referent of Berlin, which was the most prominent symbol of the Cold War in a split Europe, was revoked to reveal the precarious and “indefensible” situation of Hong Kong as seen by British eyes. No less important than economic and strategic reasons, the prestige factor in international affairs was pivotal in driving the British government to maintain control and stability of Hong Kong. Prime minister Clement Attlee warned his cabinet that a failure to defend Hong Kong “would damage very seriously British prestige throughout the Far East and South-East Asia.” Moreover, “The whole common front against communism in Siam, Burma and Malaya was likely to crumble unless the peoples of those countries were convinced of our determination and ability to resist this threat to Hong Kong.”26 The wave of decolonization, which gained momentum after World War II, was restructuring the world order as well as bringing the British empire to an end. For Britain the Asian Cold War began with the declaration of the emergency in Malaya in 1948. A more remarkable Anglo-American joint venture was The 7th Dawn (1964), produced by Rank and also directed by Lewis Gilbert, about an American major (played by American star William Holden) who helped Malayan forces defend Malaya from the Japanese invasion during World War II. After the war, he was drawn into the British’s counter-Communist operation in which he had to confront his former Chinese ally who joined the Communist rebel force. The 7th Dawn was released by United Artist in the United States, starring William Holden as one of the biggest box-office draws in Hollywood. The producer hoped that the film about British struggles in Cold War Asia “would help to make the American people as a whole more aware of the part Britain [was] playing against Communism in the Far East.”27 In addition, the US market was both commercially and diplomatically important for Rank to sell British war films abroad as well as to forge a united cultural front of British cinema and Hollywood in resistance to Communism. The bargaining between British and American powers in international politics mirrors the nature of Anglo-American cooperation on the production of big-budget Cold War films as well as the delicate balance between this alliance and the anti-Communist coalition. Little known, however, is Welles’s cinematic trajectory from The Third Man, a political noir that captured the paranoia of Vienna during the four-power occupation of Austria from 1945–1955, to Ferry to Hong Kong, in which his high-profile excursions and interviews in Hong Kong obviously showed us the condescending gaze of an American visitor who squarely exoticized as well as marginalized the local realities of the city. The Third Man symbolized the underlying tensions and vulnerability of an Anglo-American alliance against the Soviets.28 The British could see themselves only as a diminishing empire caught between two monolithic powers, the United States and the Soviet Union.29 With contextual and textual scrutiny, I argue that A Ferry to Hong Kong not only revealed to us the vulnerability of this alliance at the production stage but that the cinematic imaginary itself was rather self-critical of British nostalgia with an uncertainty of imperialist ambitions to preserve the colony as what it used to be, in the period when Britain’s global position was surpassed by the United States, and in which empire defense was reconfigured as imperial retreat. Cold War Cinematic Memories This article analyzes the representation of British imperial nostalgia in a spectacular British-produced picture and an Anglo-American joint venture, Ferry to Hong Kong, to throw light on the cinematic connections between Britain and Cold War Hong Kong as a complex historical situation, in which US forces were proactively undertaking cultural interventions, not least through the dominating presence of Hollywood. Imperial nostalgia is “associated with the loss of empire—that is, the decline of national grandeur and the international power politics connected to economic and political hegemony.”30 Postwar British cinema is a compelling vehicle to articulate the underlying tensions of the dissolution of the empire and the dwindling of Britain’s world power.31 In this study, Ferry to Hong Kong is taken as an imaginary battleground in Britain’s ideological war against the forewarned Communist intrusions into the Crown colony. A sentiment of loss of power or status underpins the nostalgic undertones in Ferry to Hong Kong. Affectively, the picture wrestles with the pain and rueful memory of a cherished past that was disappearing and embraces “a romance with one’s own fantasy,” where memories of the past are conditioned by the exigencies of the present crisis moment.32 It clandestinely informs how the less powerful nation now has to come to terms with current political reality to account for the shifting international order in the postwar world. Drawing widely on primary sources as well as secondary accounts, including media responses upon the film’s release and individual memoirs of production, this study probes into the evolution of the story of a sinking ferry from the real-life story behind the film—its fictionalization—to the events of its cinematization as a Cold War allegory. The essay also addresses recent Cold War scholarship that has placed due emphasis on American foreign policies and strategies in containing the spread of Communism in Asia where Hong Kong played a key role. Sangjoon Lee has examined the Asia Foundation (TAF), a US nongovernmental agency that established Hong Kong as the primary center of media production—especially newspapers, magazines, and movies—to promote non-Communist and counter-Communist materials for overseas Chinese audiences in Southeast Asia. The significance of Hong Kong was fundamentally attributed to its geographical, political, and economic weight among overseas Chinese communities.33 Poshek Fu also points out that TAF was deeply involved in the cultural warfare in Hong Kong, while motion pictures constituted a major instrument of propaganda—namely, the use of moving images to contain Communist influences in overseas Chinese communities.34 Alongside TAF, United States Information Services (USIS) played a fairly important role in producing Chinese-language pictures in Hong Kong and Southeast Asia to counter the cultural and political impacts of pro-Communist cinema in the regions.35 While the United States took Hong Kong as its major propaganda hub and was proactive in engaging anti-Communist politics in Asia, British officials sought to prevent overt propaganda efforts by both the United States and China; hence, they pursued a pragmatic tactic to sustain the “ ‘careful fiction’ of Hong Kong’s neutrality in the Cold War.”36 In domestic politics, the Hong Kong government tried to maintain political neutrality and a nonconfrontational approach vis-a-vis the threatening presence of Chinese Communists across the border. The colony was a “Cold War grey zone” where “certain communist activities were tolerated but rigidly confined by the colonial legal frame.”37 Britain preferred appeasement to confrontation in order to maintain the status quo of Hong Kong. In this light, the British never deliberately released their own war films or propaganda works in Hong Kong. Even though the colony was formally under British rule, they did not seek to advance their political cause or interest in this fashion.38 A notable example is Michael Anderson’s Yangtse Incident: The Story of HMS Amethyst (aka Battle Hell) (1957). This was a British-made war movie that hailed British naval valor against the Communist Chinese army’s attack on the Yangtze in 1949. There is no obvious local release record of the film in Hong Kong.39 On April 19, 1949, the British frigate HMS Amethyst was ordered up the Yangtze River to act as a guardship for the British embassy in Nanjing during the Chinese civil war. The ship came under fire from Communist artillery batteries on the northern bank of the river, and it ran aground. After being held in custody for three months by the Communists, whose demand for a British apology was firmly refused, the ship, under the command of Lieutenant Commander John Kerans, fled 167 kilometers (103.7 miles) in the dark to rejoin the British fleet in Shanghai. During the incident seventeen members of the crew were killed and ten wounded.40 The frigate arrived in Hong Kong in August under a glare of publicity from the world’s press. With the intention of reconstructing an official British version of the ship’s three-month ordeal, Yangtse Incident warranted official support from the foreign office, the navy, and the veterans who went through the actual warfare. The national production gave meticulous attention to historical and technical details. John Kerans himself was the film’s technical advisor, and the real HMS Amethyst was used in the film—in fact, it was even more badly damaged during the filming than in the real warfare. While the British propagandistic war film was “a smash for [the] home market” in Britain in 1957,41 it failed to charm American moviegoers or French critics at the Cannes Film Festival. The film received more attention at home than abroad.42 Foreign viewers, even those hailing from Britain’s close allies, greeted it with lackluster enthusiasm; they were not interested in the British national pride it conveyed. Even British commentator Derek Hill was annoyed at its nostalgia: “The British cinema seems to be looking backward because it lacks the courage or honesty to look forward. And nostalgia over past military exploits is even more dangerous than nervousness about the future.”43 Yangtse Incident emerged in an age of anxiety when the empire was falling apart. The war film did not fare well enough at the box office to recover its production costs. It premiered in 1957 in Britain, two years before A Ferry to Hong Kong was screened in Hong Kong. Indeed, Gilbert was associated with a dozen war films of the 1950s made to commemorate war heroes in “the people’s war.”44 Gilbert acknowledged that the war film genre arose because “after the war Britain was a very tired nation.” Already in the mid-1950s, war films were needed as “a kind of ego boost, a nostalgia for a time when Britain was great,” since economically the country was already falling behind the defeated nations of Germany and Japan.45 Major British studios like Rank were as much enmeshed in the ideological battle against Communist subversion as they were eager to vindicate British values. The British government between 1945 and 1965 sought to “integrate the cinema within the anti-communist and anti-Soviet propaganda campaign”; films were seen as “potentially active producers of political and ideological meanings.”46 Before producing A Ferry to Hong Kong, Rank specialized in “colonial war” films, which articulated British memories of World War II and the uprisings in its colonies.47 Nevertheless, public sentiment changed in Britain with the Suez Canal debacle and the ensuing demise of British and French colonial power.48 The humiliation at Suez meant to the world that the empire was no longer a source of political strength for Britain, which had already lost its leading position to the United States and the Soviet Union as the new global superpowers.49 By 1958, British viewers were fond of grimmer and more sober remembrances of the war. Two large-budget productions, Columbia’s The Bridge on the River Kwai (dir. David Lean, 1957) (starring William Holden) and Ealing’s Dunkirk (dir. Leslie Norman, 1958), topped the British box-office polls.50 These cinematic representations and audience responses could have been telling signs that “the British psyche under stress was vulnerable, volatile, and potentially unreliable.”51 These popular war films played a role in restoring Britain’s prestige in the context of British isolationism and anxiety and conveying the enduring theme of individuals fighting against impossible odds in the madness of war.52 But Gilbert’s film did not follow the popular success of The Bridge on the River Kwai. The British American war epic and adventure story mixed personal conflicts and ordeals with heroism, valor, and anti-war ideals. Ferry to Hong Kong, instead, was informed by the allegorical storytelling of the competing interests of Britain and America in screening Hong Kong to the (Western) world. Hollywood reacted favorably to American foreign policy orientations to produce imaginary pictures of America’s Cold War confrontations with Communist China and heroic adventures set in Hong Kong, such as Soldier of Fortune, where the British were nominally in power. Hollywood’s propaganda and soft power often counted on films that portrayed the Communists as a dark and barbaric force that infiltrated and threatened to destroy America.53 Ferry to Hong Kong tended to be more subtle and subdued. It conveyed sentiments of nostalgia and loss by portraying a descendant of the doomed Austrian and British empires as an exile condemned to a drifting shipboard life. It was a cinematic exemplar of British soft propaganda, a self-defensive but self-defeating eulogy of British national influence on Asian Cold War fronts. Yet, in competing with Hollywood, the British film was locked within the Western cinematographic cliché and Cold War Orientalism. Cold War Coproduction and Orientalism The long-forgotten event represented in Ferry to Hong Kong and British-American joint endeavors have been a subject of Cold War film studies in East Asia. Stephanie De Boer has examined Hong Kong-Japan coproductions made from the 1950s to the 1970s in the shadow of Japanese imperial occupation of the region and its postwar media legacy.54 Cinematic coproductions, as Erica Ka-yan Poon argues, was an intensified site of cultural battles for prestige in Cold War Asia.55 The event represented in Ferry to Hong Kong makes for a cogent case study of British film production liaising and vying with Hollywood and underlies both imperial nostalgia and colonial geopolitics in the 1950s. The production of Ferry to Hong Kong cost half a million pounds (roughly $1,400,000) and marked Rank’s most ambitious project to date. Rank sought to compete with Hollywood studios by making increasingly lavish international coproductions with CinemaScope color photography to be sold at home and abroad. In the film’s early stages of planning, Rank’s chairman John Davis decided that “an exotic title, and American leading man and a continental director” were needed to make a successful international picture.56 The declining turnout at domestic theaters amid the competition from television,57 as well as the dominating presence of Hollywood, forced Rank to shift its strategy to produce only expensive blockbusters that “had international entertainment appeal” and could be “vigorously sold in foreign markets.”58 In terms of technology, Ferry to Hong Kong was the first of Rank’s feature films that adopted the US wide-screen format of CinemaScope. In Hong Kong, the production team converted a ferry into a paddle steamer specifically for moviemaking and hired local labor to build a studio stage and a crane for the CinemaScope camera.59 The on-location shooting had been widely practiced by Rank in (former) British colonies and the Commonwealth countries. The studio took full advantage of the newest Eastman Color innovation and lightweight cameras to make a range of films that exploited exotic locations.60 Made with the cosmopolitan conformity of international production, and invested with clichés of Orientalism (Chinese pirates, seductive dancers, thugs and gangsters, and devoted lovers in an underdeveloped Asian land), the film attempted to tap into the fascination of international audiences with the exotic and the spectacular in the 1950s. In Hollywood’s most iconic Hong Kong films, Love Is a Many-Splendored Thing and The World of Suzie Wong, Hong Kong was generically featured as an exotic tropical locale where everyday life and local realities were sidelined to give way to exoticism and desire.61 The Cold War city was positioned as a place of refuge and a site of intercultural romance, where “a postwar American identity can be defined against an emerging Asian communism and the decay of European colonialism.”62 Love Is a Many-Splendored Thing opens with an astounding bird’s-eye view of Hong Kong Island and the harbor. The camera flies over and runs parallel to the waterfront until it cuts to a scene of urban streets and chaotic traffic, following an ambulance along Queen’s Road. Alfred Newman’s themed music sets the film’s affective tone with a sense of aloofness, whereas the lovers’ rendezvous occurs on an idyllic, grassy hilltop (shot in rural California), which is alienated from the urban density and social reality of Hong Kong. By comparison, The World of Suzie Wong has more engagement with Hong Kong’s urban locality, with scenes of the street markets and bars in Wanchai. The white male protagonist ventures into the shanty towns and witnesses the awful living conditions of Chinese refugees. The location shots of urban reality turn the exotic locale into a dystopic “lawless wilderness.”63 Recalling Hollywood’s dominant aesthetic temperament of location-shooting, the opening montage sequence of Ferry to Hong Kong follows the nomadic protagonist Conrad walking from the waterfront of western Kowloon to overcrowded market streets on Hong Kong Island, transitioning from day to night when Conrad passes by the Dragon nightclub with its clichéd oriental flavor (fig. 4). Figure 4: Source: 20th Century Fox, Ferry to Hong Kong, 1960, printed still, IMDb, https://www.imdb.com/title/tt0052799/mediaviewer/rm572475904/. The sequence is preceded by the juxtaposition of a modern steamship and a junk in the harbor as a stock phrase of East meets West. It cuts to a floating sampan as we see Conrad wake up and walk off to the shore. Dressed in a soiled suit and sleeping on the boat, covered by newspapers for warmth, Conrad is presented as a man without a home, a tramp on an outdoor adventure. The wide-screen format permits more lateral camera movement to capture Conrad’s walk among the boat people across the fishing shelter, showing the breadth of the physical space of the working-class neighborhood. His wandering is accompanied by a soundtrack of Nanyin (Southern tunes) singing, the local Cantonese vernacular music performed by blind singers to entertain lower-class people. The establishing sequence is followed by a shot of the sunset over the sea and the nightclub in a bright neon light, framed and illuminated by the CinemaScope and Eastman Color to transform the shore footage into an oriental spectacle. “Photographed in color entirely in the Hong Kong area,” a critic noted, “the Twentieth Century-Fox release is drenched in exotic atmosphere. It fairly simmers as the opening credits come on.”64 The Orientalism of Ferry to Hong Kong extended beyond the movie screen to real-life cinematic circles and social gatherings in London. The film was promoted in its British homeland as a blockbuster, “one of the most ambitious British films for years.”65 It received a spectacular world premiere in London attended by one thousand guests on July 2, 1959 (fig. 5).66 Figure 5: Source: Ferry to Hong Kong (1959) Premierenfoto 3, 1959, photograph. Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-premierenfoto-3/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. Popular media compared the extravaganza to the producer Mike Todd’s grand premiere party for Around the World in 80 Days (dir. Michael Anderson, 1956). The glamorous oriental-themed party greeted the guests with fireworks and spectacles.67 A few celebrities traveled on sampan boats across the Thames River to attend the party while Jurgens and Syms took rickshaw rides (fig. 6).68 Figure 6: Source: Ferry to Hong Kong (1959) Premierenfoto 1, 1959, photograph. Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-premierenfoto-1/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. In a cinematic setting glitzed up by Chinese lanterns and dragon icons, they enjoyed a sumptuous buffet of exotic Chinese dishes, such as honeyed grasshoppers, served with chopsticks and delivered by ethnic Chinese girls in cheongsams (fig. 7). Figure 7: Source: Ferry to Hong Kong (1959) Curd und Simone privat 8, 1959, photograph. Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-curd-und-simone-privat-8/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. The guests were entertained with variety shows featuring Chinese acrobats, dragon-dance performers, jugglers, fortune-tellers, and an orchestra band.69 In Hong Kong, the film stars had no qualms about showing their (self-)Orientalist appreciation of the Chinese lifestyle in the colony to Anglophone media, which followed their sightseeing tours when they were not filming. Jurgens and Syms put on Chinese clothing, collected Chinese antiques, and tried outlandish Cantonese foods like snake soups and hot pots.70 Jurgens and his spouse Simone Bicheron visited the Precious Lotus Temple on Lantau Island, expressing amazement at the sedan chair ride as they were carried uphill by Chinese coolies (fig. 8).71 Figure 8: Source: Ferry to Hong Kong (1959) Curd und Simone Privat 13, circa 1959, photograph. Curt Jürgens: The Bequest, Deutsches Filminstitut & Filmmuseum, https://curdjuergens.deutsches-filminstitut.de/nachlass/ferry-to-hong-kong-1959-curd-und-simone-privat-13/. Reproduced by permission of Deutsches Filminstitut & Filmmuseum. The stars marveled at their tourist excursions as they experienced and imagined how upper-class expatriates lived in Hong Kong (fig. 10).72 Figure 9: Source: S. D. Panaiotaky, See HongKong, the Riviera of the Orient, circa 1935, poster, color, 105 cm. x 67 cm. on cloth board. Hong Kong Travel Association, Hong Kong, in Hong Kong Baptist University Library Art Collections, https://bcc.lib.hkbu.edu.hk/artcollection/91512504h757t2/. Image courtesy of Hong Kong Baptist University Library. The zealous coverage in the English media of the stars’ tourist activities revealed Cold War Hong Kong’s status not only as a favorite film location for Western—predominantly Hollywood—moviemakers but also as a popular tourist desination in Asia. This was particularly true of Americans, who made up the largest national group of foreign visitors. Like a host of foreigner filmmakers before him who made trips to the city to shoot travelogue footage of their exotic Orient,73 Welles took the opportunity to privately obtain movie footage of the city and documented local customs like Chinese weddings and funerals.74 Postwar Hong Kong saw a ten-fold surge in tourists from the 1950s to 1960s, making the city the second most popular destination in Asia, after Japan.75 It was American businesmen and executives who played an important role in promoting Hong Kong as Asia’s tourist hub.76 From the Korean War (1950–1953) to the escalation of the Vietnam War in the 1960s, the US military and the Seventh Fleet also used Hong Kong as a liberty port as well as a “rest and recreation” (R&R) center for thousands of American soliders and sailors.77 American tourism and Hollywood blockbusters were thus inextricably related to forging the spectacle of Hong Kong to be imagined and consumed by global visitors and by viewers on the screen. In addition, Asia had seen rapid economic growth in the early 1950s and become an expanding market for international motion pictures: “The natives are particularly interested in Hollywood films.”78 An exemplary popular success was The World of Suzie Wong, adapted by American producer Ray Stark from a best-selling novel by British author Richard Mason. Both the fictional and cinematic storytelling infamously propagated foreign images of Hong Kong/Wanchai as the exotic “world of Suzie Wong,” with girlie bars, dance halls, brothels, and restaurants catering to foreign visitors and sailors.79 Released only one year apart, both The World of Suzie Wong and A Ferry to Hong Kong shared Hollywood’s narrative interest and commercial drive to popularize the tourist gaze on the screen. With the advantage of on-the-spot shooting, the movies could visualize the picturesque environments in color and sound, evoking an ethnic charm of working-class crowds hustling and bustling in street markets and the boat people living on waterfront shelters. But the British film could not compare with the success of Hollywood’s tale of Suzie Wong, which fueled the popular American fantasy of the “white knight,” a role assumed by a Caucasian male lover to safeguard his Asian girl.80 Sylvia Syms, who starred in both films, plays a wealthy upper-class British banker’s daughter, Kay O’Neill, in The World of Suzie Wong. A condescending British lady who despises the intimate relationship between her American painter friend Robert Lomax (William Holden) and his poor Asian lover, Suzie (Nancy Kwan), she acts as a romantic foil. Not only does the American hero save Suzie from the debris of war in poverty-stricken Hong Kong/Asia, but he also releases her from the grip of British violence and racism by physically fighting a British sailor who harasses Suzie and rejecting the temptations of O’Neill’s patronage. Robert shows his American distaste for British hierarchy and for business. By portraying an interracial love affair, the Hollywood film hides its own racism and exoticism. In Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961, Christina Klein explains how American middlebrow cultural products such as films, stage plays, magazines, and travel writings translated US foreign policy and shaped American audiences’ belief in the role of the United States in Cold War Asia as the defender of democracy and freedom regardless of race and class.81 Klein argues that American middlebrow fiction and films functioned to reshape its Orientalism to propel the myth of America-Asia bonding in a consolidation of the Free World in Asia.82 Similarly, The World of Suzie Wong was ideologically important for disseminating American values of freedom to audiences. In Ferry to Hong Kong, however, the romance of the Caucasian lovers Ferrers and Conrad could not excite the Orientalist imagination of American viewers. Rather, it was the understated lead Jurgens who, as the fugitive, gave the film reflexive depth with respect to British self-image and its identity crisis. The film changes the novel’s American protagonist Clarry Mercer to British Austrian antihero Conrad. The name no doubt recalls Joseph Conrad’s characters and their misadventures in the “primitive” lands of British colonies. In Heart of Darkness (1899), Marlow’s mythical journey up the Congo River relates to his quest for the self; he is caught between the “civilized” and “uncivilized” worlds. In the film, Conrad in his uninvited excursions is met with contempt and hatred by his civilized British compatriots on board. A snobbish old lady in Victorian dress casts a derogatory look at Conrad, who cannot pay the travel fare at the entrance, when boarding the upper deck. Captain Hart despises him as a drunk and brawler. Calling Conrad “human refuse,” Hart throws him down to the lower deck with the Chinese passengers. The outcast’s experience offers viewers a glimpse of the inequality of different social classes in colonial society as reflected on the boat. By colonial law, Conrad is an “undesirable alien” expelled by the British Hong Kong police and must obey official instructions that refuse his entry to Hong Kong and Macau. The film is inescapably stuck in a double bind between its (self-)mockery of British class society and imperialism and its Cold War Orientalism. Like Marlow’s voyage of self-discovery in Heart of Darkness,83 Conrad’s exilic journey in Ferry to Hong Kong illuminates the truth through the eyes of the underdog hero: imperialism is only a shadowy presence. But the ideological battle for hearts and minds dictates the film’s anti-Communist storytelling. The climax is freighted with thrilling action when storms and rains thrust the vessel into the darkness of the South China Sea, where pirates board the ship to rob the wealthy passengers. These uncivilized natives are none other than the Chinese Communists, who plunder the ferry. Conrad shines in his chivalric valor by heroically ridding the stranded ferry of Chinese pirates to save the passengers. Aided by Captain Hart and the crew, Conrad overcomes the pirates and comes close to steering the storm-battered ferry back to port, but it sinks in Hong Kong harbor (fig. 10). Figure 10: Source: H. K. Watt, Ferry to Hong Kong Film, 1958, photograph. Archives of Hong Kong Historical Aircraft Association, https://gwulo.com/atom/13776. Courtesy of the Hong Kong Historical Aircraft Association. Hong Kong actor Roy Chiao plays the Americanized Chinese Johnny Sing-Up, a black-leather-jacket and blue-jean-clad Elvis-styled rogue who teams up with Master Yen, the bald-headed, brutal pirate leader. Johnny describes his partner to the passengers as “a vulgar man of action,” but “he is civilized like me” (fig. 11). Figure 11: Source: Warner Brothers and Seven Arts, Ferry to Hong Kong, printed still. moondollar007 on eBay, https://www.ebay.com/itm/174206463075. This understated line might remind us mockingly of how similar the violent looting by uncivilized pirates really is to the taking of territory by civilized colonial masters. Chiao’s participation in the Anglo-American blockbuster attracted much Chinese media attention. In an interview published in International Screen, the Chinese flagship magazine of Cathay-MP&GI (Motion Picture & General Investment), he attempted to alleviate the charge of racism made against the film. Chiao told the reporter that he had convinced Gilbert to modify provocative dialogue to avoid racial discrimination against Chinese. Welles originally had a line, “I would rather die than be caught giving out this ferry to you ‘Dirty Chinese.’ ” On Chiao’s advice, “Dirty Chinese” was changed to “Dirty Oriental.”84 (Today, both terms are equally racial slurs.) For Marchetti, the root of Hollywood’s representation of Asians can be traced back to the “yellow peril” in which these “irresistible, dark, occult forces of the East” will overpower and destroy the Western civilizations, cultures, and values.85 Ferry to Hong Kong smacks of blatant racism comparable to Hollywood’s in depicting Chinese as hoodlums and looters. In 1960, it might seem early to be calling out Hollywood’s stock representation of Chinese pirates.86 But Chinese commentators were already furious at the film’s Hollywood-style Orientalist gaze. A critic writing for Chinese Student Weekly denounced the film’s overlooking of Hong Kong’s urban modernity as the camera scouted only for exotic scenes.87 The leftist Ta Kung Pao lamented the portrayal of Chinese as violent pirates or more generally as ignorant, unflattering, and primitive subjects. The film inaccurately conveyed an impression of an underdeveloped city with messy traffic and an ineffective police force.88 Even expatriate viewers in Hong Kong complained about the spectacle of the harbor and the waterfront showcasing backwardness, disorder, and crime: “The only onshore impression given of Hong Kong is a place of drunken brawls in bars full of doubtful girls frequented by sailors of many countries.” The sinking of the Fat Annie in Victoria Harbor surrounded by sampans “gives a particular insulting impression of Hong Kong.”89 The film’s stereotypical depiction of the pirates as barbaric subjects is aligned with the Cold War’s “siege mentality” and “Red Scare,” in which the Communist enemy is treated as a dark force poised to invade the Free World.90 The visual-ethnographic representation of Macau was outrageous to Chinese critics too. The scenic beauty of Macau was inauthentic, and the place where it was filmed was “worse than every postcard in the market.”91 The camera featured a funeral procession. The scene was choreographed with Indigenous Chinese people dressed in archaic Qing dynasty attire to appeal to the Western preconception of premodern China. In real life, Welles took his own camera to film documentaries in Macau, including a Chinese funeral.92 Adding to the thrill of the actual filming in Macau was a potential confrontation of the crew with angry Communist supporters when they did location shooting close to the Chinese (Zhuhai) border. Communist agitators across the shore warned the crew to keep off Chinese territory, waving red flags and playing propaganda songs at Gilbert’s teammates. In response, the director broadcasted a humorous speech and played jazz music. Gilbert yelled at the Communist activists across the shore: “If you have to arrest someone, go for my cinematographer!”93 In the same year when Ferry to Hong Kong began its world premiere in London and Hong Kong, the MP&GI-produced Mandarin picture Air Hostess (1959) was released in Hong Kong, starring Chiao and Grace Chang, a talented Hong Kong Chinese movie star, singer, and popular idol. MP&GI followed the Hollywood studio system and vertical integration of production, nurturing its movie stars and churning out romantic comedies and urban dramas often filled with North American pop music and dance numbers such as jazz, cha-cha, and mambo. A big-budget film shot in Eastman Color, Air Hostess was shot like a travelogue, showcasing the exotic beauty and modernity of the Asian cities of Hong Kong, Singapore, Bangkok, and Taipei. The cinematic tourism of Asian and Southeast Asian locations outside the People’s Republic of China (PRC) orbit created an inter-Asian, pan-Chinese imagined community free from the reach of Communism and celebrated the US-supported modernity of Taiwan as an exemplar of Free China. Poshek Fu claims that Air Hostess was one of the most significant Hong Kong Cold War movies.94 The high-cost, high-tech, star-studded transnational production served ideologically to highlight the desire of Asian regions for technomodernity (air travel and mobility) and a good life of capitalist prosperity for pan-Chinese societies outside of mainland China. While MP&GI exploited the screen success and widespread idolization of its stars to promote the tourist gaze of Asian modernity for pan-Chinese audiences, the Asian actors were marginalized in Hollywood and Anglo-American cinema. Chang was relegated to a minor, uncredited role as a sampan girl in Soldier of Fortune. Ferry to Hong Kong denigrated Chiao by casting him as a small-time rogue. It did not attend to ethnic authenticity of its Chinese characters or care very much about taking a share of the Asian market. The film was a journey of British Orientalism and cinematic tourism in search of a lost prestige, as well as an exercise in self-portraiture when faced with the oriental Other. Besides MP&GI’s coverage of Chiao’s role in Ferry to Hong Kong, Taiwan’s Central Daily News and United Daily News applauded the Hong Kong actor for working with international stars; it brought prestige, regardless of the fact that he played an Asian villain. He was called “the actor of our country (China)” (我國演員) and the “actor of China” (中國演員).95 The claim to “China” by the Taiwan presses unabashedly unveiled the feud between the Guomindang (GMD) regime in Taiwan and the PRC over being the legitimate representative of China in the 1960s. In Hong Kong, the British authorities were cautious to avoid any possibility of a “Two Chinas” situation and strove to prevent the Taiwan question from triggering a hot war in East Asia.96 In the local cinema, censors were instructed to closely examine all Chinese-language pictures produced in mainland China, Taiwan, and Hong Kong and to “bear in mind particular sensitivities on both sides of the camp to implied recognition of ‘Two Chinas.’ ”97 The Taiwanese press was spinning the story to suit its own political agenda. Its claim of legitimacy of “China” indicated how Cold War geopolitics played out in transnational production. Indeed, the corporate strategies of MP&GI meshed with Cold War cultural politics. MP&GI’s Malayan Chinese owner, Dato Loke Wan Tho, was involved in the politics of anti-Communism and “identified with ‘Free China’–Taiwan—as the custodian of Chinese culture and thereby the only legitimate Chinese government.”98 When anti-Communist messages were taboo under Hong Kong’s censorship, MP&GI turned to the Hollywood model to produce urbanized romances and narratives of Free Asia modernity. Hollywood has become a channel for exporting American capitalism, democratic freedom, and modern-life culture. MP&GI then promoted one of its biggest movie stars, Grace Chang, to American television.99 Yet, this regional Asian cinematic pursuit of modernity was juxtaposed with the tradition of Orientalism. As mentioned, behind the filming and screening event of A Ferry to Hong Kong, the involvement of Chinese/Asian stars in Anglo-American big-budget productions concealed the Cold War geopolitics and the lopsided power dynamics of Hollywood and Asian cinema. Acknowledgments This article was written with the support of the Research Grants Council of Hong Kong. I am deeply grateful to Lee Sing Chak, Kuan Chee Wah, and Jessica Siu-yin Yeung for their research assistance. I am indebted to Isabel Galwey, Hazel Shu Chen, Mike Ingham, and my anonymous reviewers for their comments. Notes Author Biography Kenny K. K. Ng is associate professor at the Academy of Film at Hong Kong Baptist University. His published books include The Lost Geopoetic Horizon of Li Jieren: The Crisis of Writing Chengdu in Revolutionary China (Brill, 2015); Indiescape Hong Kong: Interviews and Essays, coauthored (Typesetter Publishing, 2018) [Chinese]; and Yesterday, Today, Tomorrow: Hong Kong Cinema with Sino-links in Politics, Art, and Tradition (Chunghwa Book Co., 2021) [Chinese]. He has published widely in the fields of comparative literature, Chinese literary and cultural studies, cinema and visual culture in the United States, the United Kingdom, Europe, Hong Kong, Taiwan, and China. His ongoing book projects concern censorship and visual cultural politics in Cold War Hong Kong, China, and Asia, Cantophone cinema history, and left-wing cosmopolitanism.
7961	dbpedia	3	4	https://kinseyinstitute.org/about/history/alfred-kinsey.php	en	Dr. Alfred C. Kinsey			[ "https://www.facebook.com/tr?id=556531899056667&ev=PageView&noscript=1", "https://kinseyinstitute.org/img/KinseyLogo74x414.png", "https://kinseyinstitute.org/img/profiles/previous-directors/akinsey.jpg", "https://assets.uits.iu.edu/image/iu-sig.2x.png" ]	[]	[]	[ "" ]	null	[]	null	Dr. Alfred C. Kinsey		https://webtest.iu.edu/~kiweb/img/favicon.ico		null	Education and Early Career Alfred Charles Kinsey was born in Hoboken, New Jersey, June 23, 1894. He attended Bowdoin College, Brunswick, Maine (1914-1916), graduating magna cum laude with a B.S. in biology and psychology. He received his Sc.D. in biology from Harvard University in September 1919. Dr. Kinsey arrived at Indiana University in 1920 as an assistant professor of zoology. For the next 20 years, Kinsey studied gall wasps, and established a solid academic reputation for his biology tests and his research in taxonomy and evolution. By 1937, American Men of Science listed him as one of their "starred" scientists. During his work on gall wasps, Dr. Kinsey developed many of the techniques around recording and organizing data that would come into play in his later research into human sexuality. He took dozens of minute measurements on each tiny wasp, and recorded the data in sheafs of notes, later developing his own coding system for the information - precursors to the detailed sex history questionnaires and recording codes he developed for use by his sex research team. Transition to Sex Research In 1938, the Association of Women students petitioned Indiana University to offer a course on marriage for students who were married or contemplating marriage, part of a nationwide demand for similar courses. Dr. Kinsey, popular with students, was invited to coordinate the new course, "Marriage and Family," restricted to senior and married IU students. Faced with questions from students about sexuality, Kinsey could find little scientific information on human sexual behavior that was not value-laden or based on small samples from clinical trials. His interest in the topic was piqued by this "gap in our knowledge," and he began collecting sex histories, first from his students, and then from groups and individuals in Bloomington and throughout Indiana. In 1940, President Wells gave Kinsey a choice: to continue either with the marriage course or with his sexuality research project. Kinsey chose to concentrate on his sex research, again crisscrossing the United States, this time to conduct sexual behavior interviews. Over the next few years, Dr. Kinsey sought out funding for his research expenses and began gathering a research team. In 1947, Dr. Kinsey became the founding director of the new Institute for Sex Reseach (ISR), which published Sexual Behavior in the Human Male in 1948 and the complementary work, Sexual Behavior in the Human Female ,in 1953. The two books were wildly popular, and Dr. Kinsey became an American celebrity mentioned in cartoons, novels, and popular music. The Great Collector During his early career as an entomologist and zoologist, Kinsey travelled across North America collecting specimen wasps and the galls from 36 states and parts of Mexico. Altogether he amassed a collection of more than 7.5 million gall wasps that is still available to researchers through the Division of Invertebrate Zoology of the American Museum of Natural History. In his personal life, he was known for his collections of both irisis and 78 rpm records. His expansive gardens included over 250 different varieties of irises, some of which he sold to local gardeners and other collectors. A music lover, when the 78 rpm record was introduced, Kinsey began avidly collecting again, building one of the largest private record collections in the Midwest at the time. When he turned his attention to sexology, Dr. Kinsey was no less ambitious, outlining a goal to collect comprehensive sex histories from 100,000 interviewees. The interview questionnaire he designed for his research team included hundreds of questions on every aspect of human sexual behavior. While the average interview lasted a couple of hours, some could run as long as six hours or more. The resulting collection of over 18,000 detailed sex histories has never been matched. In Introduction to Biology, Kinsey said about the passion for collecting: "If your collection is larger, even a shade larger, than any other like it in the world, that greatly increases your happiness. It shows how complete a work you can accomplish, in what good order you can arrange the specimens, with what surpassing wisdom you can exhibit them, and with what authority you can speak on your subject."
7961	dbpedia	0	32	https://muse.jhu.edu/article/707328	en	“Something’s Missing Here!”: Homosexuality and Film Reviews during the Production Code Era, 1934–1962	https://muse.jhu.edu/art…328/og_image.jpg	https://muse.jhu.edu/art…328/og_image.jpg	[ "https://muse.jhu.edu/images/institution.png", "https://muse.jhu.edu/images/person.png", "https://muse.jhu.edu/images/icon_accessibility.png", "https://muse.jhu.edu/images/muselogo.png", "https://muse.jhu.edu/images/muselogo_notext.png", "https://muse.jhu.edu/images/search_blue.png", "https://muse.jhu.edu/images/search_blue.png", "https://muse.jhu.edu/images/search_blue.png", "https://muse.jhu.edu/publisher/15/image/colophon.jpg", "https://muse.jhu.edu/images/html_icon.png", "https://muse.jhu.edu/images/pdf.png", "https://muse.jhu.edu/images/muselogo_notext.png", "https://muse.jhu.edu/images/footer_icon_fb.png", "https://muse.jhu.edu/images/footer_icon_linkedin.png", "https://muse.jhu.edu/images/footer_icon_twitter.png", "https://muse.jhu.edu/images/muselogoblack.png", "https://muse.jhu.edu/images/muselogo.png" ]	[]	[]	[ "" ]	null	[ "Chon Noriega (bio)", "Chon Noriega" ]	null		en	/favicon.ico		null	In the second act of Tennessee Williams’s 1955 play, Cat on a Hot Tin Roof, Big Daddy confronts his son Brick, who has become an alcoholic and refuses to procreate with his more than willing wife, Maggie the Cat. Perhaps, he suggests, there “was something not exactly right” in Brick’s friendship with Skipper, football buddy who drank himself to death. Unlike the play, the 1958 film adaptation dances around an unnamed problem, until at one point Big Daddy roars, “Something’s missing here!” In the end, that something turns out to be case of idol worship that Skipper betrays. And Brick, freed of the “powerful smell of mendacity,” invites Maggie to bed.1 The New York Times film reviewer Bosley Crowther found Big Daddy’s line—”Something’s missing here!”—emblematic of what the Production Code Administration or Hays Office had done in prohibiting the suggestion of homo-sexuality in the film: left the filmgoer “baffled” at the lack of “logical conflict” and character motivation. While Crowther used the film’s pivotal scene to warn readers, some reviewers even argued that the homosexual motivation was missing after all, but merely muted or left to the imagination.2 These various interpretations were possible because, as one Hollywood sider lamented, “Magazines and newspapers have no Hays office—yet!”3 The Code’s authors, however, were more concerned with the power of film’s “apparent” mimesis than with the “cold page” of books and newspapers.4 Their lack of concern with the “cold page” is ironic, since films were often based on popular novels and plays that dealt with themes the film adaptations could not, and, as Variety pointed out in 1936, “There’s nothing to stop reviewers’ commentaries and analogies to the original. And that’s not going to hurt b.o. either.”5 In other words, reviews would generate interest on the basis of reading against the grain of censorship. Like the Code’s authors, film critics tend to examine the film itself, and not the discursive acts that surround a film and play a sometimes central role shaping its meaning(s).6 Contemporary gay and lesbian film criticism of Production Code era films operates on the same principle, with the added limitation that historical evidence and homosexual “images” either do not exist or were [End Page 20] censored. Thus, in order to ensure “the survival of subcultural identity within an oppressive society,” gay and lesbian film critics have employed a wide range of interpretive strategies to recuperate a history of homosexual images from the censored screen. The emphasis, therefore, has been on “subtexting” censored films from a singular presentist perspective.7 In contrast to these methods, film reviews provide an excellent historical source that—as Robert Allen and Douglas Gomery note in Film History: Theory and Practice—can reveal the “frames of reference” that reviewers disseminated to their moviegoing readers.8 While it would be impossible to establish a direct correlation between—for example—Crowther’s review of Cat on a Hot Tin Roof and a reader’s reception of the film, one can nonetheless state that Crowther put the question of homosexuality before readers to think about and perhaps use in one way or another. It is this discursive fact that “subtexting” overlooks, since, as Michel Foucault argues, such an approach depends upon the notion of unmitigated repression that it alone transgresses: “The central issue, then (at least in the first instance), is not to determine whether one says yes or no to sex, whether one formulates prohibitions or permissions … but to account for the fact that it is spoken about, to discover who does the speaking, the positions and viewpoints from which they speak, the institutions which prompt people to speak about it and which store and distribute the things that are said.”9 The question, then, becomes not whether certain films have—in retrospect—gay and lesbian characters, subtexts, stars, or directors as an anodyne to censorship, but how homosexuality was “put into discourse,” and the role censorship played during the Production Code era. Censorship (what Foucault calls a silence) was not a distinct and self-contained process, but instead “an element that functions alongside the things said, with them and in relation to them within over-all strategies.”10 In order to understand better “the things said,” this essay will examine a particular instance in which informed film reviewers could and often did speak about homosexuality in film during the era of the Production Code restrictions: when they responded to films adapted from literary sources that dealt with homosexuality.11 The thirteen films identified and six periodicals tracked are not meant to be comprehensive, but instead to provide the parameters for a discursive analysis of the period.12 (See list at end of this article.) The periodicals include The New York Times and Time as well as four audience-specific magazines: The New Yorker (upscale urban), Commonweal (liberal Catholic), Films in Review (film fan) and Variety (trade). The methodology I propose here is to neutralize the value judgments inherent in much gay and lesbian film criticism, and examine instead the “occasion” of reviewers’ statements on homosexual sources, subtexts, images, and audiences. The only other study to rely on film reviews is Vito Russo’s groundbreaking book, The Celluloid Closet. Unfortunately, Russo, as I will demonstrate later, quotes well known film reviewers out of context in order to prove a monolithic anti-homosexual bias, an assertion that has just begun to be challenged.13 Because he [End Page 21] judges film reviewers of the 1930s through the 1950s according to contemporary standards, Russo overlooks the contradictory and changing attitudes toward homo-sexuals that are reflected in and reinforced through Production Code era film reviews. Indeed, significant conflicts and changes occurred within that bias over time: reviewers engaged in a “conspiracy of silence” in the 1930s and 1940s, began to identify and condemn homosexual “overtones” and “angles” in the 1950s, and found qualified sympathy for homosexuals in the early 1960s. Overall, film reviews moved from an emphasis on morality to one on psychiatry. In addition, the treatment of male homosexuality and lesbianism differed, highlighting some of the conflicts in the prevailing sexual ideology of the period. Before beginning, it is necessary to understand the social movements and legal changes that in 1934 resulted in film censorship and—at the same time—protected books, magazines, and newspapers from similar censorship. That year, a federal appellate court rejected the precedent set in an 1868 English case, Queen v. Hicklin, that published texts could be censored on the basis of isolated passages that were believed to have the power to “deprave and corrupt.” The decision opened the way for more sexually explicit literary production.14 Censorship of movies, however, was possible because in 1915 the Supreme Court had ruled that movies were “a business pure and simple … not to be regarded … as part of the press of the country or as organs of public opinion,” a decision that would not be reversed until 1952.15 Thus, also in 1934, rather than risk possible state and federal censorship as well as anticipated boycotts by the ten-million-member Catholic Legion of Decency, Hollywood studios proferred strict self-regulation, empowering the Hays Office—now under Joseph Breen—to enforce its four-year-old Production Code. The Code, concerned with the moral impact of film, decreed that “[n]o picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the audience shall never be thrown to the side of crime, wrongdoing, evil, or sin.” Although the Code placed numerous restrictions on sex, it was most emphatic about homosexuality, which was not named as such, but instead as a corruption of “sex”: “Sex perversion or any inference of it is forbidden.”16 The prohibition on homosexual content would last the longest of the restrictions on sex—until October 1961—as the Production Code began to collapse in the mid-1950s along with the studio system upon which its control depended. Thus from the start, a gap was created between film and the printed word that allowed reviewers to note, challenge, and even contradict the absence of homosexual content in films, especially when the literary source dealt with these themes.
7961	dbpedia	0	12	https://www.imdb.com/list/ls046620234/	en	Inspired by British True Crime	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:143-7653892-7297264:FD8H6BV5AAQXT3X91H77$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DFD8H6BV5AAQXT3X91H77:0", "https://m.media-amazon.com/images/M/MV5BMjA1MjkxMDc3Ml5BMl5BanBnXkFtZTcwOTI1MTYxNQ@@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjdhNmYxODctZjUyYi00MDA4LTlhYzktOGQwZGE5MWMwOTg0XkEyXkFqcGdeQXVyMTk0MjQ3Nzk@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZWVjMjAzZDItMDE5NS00NTkzLTlhMDgtMDc4YmFlY2ZiMmI1XkEyXkFqcGc@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BY2NlMjRhODgtYTIzMC00MGY2LTk2MWItNTEzNDQyZGU2OTk0XkEyXkFqcGdeQXVyODY0NzcxNw@@._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZDEwNDc2YWEtN2M1Ny00NDhiLTkzMWYtNjlmYTY1NjQ0M2ZkXkEyXkFqcGdeQXVyMTUzMDUzNTI3._V1_QL75_UX140_CR0,3,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYWRmZDg5MzYtYTliNi00NTBjLWFkNWItYzkzZjRmYWM0M2VjXkEyXkFqcGc@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjA2OTg4NjQ4Ml5BMl5BanBnXkFtZTgwMzE3Mjk5NDE@._V1_QL75_UY207_CR4,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZDU3NDY3YWItYjhhMS00NmVhLWFhY2ItMjhmYThjNzY1YzQ3XkEyXkFqcGdeQXVyNzQ5MzY0NjM@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYWFhMDY2MTUtNjRkZi00OWM0LTlkZTEtODRlMTE4YmIxYjU3XkEyXkFqcGdeQXVyMTk0MjQ3Nzk@._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BOTVmMDI3MmQtODIyNi00NjNiLTgzNzgtN2U1YTEwMWEyZmM0XkEyXkFqcGdeQXVyNzQ5MzY0NjM@._V1_QL75_UY207_CR4,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BOGZlNzExZjgtY2FlZi00ZWU2LTliNzktNzU0MWYwMTA1MTUzXkEyXkFqcGdeQXVyNDkzNTM2ODg@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTY4MzhiZGUtZjdhNy00NTZkLTk2MGYtNmFmM2VlMzUzNWY0XkEyXkFqcGdeQXVyNTM4OTY2MDU@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNzYwODU5ZDAtNTQxNS00MGE0LWJjN2EtOTljZDAwZGUxNTBlXkEyXkFqcGdeQXVyNDU2OTkwMA@@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BN2FlZThhNmUtODhhZS00MTgzLWJlNTktMDE0NmZiMDdjZTU2XkEyXkFqcGdeQXVyNjc5NjEzNA@@._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjE0MjkyODQ3NF5BMl5BanBnXkFtZTgwNDM1OTk1NjE@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BM2RmODcxNmMtZmYzMi00ZjJmLWJjZDgtNDc1ZThmMDg0MmJiXkEyXkFqcGdeQXVyNjYxNjcwOTI@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYzc4NDVlYWEtNjAzOC00NWNkLTkxMDQtOWVkOGExNDAyMDFhXkEyXkFqcGdeQXVyMTAwMzUyOTc@._V1_QL75_UX140_CR0,3,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTQ3ZmQyMGUtYzZkOC00ZWFjLWE2M2QtM2UxYmUzNzY2MmI2XkEyXkFqcGdeQXVyNzQyNDIwMDI@._V1_QL75_UY207_CR10,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNzNiYTIxNDgtMjE2OS00ZjcyLTg3MWQtMTlkODY3MzkzMDAxXkEyXkFqcGdeQXVyMTgyNDk1OTY@._V1_QL75_UY207_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYTBjMGY2NzktMTc0ZS00ZTViLWJlN2MtNTI4YjhmMjQ5NjhhXkEyXkFqcGdeQXVyMTMxODk2OTU@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNTQ5NDI0MTQ0MV5BMl5BanBnXkFtZTgwNDEzNTc1NTM@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYjAyOWJjNzYtOGMzZC00MGYwLWIwZGYtZWI3ZTRhODdjZjdiXkEyXkFqcGc@._V1_QL75_UY207_CR4,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZDVkYmY1ZjgtZWRhZC00YjcxLTg1NjItMDVjMTRjM2Q1MWQ5XkEyXkFqcGdeQXVyMDY4MzkyNw@@._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYjUxN2MwOGMtYzRjMC00ZThiLTgzZDMtZTRmODBkNTFlNDk3XkEyXkFqcGc@._V1_QL75_UY207_CR4,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZTNjNmRlNTEtYThmMy00ZmRkLWI2ZDItMjg2NzQ1OTFiYjgyXkEyXkFqcGdeQXVyMjExMjk0ODk@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:143-7653892-7297264:FD8H6BV5AAQXT3X91H77$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DFD8H6BV5AAQXT3X91H77:0" ]	[]	[]	[ "" ]	null	[]	null	A list of films and tv serials that have been inspired by and/or are based upon real-life British crimes.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls046620234/
7961	dbpedia	3	10	https://kinseyinstitute.org/research/publications/historical-report-diversity-of-sexual-orientation.php	en	Diversity of sexual orientation			[ "https://www.facebook.com/tr?id=556531899056667&ev=PageView&noscript=1", "https://kinseyinstitute.org/img/KinseyLogo74x414.png", "https://assets.uits.iu.edu/image/iu-sig.2x.png" ]	[]	[]	[ "" ]	null	[]	null	Diversity of sexual orientation		https://webtest.iu.edu/~kiweb/img/favicon.ico		null	Contents 1948 and 1953 Studies of Alfred Kinsey (and Reanalyses of Kinsey Data) Later Surveys Reviews of the Literature Sources The 1948 and 1953 Studies of Alfred Kinsey Kinsey's samples are best for younger adults, particularly the college-educated; they are poorest for minorities and those from lower socioeconomic and educational levels. The original male sample included institutionalized men. Paul Gebhard (Gebhard 1979), a Kinsey research associate and later director of the Institute, described Kinsey's sampling method as "quota sampling accompanied by opportunistic collection" (p. 26). Kinsey's data came from in-depth, face-to-face interviews (with 5300 white males and 5940 white females providing almost all of the data). Sexual Behavior in the Human Male (1948) and Sexual Behavior in the Human Female (1953) reported that: 37% of males and 13% of females had at least some overt homosexual experience to orgasm; 10% of males were more or less exclusively homosexual and 8% of males were exclusively homosexual for at least three years between the ages of 16 and 55. For females, Kinsey reported a range of 2-6% for more or less exclusively homosexual experience/response. 4% of males and 1-3% of females had been exclusively homosexual after the onset of adolescence up to the time of the interview. Kinsey devised a classification scheme to measure sexual orientation. It is commonly known as the Kinsey Scale Reanalyses of Alfred Kinsey's Data In the Final Report and Background Papers of the National Institute of Mental Health's Task Force on Homosexuality (Gebhard 1972), Gebhard reanalyzed Kinsey's data to eliminate sample bias. His refined figures showed that between one-quarter and one-third of adult white males with college education had had an "overt homosexual experience since puberty" (mostly in the adolescent years); weighting by marital status, he estimated that 4% of the white college-educated males and between 1-2% (and closer to 1%) of white females were predominantly or exclusively homosexual. In The Kinsey Data, Gebhard and Johnson (1979) reexamined the amount of homosexual experience in Kinsey's basic sample of noninstitutionalized males and females. They found 9.9% of the males in the College Sample had extensive homosexual experience. 3.7% of females had extensive homosexual experience. Tabulations by Gebhard (McWhirter 1990) on Kinsey's basic sample of noninstitutionalized males and females indicated that "13.95% of males and 4.25% of females, or a combined average of 9.13%" had had either "extensive" or "more than incidental" homosexual experience. These figures were not weighted by marital status. John Gagnon and William Simon (1973) also reanalyzed Kinsey's data, focusing on the college sample. In their tabulations, 30% of males reported a homosexual experience to orgasm for the male or his partner; of this group, 25% had the experience(s) as adolescents or had only isolated experiences before the age of 20. The remaining 5-6% broke down evenly, with 3% having had "substantial homosexual histories" and 3% having had "exclusively homosexual histories." The comparable figure for females having had a homosexual experience was 6%. Of these, 4% had experience limited to adolescence or scattered experience before the age of 20, leaving 2% with significant adult homosexual experience, and less than 1% with exclusively homosexual histories. Later Surveys 1970s & 1980s Hunt (1974) Hunt's survey of sexual behavior in the 1970s indicated that 7% of males and 3% of females had homosexual experiences during more than three years of their lives. In comparing his data to Kinsey's, Hunt adjusted Kinsey's 37% figure (for males having had some same-sex contact to orgasm) to 25% and Kinsey's 4% exclusive-homosexuality figure for males to 2-3%. He considered less than 1% of females as "mainly to completely homosexual." This was a volunteer survey of 2036 people using questionnaires. Pietropinto and Simenauer (1977) Pietropinto and Simenauer conducted a large-scale survey of 4066 men in which they asked: "With what type of partner do you usually engage in sex?" 1.3% responded "with men only"; 3.1% responded "men and women." Field agents used a self-administered written questionnaire; participants were recruited at shopping centers, office buildings, sports clubs, colleges, airports, and bus depots. Fay, Turner, Klasser, and Gagnon (1989) Comparing national sample surveys from 1970 Kinsey-NORC data and 1988 National Opinion Research Center (NORC) interviews for males, the authors gave an estimated minimum prevalence of 20.3% of adult males having had a homosexual experience to orgasm, with 3.3% of adult men reporting having had homosexual sex "occasionally" or "fairly often" at some point in their adult lives (at age 20 or later). 1990s Harry (1990) Harry's telephone survey was based on a national probability sample of 663 males. The survey included a question about sexual attraction to members of the same sex. In the weighted data, 3.7% gave their orientation as bisexual or homosexual. Smith (1991) Tom Smith looked at the sexual behavior data from the 1988 and 1989 National Opinion Research Center's (NORC) General Social Surveys, and classified 5-6% of adults as homosexual or bisexual since age 18 (with the percentage for exclusive homosexuality as less than 1%). The GSS is a probability sample of approximately 1500 people, and nationally representative; the results are based on a one-page self-administered questionnaire on sexual behavior in the last year and since age 18. [Smith has issued a 1998 report of American Sexual Behavior: Trends, Socio-Demographic Differences, and Risk Behavior. He discusses some demographic issues surrounding prevalence of homosexuality. It can be found, in pdf format, from NORC at http://www.norc.uchicago.edu/online/sex.pdf Janus and Janus (1993) Janus and Janus, in their cross-sectional (not random) nationwide survey of American adults aged 18 and over, stated that 9% of men and 5% of women reported having had homosexual experiences "frequently" or "ongoing." In another measure, 4% of men and 2% of women self-identified as homosexual. The authors used a questionnaire, supplemented by 125 interviews (4,550 questionnaires were distributed, 3,260 were returned, and 2,765 were usable). Billy, Tanfer, Grady, and Klepinger (1993) A national survey of 3321 men was conducted in 1991 by Batelle Human Affairs Research Center in Seattle, supported by a grant from the National Institute for Child Health and Human Development, to obtain data on the number of men engaging in sexual behaviors that put them at risk for AIDS. It was a national probability sample of 20-39 year-old noninstitutionalized males. 2% of sexually active men in the survey reported same-gender sexual activity during the last 10 years, with 1% reporting being "exclusively homosexual" during this time (p. 52). Participants were interviewed in person using a standard questionnaire; they also filled out a self-administered questionnaire. Taylor (1993) The Harris Poll published a critique of the Batelle 1% figure, comparing it with their own data from a 1988 three-national survey of AIDS' risk behavior conducted for Project Hope's Center for Health Affairs, which found more than 4% of men aged 16-50 and more than 3% of women in the same age group reporting a same-sex sexual partner in the previous five years. Laumann, Gagnon, Michael, and Michaels (1994) A research team at the University of Chicago headed a project that conducted interviews in 1992 of a random probability sample of 3,432 men and women in the U.S. between the ages of 18-59 (National Health and Social Life Survey). Homosexuality was viewed as a complex of same-gender behavior, desire, and identity. 9% of men and 4% of women reported having engaged in at least one same-gender sexual activity since puberty. Given the identity category choices of heterosexual, homosexual, bisexual, or something else, 2.8% of men and 1.4% of women surveyed reported "some level of homosexual identity." Binson, Michaels, Stall, Coates, Gagnon, and Catania (1995) Data on the prevalence of homosexual behavior and the demographic distribution of homosexual and bisexual men were analyzed from two national probability surveys (General Social Survey - GSS and the National Health and Social Life Survey - NHSLS) and a probability survey of urban centers in the U.S. (National AIDS Behavioral Surveys - NABS) and results from earlier surveys discussed. Combined data from the GSS and NHSLS surveys showed 5.3% of men reporting sexual activity with a same-gender partner since age 18. Data from the NABS showed 6.5% of men reporting sex with men during the previous five years. The highest prevalence was found in central cities of the 12 largest SMSAs (14.4% since age 18) and among "highly educated" White males (10.8%). Sell, Wells, and Wypij (1995) A later article on the Hope/Harris survey by Sell reported data on both homosexual attraction as well as homosexual behavior. The figures reported were: 6.2% of U.S. males and 3.6% of U.S. females with "sexual contact with someone of the same sex only or with both sexes in the previous five years," and 20.8% of U.S. males and 17.8% of U.S. females with some homosexual behavior or some homosexual attraction since age 15. The percentage of respondents reporting sexual contact only with others of the same sex in the previous five years in the U.S. was below 1%. Bagley and Tremblay (1998) A stratified random sample of males in Calgary, Canada (a metropolitan region of .78 million) was questioned using a computerized response format and three measures of homosexuality. Based on one or more of the overlapping measures, 15.3% of males reported being homosexual to some degree. 2000-Current Mosher, Chandra, and Jones (2005) In a national survey, 90% of men aged 18-44 considered themselves to be heterosexual, 2.3% as homosexual, 1.8% as bisexual, and 3.9% as 'something else.' Among women aged 18-44 in the same survey, 90% said they were heterosexual, 1.3% homosexual, 2.8% bisexual, and 3.8% as 'something else.' National Survey of Sexual Health and Behavior (2010) While about 7% of adult women and 8% of men identify as gay, lesbian or bisexual, the proportion of individuals in the U.S. who have had same-gender sexual interactions at some point in their lives is higher. Chandra, Mosher, Copen, and Sionean (2011) Data collected from a national sample of 13,495 men and women between 2006 and 2008. The study attempted to differentiate between sexual attraction, sexual behavior, and sexual identity. The percentage reporting their sexual identity as homosexual ranged from 2% to 4% of males, and about 1% to 2% of females. The percentage reporting their sexual identity as bisexual is between 1% and 3% of males, and 2% to 5% of females. About 4%–6% of males ever had same-sex contact. For females, the percentage who have ever had same-sex contact ranges from about 4% in the GSS, to 11%–12% in the 2002 and 2006–2008 NSFG. Reviews of the Literature Rogers and Turner (1991) While researchers at the National Academy of Sciences' National Research Council, Committee on AIDS Research and the Behavioral, Social, and Statistical Sciences, Rogers and Turner analyzed estimates from five probability surveys, 1970 to 1990. They gave estimated minimums of 5-7% for males having experienced some same-sex sexual contact in adulthood. Diamond (1993) Diamond looked at studies done on the prevalence of homosexual behavior. He included some studies done on populations outside the U.S. The date ranges varied from country to country, but spanned 1948 to 1991. Those studies discussed were compared and displayed in tablular form. He found the mean of males surveyed to be 5.5% of the population, and the median to be 5.3%. The mean of females that engaged in same sex behavior was 2.5% and the median was 3.0%. The calculations were of all non-Kinsey data. Diamond found that methods employed by these studies were inconsistent. Gonsiorek, Sell, and Weinrich (1995) The authors reviewed methods used in defining and measuring sexual orientation, and briefly critiqued surveys of homosexual activity from Kinsey in 1948 to the 1994 study by Laumann, et al. Because of the possible risks involved in self-disclosure, it is posited that the recurrent 2-5% for same-gender sexual behavior in the studies reviewed represents a minimum figure. They suggest that the current prevalence of predominant same-sex orientation is 4-17%. Hewitt (1998) Hewitt analyzed past surveys on the prevalence of homosexuality in the United States, from 1970 to 1994, looking critically at the methodology of these studies. He offered a metanalysis of the typologies used in these surveys to classify the homosexual. He found five types: (1) open preferential homosexuals, (2) repressed preferential homosexuals, (3) bisexuals, (4) experimental homosexuals, and (5) situational homosexuals. Gates (2011) Gates analyzed information from four recent national and two state-level population-based surveys. The analyses suggest that there are more than 8 million adults in the US who are lesbian, gay, or bisexual, comprising 3.5% of the adult population. He estimated an additional 700,000 individuals identified as transgender. Revised: 4/11 Sources
7961	dbpedia	0	53	https://www.rogerebert.com/features/19-films-that-celebrate-the-art-of-female-friendship	en	19 Films That Celebrate the Art of Female Friendship	https://www.rogerebert.c…e-Friendship.jpg	https://www.rogerebert.c…e-Friendship.jpg	[ "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-ebert-logo.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/search-thin.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Nell-Minow-.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/07/19-Films-That-Celebrate-the-Art-of-Female-Friendship.jpg", "https://static.rogerebert.com/redactor_assets/pictures/60478fa7306fcc16853fdc2d/content_women.jpg", "https://static.rogerebert.com/redactor_assets/pictures/60478fea306fcc16863fdb0b/content_htmam.jpg", "https://static.rogerebert.com/redactor_assets/pictures/60479007306fcc16833fdb88/content_thelma.jpg", "https://static.rogerebert.com/redactor_assets/pictures/60479084b8b50d4b5b42b0ce/content_for_a_good_time_call_bubble_bath.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Nell-Minow-.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/09/YPOP_Still_2-500x281.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/Risky-5-525x281.jpg", "https://www.rogerebert.com/wp-content/uploads/2024/08/rsw_814cg_true-434x281.webp", "https://www.rogerebert.com/wp-content/uploads/2024/08/13-Films-Illuminate-Locarno-Film-Festivals-Columbia-Pictures-Retrospective-500x281.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/popular-thumb.svg", "https://www.rogerebert.com/wp-content/uploads/2024/07/The-Vourdalak.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/popular-thumb.svg", "https://www.rogerebert.com/wp-content/uploads/2024/07/Babes.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/popular-thumb.svg", "https://www.rogerebert.com/wp-content/uploads/2024/07/Free-Time.jpg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/popular-thumb.svg", "https://www.rogerebert.com/wp-content/uploads/2024/08/We-Were-the-Lucky-Ones-256x379.webp", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars-fill.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/stars.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/thumb-up-subscribe.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/facebook.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/youtube.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/x-icon.svg", "https://www.rogerebert.com/wp-content/themes/roger-ebert/source/images/roger-pic.png" ]	[]	[]	[ "" ]	null	[ "Nell Minow" ]	2021-03-09T15:14:05-06:00	A feature on some of the best representations of female friendship in movie history.	en	https://www.rogerebert.c…x196-1-32x32.png	Roger Ebert	https://www.rogerebert.com/features/19-films-that-celebrate-the-art-of-female-friendship	Perhaps the most authentic depiction of women’s lives in movies is of their friendships. While the dynamics, expectations, and stereotypes in the portrayal of women as romantic partners, mothers, daughters, and members of the work force have been skewed over the decades, there have always been movies about women who rely on each other for support, who share confidences, and who just enjoy each other’s company. In the past few weeks, two very different movies showed us nuanced and insightful women’s friendships. Netflix’s “Moxie,” directed by Amy Poehler, is based on a book by high school English teacher Jennifer Mathieu and reflects a deep understanding of the way teenagers navigate the changing demands of friendship. “Barb and Star Go to Vista Del Mar” was written by the real-life close friends Kristen Wiig and Annie Mumolo, who play the title roles. While their characters are provincial and silly, they reflect the ebullient pleasure Wiig and Mumolo have in riffing off of each other, and just spending time together. Strong female friendships have been featured in every genre of movie, from drama (“Beaches“) to heist (“Ocean's 8“) to comedy (“Romy and Michele’s High School Reunion”) to horror (“The Descent“) to comic book movies (“Captain Marvel“). Some movies are about unexpected friendships that develop over the course of the story. Some are about already-established friends who take on challenges together. And others are about the way friendships are tested, and the way they can break apart. In other words, they are all love stories. Special mention to those who made careers out of playing “the best friend,” most memorably Eve Arden, with her unsurpassable way with a wisecrack. Her closest contemporary heir is Judy Greer, who has been there for what feels like scores of Jennifers and Jessicas in romantic comedies. These characters are there to provide support for the main character’s goal, usually involving romance. Some of them do not even pass the Bechdel test (there are at least two named female characters and they have to talk about something other than men). As endearing as these characters are, they are less friends than sidekicks. As a filmmaker once told me, it’s purely a narrative convenience; if the heroine does not have a sidekick, she has no one to talk to but herself. And it shows that she is worth caring about because someone we like (though she may not merit of story of her own) is devoted to her. Starting in the 1970s, movies began to try to make their white heroines seem a bit more interesting, if not edgy, by giving them best friends who were Black or from the LGBTIA+ community, and often they were there for comic relief. But these movies are not about the friendship, so we will leave them for a list of their own another time. This list is of movies with two or more women of importance in the narrative. No one is a sidekick. And (except briefly in a few cases) they are not romantic rivals. The friendship itself is the story. In a number of them, it is because women wrote the stories. Here are some of my favorites. Pitts and Todd (1931-33) Hal Roach wanted to create a female counterpart to Laurel and Hardy, so he had ZaSu Pitts and Thelma Todd make 17 short comedy films in the 1930s, with titles like “Catch as Catch Can” and “The Pajama Party.” They created some exceptional physical humor—check out this hilarious revolving door scene in 1932’s “The Soilers.” Through it all, their friendship gives the shorts an enjoyable us-against-the-world flavor. “Imitation of Life” (1934) This movie based on the book by Fannie Hurst may be a controversial choice, as it tells of a friendship with a very unequal power dynamic based on a racial divide, reflecting the realities of its era. I selected the original version with Claudette Colbert and Louise Beavers rather than the better-known glossy 1959 remake with Lana Turner and Juanita Moore. In the Depression-era version, the business partnership between the two single mothers is much more balanced than in the later one, in which the Black woman becomes the maid for the white aspiring actress. (Also, in the original, the light-skinned Black daughter is played by a Black actress while in the remake she is played by a white actress.) “Stage Door” (1937) Edna Ferber co-wrote the play that this film of would-be actresses in a theatrical boarding house is based on. Katharine Hepburn plays a woman from a wealthy family who arrives, inexperienced but confident. Her new roommate is played by Ginger Rogers. Their first scene together has one of the fastest, funniest exchanges of barbed comments and downright insults in movie history. But they develop a friendship and an understanding of the importance of getting past first impressions and recognizing the need to care for the vulnerable. “The Women” (1939) It’s been remade twice (so far) but nothing comes close to the original, based on the Clare Boothe Luce play known for dialogue as sharp as the Jungle Red-painted fingernails of its pampered New York Society wives and the women who want to steal their husbands. “The Women” is a rare film without a single male onscreen and the all-star cast (in fabulous Adrian gowns) is dazzling. The friendships shift over time, but some are loyal and enduring, with Paulette Goddard delivering one of the best offers of support in the history of movies—or friendship. On her way to an event where she will see the conniving woman now married to her friend’s ex-husband, she says, “Want me to spit in Crystal’s eye for you?” She responds to a smiling shake of the head with a wicked smile of her own. “You’re passing up a swell chance, honey. Where I spit no grass grows ever.” “Old Acquaintance” (1943) This one falls into the “frenemy” category both on and off-screen, and was co-written by the only female staff writer at Warner Brothers, Lenore Coffee. “Old Acquaintance” stars Bette Davis and Miriam Hopkins, who were professional and romantic rivals in real life and their characters are in this film as well. Davis plays a respected literary novelist who has published very little and made almost no money. She is single, while her old friend played by Hopkins has a husband and child and manages to toss off a trashy book that is a big hit. While Davis cannot hide the look of satisfaction as her character throttles Hopkins, the characters remain friends. (The film was remade as “Rich and Famous” in 1981 with Jaqueline Bisset and Candace Bergen.) “Tender Comrade” (1943) This story of a group of women who band together during WWII while the men in their lives are away was lauded as a morale-builder during the war. Variety even called it “a preachment for all that democracy stands for.” But a few years later, during the Red Scare/blacklist era, it was ret-conned as Communist propaganda because the women lived together and took care of each other. The film is soapy by today’s standards, but it’s a valuable portrayal of women supporting each other and forming true friendships with those they might not have under normal circumstances. “How to Marry a Millionaire” (1953) Lauren Bacall, Betty Grable, and Marilyn Monroe play three models who join forces to look for rich husbands in this triple-strength rom-com. None of the scenes with their romantic counterparts come close to the sizzle of the three leading ladies just talking to each other. (See also: “Gentlemen Prefer Blondes,” with Monroe and Jane Russell.) “Julia” (1977) The truth of Lillian Hellman’s memoir is disputed, but this movie based on the writer’s story about her friendship with a woman who was fighting the Nazis features beautiful performances by Jane Fonda and Vanessa Redgrave, who was awarded an Oscar. (Keep an eye out for the first film appearance of Meryl Streep.) “Nine to Five” (1980) A rare women-led workplace story, “Nine to Five” has three strong leads in Lily Tomlin, Jane Fonda, and Dolly Parton as women who turn office policies upside-down to make them less sexist and more employee-friendly. The scenes of the three women commiserating on the unfairness at the company and plotting to make changes are enormous fun—and illuminating. “Steel Magnolias” (1989) Playwright/adapting screenwriter Robert Harling based this story on the women he knew growing up. The powerhouse cast includes four Oscar winners, Shirley MacLaine, Sally Field, Olympia Dukakis, and Julia Roberts, along with Daryl Hannah and Dolly Parton. We see the women stick together through happiness and devastating tragedy, not just tolerating each other’s quirks but enjoying them. Like “The Women,” the film spends a lot of time in women-centered spaces like the beauty salon. Its tone—and the tone of many friendship stories—is summarized in Parton’s classic line, “Laughing through tears is my favorite emotion.” “Thelma and Louise” (1991) Susan Sarandon and Geena Davis star in this film (which earned Callie Khouri an Oscar for Best Original Screenplay) as two friends whose weekend getaway turns into an adventure of self-discovery as they respond to unexpected threats with even more unexpected toughness. As Roger Ebert wrote, “Thelma and Louise begin to grow intoxicated with the scent of their own freedom—and with the discovery that they possess undreamed-of resources and capabilities.” They recognize that there’s no going back and still find the choice worthwhile. “Waiting to Exhale” (1995) Based on the book by Terry McMillan, this movie of four friends who support each other through romantic ups and downs may not pass the Bechdel test, but the portrayal of strong, accomplished Black women (beautifully played by Whitney Houston, Angela Bassett, Lela Rochon, and Loretta Devine) sharing confidences and encouragement makes us wish we could be part of the group as well. “Boys on the Side” (1995) The title is never mentioned in the film, but it underscores the theme of women’s relationships as the primary foundation of these characters’ lives. Whoopi Goldberg, Drew Barrymore, and Mary-Louise Parker star in this story of women who would be unlikely to know each other, much less become devoted friends. But on a road trip with one looking forward, one looking back, one trying to escape—a trip that tellingly never reaches its original destination—the three characters form one of the sweetest connections on film. The soundtrack features songs by female performers like the Indigo Girls, Joan Armatrading, Annie Lennox, and Sheryl Crow. “Set It Off” (1996) Roger Ebert gave this story of four women who plan a robbery a three-and-a-half-star review. He wrote, “It creates a portrait of the lives of these women that’s so observant and informed; it’s like ‘Waiting to Exhale’ with a strong jolt of reality. The movie surprised and moved me: I expected a routine action picture and was amazed how much I started to care about the characters.” It was co-written by Kate Lanier. The outstanding cast includes Queen Latifah, Jada Pinkett Smith, Vivica A. Fox, and Kimberly Elise. The robbery scenes, including a thrilling chase scene, are exceptionally staged, but the connections between the women are even more compelling. (See also: “Ocean’s 8”). “Bend It Like Beckham” (2003) Yes, there’s a brief romantic rivalry in this one. But it’s primarily the story of the friendship between two young women who love soccer. Directed and co-written by Gurinder Chadha, the film shines for its humor, its dynamic soccer gameplay, its touching romance and warm-hearted family scenes, and for its portrayal of a generous and loyal friendship. “For a Good Time Call…” (2012) Lauren Miller Rogen co-stars with Ari Graynor in this sly comedy that Miller Rogen wrote with Katie Anne Naylon, a story about a would-be literary agent who has to move in with a woman she dislikes intensely (Ari Graynor), only to discover that her new roommate supports herself as a phone sex worker. They end up becoming co-workers and the closest of friends. “Frances Ha” (2013) Greta Gerwig co-wrote and stars in this exceptionally perceptive look at the way friendships shift as we move into (or don’t move into) the next stage of our lives. We never know how much the relationships of early teens and 20s, depend on seeing each other every day and going through the same experiences together. At the beginning of this film, Gerwig’s character happily plans a lifetime of connection with her friend, but has to learn that sometimes BFFs are not forever after all. (See also: “Walking and Talking,” written and directed by Nicole Holofcener and “Booksmart,” directed by Olivia Wilde). “Girls Trip” (2017) A wild comedy and a huge box office hit, this raunchy but heartfelt film about the reunion of four college friends at the Essence Festival did for grapefruit what “American Pie” did for pie and “Call Me By Your Name” did for peaches. The characters and the comedy stars who play them—Regina Hall, Jada Pinkett Smith, Tiffany Haddish, and Queen Latifah—clearly have a blast, and so does the audience. (See also: “Bridesmaids,” written by Kristen Wiig and Annie Mumolo). “Someone Great” (2019)
7961	dbpedia	0	3	https://en.wikipedia.org/wiki/Young_Bess	en	Young Bess	https://upload.wikimedia…Young_Bess_.jpeg	https://upload.wikimedia…Young_Bess_.jpeg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/c/ca/Young_Bess_.jpeg/220px-Young_Bess_.jpeg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Jean_Simmons_in_Young_Bess_trailer.jpg/180px-Jean_Simmons_in_Young_Bess_trailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Stewart_Granger_in_Young_Bess_trailer.jpg/180px-Stewart_Granger_in_Young_Bess_trailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Deborah_Kerr_in_Young_Bess_trailer.jpg/180px-Deborah_Kerr_in_Young_Bess_trailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Charles_Laughton_in_Young_Bess_trailer.jpg/180px-Charles_Laughton_in_Young_Bess_trailer.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/w/resources/assets/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-04-17T21:40:42+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Young_Bess	1953 film by George Sidney This article is about the film. For the novel, see Young Bess (novel). Young BessDirected byGeorge SidneyWritten byJan Lustig [de] Arthur WimperisBased onYoung Bess 1944 novel by Margaret IrwinProduced bySidney FranklinStarringJean Simmons Stewart Granger Deborah Kerr Charles LaughtonCinematographyCharles RosherEdited byRalph E. WintersMusic byMiklós RózsaColor processTechnicolor Production company Distributed byLoew's Inc. Release dates Running time 112 minutesCountryUnited StatesLanguageEnglishBudget$2,423,000[2]Box office$4,095,000[2] Young Bess is a 1953 Technicolor biographical film made by Metro-Goldwyn-Mayer about the early life of Elizabeth I, from her turbulent childhood to the eve of her accession to the throne of England. It stars Jean Simmons as Elizabeth and Stewart Granger as Thomas Seymour, with Charles Laughton as Elizabeth's father, Henry VIII, a part he had played 20 years before in The Private Life of Henry VIII. The film was directed by George Sidney and produced by Sidney Franklin, from a screenplay by Jan Lustig [de] and Arthur Wimperis based on the novel of the same title by Margaret Irwin (1944). Plot [edit] Following the execution of Elizabeth's mother, Anne Boleyn, for infidelity, King Henry VIII declares his daughter illegitimate and removes her from the line of succession to the throne and exiles her to Hatfield House with her loyal servants, governess Mrs. Ashley and Mr. Parry. Over the years, her position rises and falls according to the whims of her father. The child is periodically summoned to return to London to become acquainted with Henry's latest spouse. When Henry marries his last wife, Catherine Parr, the now-teenage Elizabeth rebels against her latest summons but is persuaded by the handsome, tactful Lord Admiral Thomas Seymour to change her mind. She and Catherine become good friends. Henry is impressed and amused by the resolute defiance of his daughter, and he declares her once again a legitimate heiress to the crown. When Henry dies, Thomas's scheming brother Ned takes over as Lord Protector and guardian of the child king Edward VI, Elizabeth's half-brother, overriding Henry's dying wish that Thomas raise the boy. Ned's fear of his brother's ambition grows with each of Thomas's naval triumphs. In the meantime, Elizabeth realizes she is in love with Thomas, but graciously persuades Edward to issue a royal decree sanctioning the marriage of Thomas and Catherine. Despite the union, Thomas grows close to Elizabeth without realizing it until he witnesses Elizabeth being kissed by Barnaby, a courtier. Prompted by jealousy, Thomas kisses Elizabeth, who declares her love for him. Catherine, who has noticed the closeness between her husband and Elizabeth, asks Elizabeth to make a choice, and the princess moves back to Hatfield. Soon after, Catherine sickens and dies. After months away at sea, Thomas returns and finally sees Elizabeth. Ned has him arrested and charged with treason. He also accuses Elizabeth of plotting with Thomas to overthrow her brother. She goes to see Edward, but is too late to save Thomas from execution. The film then shifts forward to 1558. Having survived the perils of her early life, and with Edward deceased and her elder sister Mary dying, Elizabeth is about to become Queen of England. Cast [edit] Jean Simmons as Young Bess (Elizabeth I) Stewart Granger as Thomas Seymour Deborah Kerr as Catherine Parr Charles Laughton as King Henry VIII Kay Walsh as Mrs. Ashley Guy Rolfe as Edward "Ned" Seymour Kathleen Byron as Anne Seymour, Ned's wife Cecil Kellaway as Mr. Parry Rex Thompson as Prince Edward / King Edward VI Robert Arthur as Barnaby Fitzpatrick, Thomas's page Leo G. Carroll as Mr. Mums, Elizabeth's tutor Norma Varden as Lady Tyrwhitt Alan Napier as Robert Tyrwhitt Noreen Corcoran as Bess as a child Ivan Triesault as Danish Envoy Elaine Stewart as Anne Boleyn Dawn Addams as Catherine Howard Doris Lloyd as Mother Jack Lumsden Hare as Archbishop Thomas Cranmer Lester Matthews as Sir William Paget Ann Tyrrell as Mary Production [edit] Original novel [edit] The novel was published in 1944 in Britain and in 1945 in the U.S.[3] It became a best seller.[4] Development [edit] MGM bought the rights to the novel in February 1945. Katherine Anne Porter and Jan Lustig signed to write the script, and Sidney Franklin was producer.[5] Eventually a script by Lustig and Arthur Wimperis was finished in 1946 and Franklin said "we were full of enthusiasm for it."[6] In May 1947, Deborah Kerr was tested for the lead role.[7] In March 1948, MGM announced it would make the film in Britain.[8] It was to be the second in a series of films made there, following Edward, My Son.[9] In May 1948, MGM stated that Deborah Kerr and Errol Flynn were "definite" for the film.[10][11] However filming did not proceed. In August 1948, Walter Pidgeon and Janet Leigh reportedly were tested for lead roles.[12] Elizabeth Taylor was considered for the title role as was Deborah Kerr (if it was going to be the latter the character would be aged up).[13] In November 1948, MGM put the film on its schedule for the following year.[14] However, filming kept being postponed. In April 1949, MGM announced it was negotiating a contract with James Mason, whom it wanted to put in Young Bess and Robinson Crusoe.[15] In December 1950, Jean Simmons emerged as a favorite to play the title role. This was partly at the behest of J. Arthur Rank who had Simmons under contract and thought the role would be perfect for her.[16] In February 1951, MGM announced Simmons would co-star with her husband Stewart Granger.[17] Filming continued to be pushed back in part because Simmons became enmeshed in a contractual dispute with Howard Hughes. In October 1951, Charles Laughton signed to play Henry VIII. In August 1952, Deborah Kerr joined the cast as Catherine Parr.[18] Filming [edit] Filming took place in Hollywood starting in October 1952. Producer Sidney Franklin said: We're telling an intimate story against a background of sixteenth century court life, as opposed to a historical pageant about royal intrigues. We feel the love story between the Princess and Seymour – actually he was 25 years older than Elizabeth – will be more valid to audiences than a lot of historical detail which has no relation to our customers lives.[6] The musical score was composed by Miklós Rózsa, who was becoming known for his research on historical subjects. It incorporates tunes from the Fitzwilliam Virginal Book and other Tudor sources. Reception [edit] Contemporary reviews were positive. A. H. Weiler of The New York Times wrote in a favorable review that "if faint strains of soap opera occasionally filter through the pomp and circumstance, Elizabeth of England and some of the storied figures who crowd this beautiful Technicolored tapestry, emerge as human beings."[19] Variety called it "a remarkably engrossing motion picture" and "a human story, sensitively written, directed and played."[20] "A strong romantic costume drama", declared Harrison's Reports. "The direction is faultless, the production values lavish, and the color photography exquisite."[21] John McCarten of The New Yorker wrote that the plot "may sound like a Madison Avenue concept of history, but as directed by George Sidney, the piece doesn't churn up too much sudsy bathos to be intolerable, and, indeed, the cast goes about its work with such sincerity that you can enjoy the thing as a handsome costume exercise even though you're skeptical about Miss Irwin's history."[22] The film was Stewart Granger's favourite of all the movies he made for MGM "for the costumes, the cast, the story."[23] Box office [edit] According to MGM records, the film earned $1,645,000 in North America and $2,450,000 in other markets, leading to a loss of $272,000.[2] In France, the film recorded admissions of 1,465,207.[24] Awards [edit] The film was nominated for two Academy Awards: for Best Costume Design and Best Art Direction (Cedric Gibbons, Urie McCleary, Edwin B. Willis, Jack D. Moore).[25] See also [edit] Anne Boleyn in popular culture References [edit] Further reading [edit] Monder, Eric (1994). George Sidney:a Bio-Bibliography. Greenwood Press. ISBN 9780313284571.
7961	dbpedia	3	8	https://www.archives.gov/milestone-documents/president-dwight-d-eisenhowers-farewell-address	en	President Dwight D. Eisenhower's Farewell Address (1961)	https://www.archives.gov…/naralogo-og.png	https://www.archives.gov…/naralogo-og.png	[ "https://www.archives.gov/sites/all/themes/nara/images/nara-print-logo.jpg", "https://www.archives.gov/files/milestone-documents/images/doc-090-big.jpg", "https://www.archives.gov/files/education/images/docsteach-logo-square.jpg" ]	[]	[]	[ "" ]	null	[]	2021-09-29T11:43:25-04:00	EnlargeDownload Link Citation: Farewell address by President Dwight D. Eisenhower, January 17, 1961; Final TV Talk 1/17/61 (1), Box 38, Speech Series, Papers of Dwight D.	en	https://www.archives.gov…s/apple-icon.png	National Archives	https://www.archives.gov/milestone-documents/president-dwight-d-eisenhowers-farewell-address	Transcript My fellow Americans: Three days from now, after half a century in the service of our country, I shall lay down the responsibilities of office as, in traditional and solemn ceremony, the authority of the Presidency is vested in my successor. This evening I come to you with a message of leave-taking and farewell, and to share a few final thoughts with you, my countrymen. Like every other citizen, I wish the new President, and all who will labor with him, Godspeed. I pray that the coming years will be blessed with peace and prosperity for all. Our people expect their President and the Congress to find essential agreement on issues of great moment, the wise resolution of which will better shape the future of the Nation. My own relations with the Congress, which began on a remote and tenuous basis when, long ago, a member of the Senate appointed me to West Point, have since ranged to the intimate during the war and immediate post-war period, and, finally, to the mutually interdependent during these past eight years. In this final relationship, the Congress and the Administration have, on most vital issues, cooperated well, to serve the national good rather than mere partisanship, and so have assured that the business of the Nation should go forward. So, my official relationship with the Congress ends in a feeling, on my part, of gratitude that we have been able to do so much together. **** We now stand ten years past the midpoint of a century that has witnessed four major wars among great nations. Three of these involved our own country. Despite these holocausts America is today the strongest, the most influential and most productive nation in the world. Understandably proud of this pre-eminence, we yet realize that America's leadership and prestige depend, not merely upon our unmatched material progress, riches and military strength, but on how we use our power in the interests of world peace and human betterment. ** Throughout America's adventure in free government, our basic purposes have been to keep the peace; to foster progress in human achievement, and to enhance liberty, dignity and integrity among people and among nations. To strive for less would be unworthy of a free and religious people. Any failure traceable to arrogance, or our lack of comprehension or readiness to sacrifice would inflict upon us grievous hurt both at home and abroad. Progress toward these noble goals is persistently threatened by the conflict now engulfing the world. It commands our whole attention, absorbs our very beings. We face a hostile ideology-global in scope, atheistic in character, ruthless in purpose, and insidious in method. Unhappily the danger it poses promises to be of indefinite duration. To meet it successfully, there is called for, not so much the emotional and transitory sacrifices of crisis, but rather those which enable us to carry forward steadily, surely, and without complaint the burdens of a prolonged and complex struggle-with liberty at stake. Only thus shall we remain, despite every provocation, on our charted course toward permanent peace and human betterment. Crises there will continue to be. In meeting them, whether foreign or domestic, great or small, there is a recurring temptation to feel that some spectacular and costly action could become the miraculous solution to all current difficulties. A huge increase in newer elements of our defense; development of unrealistic programs to cure every ill in agriculture; a dramatic expansion in basic and applied research-these and many other possibilities, each possibly promising in itself, may be suggested as the only way to the road we wish to travel. But each proposal must be weighed in the light of a broader consideration: the need to maintain balance in and among national programs-balance between the private and the public economy, balance between cost and hoped for advantage-balance between the clearly necessary and the comfortably desirable; balance between our essential requirements as a nation and the duties imposed by the nation upon the individual; balance between action of the moment and the national welfare of the future. Good judgment seeks balance and progress; lack of it eventually finds imbalance and frustration. The record of many decades stands as proof that our people and their government have, in the main, understood these truths and have responded to them well, in the face of stress and threat. But threats, new in kind or degree, constantly arise. I mention two only. ** A vital element in keeping the peace is our military establishment. Our arms must be mighty, ready for instant action, so that no potential aggressor may be tempted to risk his own destruction. Our military organization today bears little relation to that known by any of my predecessors in peace time, or indeed by the fighting men of World War II or Korea. Until the latest of our world conflicts, the United States had no armaments industry. American makers of plowshares could, with time and as required, make swords as well. But now we can no longer risk emergency improvisation of national defense; we have been compelled to create a permanent armaments industry of vast proportions. Added to this, three and a half million men and women are directly engaged in the defense establishment. We annually spend on military security more than the net income of all United State corporations. This conjunction of an immense military establishment and a large arms industry is new in the American experience. The total influence-economic, political, even spiritual-is felt in every city, every state house, every office of the Federal government. We recognize the imperative need for this development. Yet we must not fail to comprehend its grave implications. Our toil, resources and livelihood are all involved; so is the very structure of our society. In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination endanger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals, so that security and liberty may prosper together. Akin to, and largely responsible for the sweeping changes in our industrial-military posture, has been the technological revolution during recent decades. In this revolution, research has become central; it also becomes more formalized, complex, and costly. A steadily increasing share is conducted for, by, or at the direction of, the Federal government. Today, the solitary inventor, tinkering in his shop, has been over shadowed by task forces of scientists in laboratories and testing fields. In the same fashion, the free university, historically the fountainhead of free ideas and scientific discovery, has experienced a revolution in the conduct of research. Partly because of the huge costs involved, a government contract becomes virtually a substitute for intellectual curiosity. For every old blackboard there are now hundreds of new electronic computers. The prospect of domination of the nation's scholars by Federal employment, project allocations, and the power of money is ever present and is gravely to be regarded. Yet, in holding scientific research and discovery in respect, as we should, we must also be alert to the equal and opposite danger that public policy could itself become the captive of a scientific-technological elite. It is the task of statesmanship to mold, to balance, and to integrate these and other forces, new and old, within the principles of our democratic system-ever aiming toward the supreme goals of our free society. ** Another factor in maintaining balance involves the element of time. As we peer into society's future, we-you and I, and our government-must avoid the impulse to live only for today, plundering, for our own ease and convenience, the precious resources of tomorrow. We cannot mortgage the material assets of our grandchildren without risking the loss also of their political and spiritual heritage. We want democracy to survive for all generations to come, not to become the insolvent phantom of tomorrow. ** Down the long lane of the history yet to be written America knows that this world of ours, ever growing smaller, must avoid becoming a community of dreadful fear and hate, and be, instead, a proud confederation of mutual trust and respect. Such a confederation must be one of equals. The weakest must come to the conference table with the same confidence as do we, protected as we are by our moral, economic, and military strength. That table, though scarred by many past frustrations, cannot be abandoned for the certain agony of the battlefield. Disarmament, with mutual honor and confidence, is a continuing imperative. Together we must learn how to compose difference, not with arms, but with intellect and decent purpose. Because this need is so sharp and apparent I confess that I lay down my official responsibilities in this field with a definite sense of disappointment. As one who has witnessed the horror and the lingering sadness of war-as one who knows that another war could utterly destroy this civilization which has been so slowly and painfully built over thousands of years-I wish I could say tonight that a lasting peace is in sight. Happily, I can say that war has been avoided. Steady progress toward our ultimate goal has been made. But, so much remains to be done. As a private citizen, I shall never cease to do what little I can to help the world advance along that road. **** So-in this my last good night to you as your President-I thank you for the many opportunities you have given me for public service in war and peace. I trust that in that service you find somethings worthy; as for the rest of it, I know you will find ways to improve performance in the future. You and I-my fellow citizens-need to be strong in our faith that all nations, under God, will reach the goal of peace with justice. May we be ever unswerving in devotion to principle, confident but humble with power, diligent in pursuit of the Nation's great goals. To all the peoples of the world, I once more give expression to America's prayerful and continuing inspiration: We pray that peoples of all faiths, all races, all nations, may have their great human needs satisfied; that those now denied opportunity shall come to enjoy it to the full; that all who yearn for freedom may experience its spiritual blessings; that those who have freedom will understand, also, its heavy responsibilities; that all who are insensitive to the needs of others will learn charity; that the scourges of poverty, disease and ignorance will be made to disappear from the earth, and that, in the goodness of time, all peoples will come to live together in a peace guaranteed by the binding force of mutual respect and love.
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expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress.	en		The Library of Congress	null	Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress. In most cases, the images linked to Registry titles listed below were selected from the Library's Prints & Photographs Online Catalog, however some are drawn from other Library collections. View a list of all expanded essays 7th Heaven (1927) "Seventh Heaven" (also referred to as "7th Heaven"), directed by Frank Borzage and based on the play by Austin Strong, tells the story of Chico (Charles Farrell), the Parisian sewer worker-turned-street cleaner, and his wife Diane (Janet Gaynor), who are separated during World War I, yet whose love manages to keep them connected. "Seventh Heaven" was initially released as a silent film but proved so popular with audiences that it was re-released with a synchronized soundtrack later that same year. The popularity of the film resulted in it becoming one of the most commercially successful silent films as well as one of the first films to be nominated for a Best Picture Academy Award. Janet Gaynor, Frank Borzage, and Benjamin Glazer won Oscars for their work on the film, specifically awards for Best Actress, Best Directing (Dramatic Picture), and Best Writing (Adaptation), respectively. "Seventh Heaven" also marked the first time often-paired stars Janet Gaynor and Charles Farrell worked together. Added to the National Film Registry in 1995. Expanded essay by Aubrey Solomon (PDF, 694KB) The 7th Voyage of Sinbad (1958) Special-effects master Ray Harryhausen provides the hero (Kerwin Mathews) with a villanous magician (Torin Thatcher) and fantastic antagonists, including a genie, giant cyclops, fire-breathing dragons, and a sword-wielding animated skeleton, all in glorious Technicolor. And of course no mythological tale would be complete without the rescue of a damsel in distress, here a princess (Kathryn Grant) that the evil magician shrinks down to a mere few inches. Harryhausen's stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a thrilling score by Bernard Herrmann ("Psycho," "The Day the Earth Stood Still") makes this one of the finest fantasy films of all time. Added to the National Film Registry in 2008. Expanded essay by Tony Dalton (PDF, 900KB) 3:10 to Yuma (1957) Considered to be one of the best westerns of the 1950s, "3:10 to Yuma" has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension. Frankie Laine sang the film's popular theme song, also titled "3:10 to Yuma." Often compared favorably with "High Noon," this innovative western from director Delmer Daves starred Glenn Ford and Van Heflin in roles cast against type and was based on a short story by Elmore Leonard. Added to the National Film Registry in 2012. 12 Angry Men (1957) In the 1950s, several television dramas acted live over the airways won such critical acclaim that they were also produced as motion pictures; among those already honored by the National Film Registry is "Marty" (1955). Reginald Rose had adapted his original stage play "12 Angry Men" for Studio One in 1954, and Henry Fonda decided to produce a screen version, taking the lead role and hiring director Sidney Lumet, who had been directing for television since 1950. The result is a classic. Filmed in a spare, claustrophobic style—largely set in one jury room—the play relates a single juror's refusal to conform to peer pressure in a murder trial and follows his conversion of one juror after another to his point of view. The story is often viewed as a commentary on McCarthyism, Fascism, or Communism. Added to the National Film Registry in 2007. Expanded essay by Joanna E. Rapf (PDF, 258KB) 12 Years a Slave (2013) This biographical drama directed by Sir Steve McQueen, and produced by Brad Pitt’s production company, is based on the 1853 slave memoir “Twelve Years a Slave” by Solomon Northup, an African-American free man who was kidnapped in Washington, D.C. by two conmen in 1841, and sold into slavery. He was put to work on plantations in the state of Louisiana for 12 years before being released. The film received nine Academy Award nominations, winning for Best Picture, Best Adapted Screenplay for John Ridley, and Best Supporting Actress for Lupita Nyong’o. Added to the National Film Registry in 2023. 13 Lakes (2004) James Benning's feature-length film can be seen as a series of moving landscape paintings with artistry and scope that might be compared to Claude Monet's series of water-lily paintings. Embracing the concept of "landscape as a function of time," Benning shot his film at 13 different American lakes in identical 10-minute takes. Each is a static composition: a balance of sky and water in each frame with only the very briefest suggestion of human existence. At each lake, Benning prepared a single shot, selected a single camera position and a specific moment. The climate, the weather and the season deliver a level of variation to the film, a unique play of light, despite its singularity of composition. Curators of the Rotterdam Film Festival noted, "The power of the film is that the filmmaker teaches the viewer to look better and learn to distinguish the great varieties in the landscape alongside him. [The list of lakes] alone is enough to encompass a treatise on America and its history. A treatise the film certainly encourages, but emphatically does not take part in." Benning, who studied mathematics and then film at the University of Wisconsin, currently is on the faculty at the California Institute of the Arts (CalArts). Added to the National Film Registry in 2014. Expanded essay by Scott MacDonald (PDF, 316KB) 20 Feet from Stardom (2013) Directed by Morgan Neville and produced by Gil Friesen, “20 Feet from Stardom” uses archival footage and interviews sharing behind-the-scenes experiences, and shining the spotlight on backup singers, including Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Jo Lawry, Claudia Lennear, and Tata Vega. Archival footage includes performances with Sting, David Bowie, Ray Charles, Michael Jackson, Elton John, Tom Jones, Ike & Tina Turner, Luther Vandross, and more. A highlight of the film includes an interview with Mick Jagger telling the story of how Merry Clayton came to sing the iconic background vocals on “Gimme Shelter.” Added to the National Film Registry in 2023. 42nd Street (1933) At a little less than 90 minutes, "42nd Street" is a fast-moving picture that crackles with great dialogue and snappily plays up Busby Berkeley's dance routines and and the bouncy Al Dubin-Harry Warren ditties that include the irrepressably cheerful "Young and Healthy" (featuring the adorable Toby Wing), "Shuffle Off to Buffalo" and the title number. A famous Broadway director (Warner Baxter) takes on a new show despite his ill health, then faces disaster at every turn, including the loss of his leading lady on opening night. The film features Bebe Daniels as the star of the show and Berkeley regulars Guy Kibbee, Ginger Rogers, Dick Powell, and Ruby Keeler, whom Baxter implores, "You're going out a youngster, but you've got to come back a star!" Added to the National Film Registry in 1998. 2001: A Space Odyssey (1968) Stanley Kubrick's landmark epic pushed the envelope of narrative and special effects to create an introspective look at technology and humanity. Arthur C. Clarke adapted his story "The Sentinel" for the screen version and his odyssey follows two astronauts, played by Keir Dullea and Gary Lockwood, on a voyage to Jupiter accompanied by HAL 9000, an unnervingly humanesque computer running the entire ship. With assistance from special-effects expert Douglas Trumbull, Kubrick spent more than two years creating his vision of outer space. Despite some initial critical misgivings, "2001" became one of the most popular films of 1968. Billed as "the ultimate trip," the film quickly caught on with a counterculture audience that embraced the contemplative experience that many older audiences found tedious and lacking substance. Added to the National Film Registry in 1991. Expanded essay by James Verniere (PDF, 691KB) 20,000 Leagues Under the Sea (1916) Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics. Added to the National Film Registry in 2016. Abbott and Costello Meet Frankenstein (1948) Freight handlers Bud Abbott and Lou Costello encounter Dracula and Frankenstein's monster when they arrive from Europe for a house of horrors exhibit. After the monsters outwit the hapless duo and escape, Dracula returns for Costello whose brain he intends to transplant into the monster. Lon Chaney Jr. as the lycanthropic Lawrence Talbot, Bela Lugosi in his final appearance as Dracula and Glenn Strange as the Monster all play their roles perfectly straight as Bud and Lou stumble around them. Throughout the film, Dracula and the Monster cavort in plain view of the quivering Costello who is unable to convince the ever-poised and dubious Abbott that the monsters exist. until the wild climax in Dracula's castle, where the duo are pursued by all three of the film's monstrosities. Expanded essay by Ron Palumbo (PDF, 424KB) Ace in the Hole (aka Big Carnival) (1951) Based on the infamous 1925 case of Kentucky cave explorer Floyd Collins, who became trapped underground and whose gripping saga created a national sensation lasting two weeks before Collins died. A deeply cynical look at journalism, "Ace in the Hole" features Kirk Douglas as a once-famous New York reporter, now a down-and-out has-been in Albuquerque. Douglas plots a return to national prominence by milking the story of a man trapped in a Native American cave dwelling as a riveting human-interest story, complete with a tourist-laden, carnival atmosphere outside the rescue scene. The callously indifferent wife of the stricken miner is no more sympathetic: "I don't go to church. Kneeling bags my nylons." Providing a rare moral contrast is Porter Hall, who plays Douglas' ethical editor appalled at his reporter's actions. Such a scathing tale of media manipulation might have helped turn this brilliant film into a critical and commercial failure, which later led Paramount to reissue the film under a new title, "The Big Carnival." Expanded essay by Molly Haskell (PDF, 330KB) Adam's Rib (1949) With an Oscar-nominated script by Ruth Gordon and Garson Kanin, "Adam's Rib" pokes fun at the double standard between the sexes. Spencer Tracy and Katharine Hepburn play husband and wife attorneys, each drawn to the same case of attempted murder. Judy Holliday, defending the sanctity of her marriage and family, intends only to frighten her philandering husband (Tom Ewell) and his mistress (Jean Hagen) but tearfully ends up shooting and injuring the husband. Tracy argues that the case is open and shut, but Hepburn asserts that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." As the trial turns into a media circus, the couple's relationship is put to the test. Holliday's first screen triumph propelled her onto bigger roles, including "Born Yesterday," for which she won an Academy Award. The film is also the debut of Ewell, who would become best known for his role opposite Marilyn Monroe in "The Seven Year Itch", and Hagen, who would floor audiences as the ditzy blonde movie star with the shrill voice in "Singin' in the Rain." The Adventures of Robin Hood (1938) When Richard the Lion-Hearted is captured and held for ransom, evil Prince John (Claude Rains) declares himself ruler of England and makes no attempt to secure Richard's safe return. A lone knight, Robin Hood (Errol Flynn), sets out to raise Richard's ransom by hijacking wealthy caravans traveling through Sherwood Forest. Aided by his lady love, Maid Marian (Olivia de Havilland), and band of merry men (including Alan Hale and Eugene Pallette) Robin battles the usurper John and wicked Sheriff of Nottingham to return the throne to its rightful owner. Dashing, athletic and witty, Flynn is everything that Robin Hood should be, and his adversaries are memorably villainous, particularly Basil Rathbone with whom Flynn crosses swords in the climactic duel. One of the most spectacular adventure films of all time, and features a terrific performance by the perfectly cast Flynn. Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Erich Wolfgang Korngold's score won an Oscar, as did the editing and art direction. The African Queen (1951) Adapted from a novel by C.S. Forester, the film stars Humphrey Bogart in an Oscar-winning portrayal of a slovenly, gin-swilling captain of the African Queen, a tramp steamer carrying supplies to small African villages during World War I. Katharine Hepburn plays a prim spinster missionary stranded when the Germans invade her settlement. Bogart agrees to transport Hepburn back to civilization despite their opposite temperaments. Before long, their tense animosity turns to love, and together they navigate treacherous rapids and devise an ingenious way to destroy a German gunboat. The difficulties inherent in filming on location in Africa are documented in numerous books, including one by Hepburn. Airplane! (1980) "Airplane!" emerged as a sharply perceptive parody of the big-budget disaster films that dominated Hollywood during the 1970s. Written and directed by David Zucker, Jerry Zucker and Jim Abrahams, the film is characterized by a freewheeling style and skewered Hollywood's tendency to push successful formulaic movie conventions beyond the point of logic. One of the film's most noteworthy achievements was to cast actors best known for their dramatic careers, such as Leslie Nielsen, Robert Stack and Lloyd Bridges, and provide them with opportunities to showcase their comic talents.The central premise is one giant cliche: a pilot (Robert Hays), who's developed a fear of flying, tries to win back his stewardess girlfriend (Julie Hagerty), boarding her flight so he can coax her around. Due to an outbreak of food poisoning, Hays must land the plane, with the help of a glue-sniffing air traffic controller (Bridges) and and his tyranical former captain (Stack). Supporting the stars is a wacky assemblage of stock characters from every disaster movie ever made. Expanded essay by Michael Schlesinger (PDF, 477KB) “¡Alambrista! (1977) “¡Alambrista!” is the powerfully emotional story of Roberto, a Mexican national working as a migrant laborer in the United States to send money back to his wife and newborn. Director Robert M. Young’s sensitive screenplay refuses to indulge in simplistic pieties, presenting us with a world in which exploitation and compassion coexist in equal measure. The film immerses us in Roberto’s world as he moves across vast landscapes, meeting people he can’t be sure are friend or threat, staying one step ahead of immigration officials. “¡Alambrista!” is as relevant today as it was on its 1977 release, a testament to its enduring humanity. Added to the National Film Registry in 2023. Expanded essay by Charles Ramírez Berg (PDF, 556KB) Interview with Edward James Olmos (PDF, 2MB) Alien (1979) This film's appeal may lie in its reputation as "a haunted house movie in space." Though not particularly original, "Alien" is distinguished by director Ridley Scott's innovative ability to wring every ounce of suspense out of the B-movie staples he employs within the film's hi-tech setting. Art designer H.R. Giger creates what has become one of cinema's scariest monsters: a nightmarish hybrid of humanoid-insect-machine that Scott makes even more effective by obscuring it from view for much of the film. The cast, including Tom Skerritt and John Hurt, brings an appealing quality to their characters, and one character in particular, Sigourney Weaver's warrant officer Ripley, became the model for the next generation of hardboiled heroines and solidified the prototype in subsequent sequels. Rounding out the cast and crew, cameraman Derek Vanlint and composer Jerry Goldsmith propel the emotions relentlessly from one visual horror to the next. All About Eve (1950) Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances. Movie poster All My Babies (1953) Written and directed by George Stoney, this landmark educational film was used to educate midwives throughout the South. Produced by the Georgia Department of Public Health, profiles the life and work of "Miss Mary" Coley, an African-American midwife living in rural Georgia. In documenting the preparation for and delivery of healthy babies in rural conditions ranging from decent to deplorable, the filmmakers inadvertently captured a telling snapshot at the socioeconomic conditions of the era that would prove fascinating to future generations. Added to the National Film Registry in 2002. Expanded essay by Joshua Glick (PDF, 391KB) Watch it here All Quiet on the Western Front (1930) This faithful adaptation of Erich Maria Remarque's classic pacifist novel is among the greatest antiwar films ever made, remaining powerful more than 80 years later, thanks to Lewis Milestone's inventive direction. Told from the perspective of a sensitive young German soldier (Lew Ayres) during WWI, recruited by a hawkish professor advocating "glory for the fatherland." The young soldier comes under the protective wing of an old veteran (Louis Wolheim) who teaches him how to survive the horrors of war. The film is emotionally draining, and so realistic that it will be forever etched in the mind of any viewer. Milestone's direction is frequently inspired, most notably during the battle scenes. In one such scene, the camera serves as a kind of machine gun, shooting down the oncoming troops as it glides along the trenches. Universal spared no expense during production, converting more than 20 acres of a large California ranch into battlefields occupied by more than 2,000 ex-servicemen extras. After its initial release, some foreign countries refused to run the film. Poland banned it for being pro-German, while the Nazis labeled it anti-German. Joseph Goebbels, later propaganda minister, publicly denounced the film. It received an Academy Award as Best Picture and Milestone was honored as Best Director. Expanded essay by Garry Wills (PDF, 713KB) Lobby card All That Heaven Allows (1955) The rich visual texture, using glorious Technicolor, and a soaring emotional score lend what is essentially a thin story a kind of epic tension. A movie unheralded by critics and largely ignored by the public at the time of its release, All That Heaven Allows is now considered Douglas Sirk's masterpiece. The story concerns a romance between a middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener (Rock Hudson)—the stuff of a standard weepie, you might think, until Sirk's camera begins to draw a deeply disturbing, deeply compassionate portrait of a woman trapped by stifling moral and social codes. Sirk's meaning is conveyed almost entirely by his mise-en-scene—a world of glistening, treacherous surfaces, of objects that take on a terrifying life of their own; he is one of those rare filmmakers who insist that you read the image. Expanded essay by John Wills (PDF, 187KB) Movie poster All That Jazz (1979) Director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, an ex-wife Audrey, girlfriend Kate, young daughter, and various conquests. Reminiscent of Fellini's "8 1/2 ," Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. All the King's Men (1949) Based on the Pulitzer Prize-winning novel by Robert Penn Warren and directed by Robert Rossen, "All the King's Men" was inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. The thesis is basically that power corrupts, with Stark presented as a man who starts out with a burning sense of purpose and a defiant honesty. Rossen, however, injects a note of ambiguity early on (a scene where Willie impatiently shrugs off his wife's dream of the great and good things he is destined to accomplish); and the doubt as to what he is really after is beautifully orchestrated by being filtered through the eyes of the press agent (Ireland) who serves as the film's narrator, and whose admiration for Stark gradually becomes tempered by understanding. In addition to its Oscars for Crawford and Mercedes McCambridge, the film won the Best Picture prize. All the President's Men (1976) Based on the memoir by "Washington Post" reporters Bob Woodward and Carl Bernstein about uncovering the Watergate break-in and cover up, "All the President's Men" is a rare example of a best-selling book transformed into a hit film and a cultural phenomenon in its own right. Directed by Alan J. Pakula, the film stars Robert Redford as Woodward and Dustin Hoffman as Bernstein, and features an Oscar-winning performance by Jason Robards as Ben Bradlee. Nominated for numerous awards, it took home an Oscar for best screenplay by William Goldman (known prior to this for "Butch Cassidy and the Sundance Kid" and after for "The Princess Bride"). Pakula's taut directing plays up the emotional roller coaster of exhilaration, paranoia, self-doubt, and courage, without ignoring the tedium and tireless digging, and elevating it to noble determination. Expanded essay by Mike Canning (PDF, 72KB) Allures (1961) Called the master of "cosmic cinema," Jordan Belson excelled in creating abstract imagery with a spiritual dimension that featured dazzling displays of color, light, and ever-moving patterns and objects. Trained as a painter and influenced by the films of Oskar Fischinger, Norman McLaren, and Hans Richter, Belson collaborated in the late 1950s with electronic music composer Henry Jacobs to create elaborate sound and light shows in the San Francisco Morrison Planetarium, an experience that informed his subsequent films. The film, Belson has stated, "was probably the space-iest film that had been done until then. It creates a feeling of moving into the void." Inspired by Eastern spiritual thought, "Allures" (which took a year and a half to make) is, Belson suggests, a "mathematically precise" work intended to express the process of becoming that the philosopher Teilhard de Chardin has named "cosmogenesis." Amadeus (1984) Milos Forman directed this deeply absorbing, visually sumptuous film based on the lives and rivalry of two great classical composers — the brash, youthful Wolfgang Amadeus Mozart and the good, if not truly exceptional, Antonio Salieri. Based upon Peter Shaffer's highly successful play, which Shaffer personally rewrote for the screen, "Amadeus," though ostensibly about classical music, instead shines as a remarkable examination of the concept of genius (Mozart) as well as the jealous obsession from less-talented rivals (Salieri). In an Oscar-winning performance, F. Murray Abraham skillfully lays bare the tortured emotions (admiration and covetous envy) Salieri feels for Mozart's work: "This was the music I had never heard...It seemed to me that I was hearing the voice of God. Why would God choose an obscene child to be his instrument?" America, America (1963) "My name is Elia Kazan. I am a Greek by blood, Turk by birth, American because my uncle made a journey." So begins the film directed, produced and written by Elia Kazan, and the one he frequently cited as his personal favorite. Based loosely on Kazan's uncle, Stavros dreams of going to America in the late 1890s. Kazan, who often hired locals as extras, cast in the lead role a complete novice, Stathis Giallelis, whom he discovered sweeping the floor in a Greek producer's office. Shot almost entirely in Greece and Turkey, Haskell Wexler's cinematography evokes scale and authenticity that combines with Gene Callahan's Oscar-winning art direction to give the film a distinctly European feel. Intended as the first chapter of a trilogy, the epically ambitious "America, America" also earned Oscar nominations for best director, best screenplay and best picture. American Graffiti (1973) Fresh off the success of "The Godfather," producer Francis Ford Coppola weilded the clout to tackle a project pitched to him by his friend, George Lucas. The film captured the flavor of the 1950s with ironic candor and a latent foreboding that helped spark a nostalgia craze. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film a neon glare to match its rock-n-roll soundscape. Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's wistfulness for pre-Vietnam simplicity appealed to audiences amidst cultural upheaval. The film also established the reputations of Lucas (whose next film would be "Star Wars") and his young cast, and furthered the onset of soundtrack-driven, youth-oriented movies. Movie poster An American in Paris (1951) Gene Kelly, Leslie Caron, Georges Guetary, (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra). "An American in Paris," directed by Vincente Minnelli, cleaned up at the Academy Awards, with Oscars for best picture, screenplay, score, cinematography, art direction, set design, and even a special award for the choreography of its 18-minute closing ballet in which Kelly and Caron dance before lavish backgrounds resembling French masterpieces. Interview with Leslie Caron (PDF, 1.36MB) Anatomy of a Murder (1959) Director Otto Preminger brought a new cinematic frankness to film with this gripping crime-and-trial movie shot on location in Michigan's Upper Peninsula where the incident on which it was based had occurred. Based on the best-selling novel by Robert Traver, Preminger imbues his film with daring dialogue and edgy pacing. Controversial in its day due to its blunt language and willingness to openly discuss adult themes, "Anatomy" endures today for its first-rate drama and suspense, and its informed perspective on the legal system. Starring James Stewart, Ben Gazzara and Lee Remick, it also features strong supporting performances by George C. Scott as the prosecuting attorney, and Eve Arden and Arthur O'Connell. The film includes an innovative jazz score by Duke Ellington and one of Saul Bass's most memorable opening title sequences. Animal House (1978) (see "National Lampoon's Animal House") Annie Hall (1977) Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. "Annie Hall" blended the slapstick and fantasy from such earlier Allen films as "Sleeper" and "Bananas" with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, "Annie Hall" beat out "Star Wars" for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. Added to the National Film Registry in 2001. Expanded essay by Jay Carr (PDF, 302KB) Antonia: A Portrait of the Woman (1974) Directed by Jill Godmilow and Judy Collins, this Oscar-nominated documentary chronicles the life of musician-conductor Antonia Brico and her struggle to become a symphony director despite her gender. Told by many that it was ridiculous for a woman to think of conducting, she admits, "I felt that I'd never forgive myself if I didn't try." And the pain and deprivation which she has known all her life are over-shadowed in this film by her ebullient, forthright warmth. The narrative of her life alternates with glimpses of her at work—rehearsing or teaching. She also reflects on the emotional experience of conducting— including the acute separation pangs that follow a concert. Expanded essay by Diane Worthey (PDF, 458KB) The Apartment (1960) Billy Wilder is purported to have hung a sign in his office that read, "How Would Lubitsch Do It?" Here, that Lubitsch touch seems to hover over each scene, lending a lightness to even the most nefarious of deeds. One of the opening shots in the movie shows Baxter as one of a vast horde of wage slaves, working in a room where the desks line up in parallel rows almost to the vanishing point. This shot is quoted from King Vidor's silent film "The Crowd" (1928), which is also about a faceless employee in a heartless corporation. Cubicles would have come as revolutionary progress in this world. By the time he made this film, Wilder had become a master at a kind of sardonic, satiric comedy that had sadness at its center. Wilder was fresh off the enormous hit "Some Like it Hot," his first collaboration with Lemmon, and with "The Apartment" Lemmon showed that he could move from light comedian to tragic everyman. This movie was the summation of what Wilder had done to date, and the key transition in Lemmon's career. It was also a key film for Shirley MacLaine, who had been around for five years in light comedies, but here emerged as a serious actress who would flower in the 1960s. Expanded essay by Kyle Westphal (PDF, 428KB) Apocalypse Now (1979) The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era. Movie poster Applause (1929) This early sound-era masterpiece was the first film of both stage/director Rouben Mamoulian and cabaret/star Helen Morgan. Many have compared Mamoulian's debut to that of Orson Welles' "Citizen Kane" because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peters as her cultured daughter. However, the film is remembered today chiefly for Mamoulian's audacious style. While most films of the era were static and stage-bound, Mamoulian's camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life. Apollo 13 (1995) The extreme challenges involved in space travel present compelling cinema storylines, and one cannot imagine a more harrowing scenario than the near tragic Apollo 13 space mission. Director Ron Howard’s retelling is equally meticulous and emotional, a master class in enveloping the audience into a complicated technological exercise in life-and-death problem-solving. Based on the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by astronaut Jim Lovell and Jeffrey Kluger, “Apollo 13” blends skillful editing, crafty special effects, a James Horner score, and a well-paced script to detail the quick-thinking heroics of both the astronaut crew and NASA technicians as they improvise and work through unprecedented situations. The talented cast includes Tom Hanks, Bill Paxton, Kevin Bacon, Gary Sinise, Ed Harris and Kathleen Quinlan. Howard went to great lengths to create a technically accurate movie, employing NASA's assistance in astronaut and flight-controller training for his cast, and obtaining permission to film scenes aboard a reduced-gravity aircraft for realistic depiction of the weightlessness experienced by the astronauts in space. Added to the National Film Registry in 2023. The Asphalt Jungle (1950) John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned — until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a memorable bit part as Emmerich's "niece." Atlantic City (1980) Aided by a taut script from playwright John Guare, director Louis Malle celebrates his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are. Malle reveals the rich portraits he paints of wasted American lives, through the filter of his European sensibilities. He is exceptionally well served by his cast and his location--a seedy resort town supported, like the principal characters, by memories of glories past. Burt Lancaster, in a masterful performance, plays an aging small-time criminal who hangs around Atlantic City doing odd jobs and taking care of the broken-down moll of the deceased gangster for whom Lou was a gofer. Living in an invented past, Lou identifies with yesteryear's notorious gangsters and gets involved with sexy would-be croupier (Susan Sarandon) and her drug-dealing estranged husband. The Atomic Café (1982) Produced and directed by Kevin Rafferty, Jayne Loader and Pierce Rafferty, the influential film compilation "The Atomic Cafe" provocatively documents the post-World War II threat of nuclear war as depicted in a wide assortment of archival footage from the period (newsreels, statements from politicians, advertisements, training, civil defense and military films). This vast, yet entertaining, collage of clips serves as a unique document of the 1940s-1960s era and illustrates how these films—some of which today seem propagandistic or even patently absurd ("The House in the Middle")—were used to inform the public on how to cope in the nuclear age. Expanded essay by John Willis (PDF, 45KB) Attica (1974) The September 1971 Attica prison uprising is the deadliest prison riot in U.S. history. To protest living conditions, inmates took over the facility, held hostages, issued a manifesto demanding better treatment, and then engaged in four days of fruitless negotiations. On Day 5, state troopers and prison authorities retook the prison in a brutal assault, leaving 43 inmates and hostages dead. Cinda Firestone’s outstanding investigation of the tragedy takes us through the event, what caused it, and the aftermath. She uses first-hand interviews with prisoners, families and guards, assembled surveillance and news camera footage, and video from the McKay Commission hearings on the massacre. An ex-inmate ends the film with a quote hoping to shake public lethargy on the need for prison reform: “Wake up, because nothing comes to a sleeper, but a dream.” The Augustas (1930s-1950s) Scott Nixon, a traveling salesman based in Augusta, Ga., was an avid member of the Amateur Cinema League who enjoyed recording his travels on film. In this 16-minute silent film, Nixon documents some 38 streets, storefronts and cities named Augusta in such far-flung locales as Montana and Maine. Arranged with no apparent rhyme or reason, the film strings together brief snapshots of these Augustas, many of which are indicated at pencil-point on a train timetable or roadmap. Nixon photographed his odyssey using both 8mm and 16mm cameras loaded with black-and-white and color film, amassing 26,000 feet of film that now resides at the University of South Carolina. While Nixon's film does not illuminate the historical or present-day significance of these towns, it binds them together under the umbrella of Americana. Whether intentionally or coincidentally, this amateur auteur seems to juxtapose the name's lofty origin—'august,' meaning great or venerable—with the unspectacular nature of everyday life in small-town America. View this film at Moving Image Research Collections, University of South Carolina External The Awful Truth (1937) Leo McCarey's largely improvised film is one of the funniest of the screwball comedies, and also one of the most serious at heart. Cary Grant and Irene Dunne are a pair of world-weary socialites who each believe the other has been unfaithful, and consequently enter into a trial divorce. The story began life as a 1922 stage hit and was filmed twice previously. McCarey maintained the basic premise of the play but improved it greatly, adding sophisticated dialogue and encouraging his actors to improvise around anything they thought funny. "The Awful Truth" was in the can in six weeks, and was such a success that Grant and Dunne were teamed again in another comedy, "My Favorite Wife" and in a touching tearjerker, "Penny Serenade." The film was nominated for an Academy Award for Best Picture. Movie poster Movie poster Baby Face (1933) Smart and sultry Barbara Stanwyck uses her feminine wiles to scale the corporate ladder, amassing male admirers who are only too willing to help a poor working girl. One of the more notorious melodramas of the pre-Code era, a period when the movie industry relaxed its censorship standards, films such as this one led to the imposition of the Production Code in 1934. This relative freedom resulted in a cycle of gritty, audacious films that resonated with Depression-battered audiences. Expanded essay by Gwendolyn Audrey Foster (PDF, 819KB) Back to the Future (1985) Writer/director Robert Zemeckis explored the possibilities of special effects with the 1985 box-office smash "Back to the Future." With his writing partner Bob Gale, Zemeckis tells the tale of accidental time-tourist Marty McFly. Stranded in the year 1955, Marty (Michael J. Fox)—with the help of his friend eccentric scientist Dr. Emmett Brown (played masterfully over-the-top by Christopher Lloyd)—must not only find a way home, but also teach his father (Crispin Glover) how to become a man, repair the space/time continuum and save his family from being erased from existence. All this, while fighting off the advances of his then-teenaged mother (Lea Thompson). The film generated a popular soundtrack and two enjoyable sequels. The Bad and the Beautiful (1952) Vincente Minnelli directed this captivating Hollywood story of an ambitious producer (Kirk Douglas)as told in flashback by those whose lives he's impacted: an actress (Lana Turner), a writer (Dick Powell) and a director (Barry Sullivan). Insightful and liberally sprinkled with characters modeled after various Hollywood royalty from David O. Selznick to Scott and Zelda Fitzgerald, witty, with one of Turner's best performances. Five Oscars include Supporting Actress (Gloria Grahame), Screenplay (Charles Schnee). David Raksin's score is another asset. Movie poster Bad Day at Black Rock (1955) Though only 81 minutes in length, "Bad Day" packs a punch. Spencer Tracy stars as Macreedy, a one-armed man who arrives unexpectedly one day at the sleepy desert town of Black Rock. He is just as tight-lipped at first about the reason for his visit as the residents of Black Rock are about the details of their town. However, when Macreedy announces that he is looking for a former Japanese-American Black Rock resident named Komoko, town skeletons suddenly burst into the open. In addition to Tracy, the standout cast includes Robert Ryan, Anne Francis, Lee Marvin, Ernest Borgnine and Dean Jagger. Director John Sturges displays the western landscape to great advantage in this CinemaScope production. Badlands (1973) Stark, brutal story based on the Charles Starkweather-Carol Fugate murder spree through the Midwest in 1958, with Martin Sheen as the killer lashing out against a society that ignores his existence and Sissy Spacek as his naive teenage consort. Sheen is forceful and properly weird as the mass murderer, strutting around pretending to be James Dean, while Spacek doesn't quite understand what he's all about, but goes along anyway. Director Terrence Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study. The film did scant box office business, but it remains one of the most impressive of directorial debuts. Ball of Fire (1941) In this Howard Hawks-directed screwball comedy, showgirl and gangster's moll Sugarpuss O'Shea (Barbara Stanwyck) hides from the law among a group of scholars compiling an encyclopedia. Cooling her heels until the heat lets up, Sugarpuss charms the elderly academics and bewitches the young professor in charge (Gary Cooper). Hawks deftly shapes an effervescent, innuendo-packed Billy Wilder-Charles Brackett script into a swing-era version of Snow White and the Seven Dwarfs or "squirrely cherubs," as Sugarpuss christens them. Filled with colorful period slang and boogie-woogie tunes and highlighted by an energetic performance from legendary drummer Gene Krupa, the film captures a pre-World War II lightheartedness. The Ballad of Gregorio Cortez (1982) Directed by Robert M. Young, produced by Moctesuma Esparza, and co-produced by Edward James Olmos, who stars as Gregorio, some of the film’s most beautiful scenes come from acclaimed cinematography Reynoldo Villalobos. “The Ballad of Gregorio Cortez” is one of the key feature films from the 1980s Chicano film movement. Edward James Olmos was a working actor but not yet a star when he and several friends, meeting at what would become the Sundance Film Festival, decided to make a film about a true story of injustice from the Texas frontier days. Shot on a tiny budget for PBS, “The Ballad of Gregorio Cortez” accurately tells the story of a Mexican-American farmer who in 1901 was falsely accused of stealing a horse. Cortez killed the sheriff who tried to arrest him, outran a huge posse for more than a week, barely escaped lynching and was eventually sentenced to more than a decade in prison. The incident became a famous corrido, or story-song, that is still sung in Mexico and Texas. While some characters speak in Spanish and others in English, the filmmakers decided not to use subtitles to give audiences the same experience as those caught up in the unfolding tragedy. “This film is being seen more today than it was the day we finished it,” Olmos said in a 2022 interview with the Library of Congress. “‘The Ballad of Gregorio Cortez’ is truly the best film I’ve ever been a part of in my lifetime.” Interview with Edward James Olmos (PDF, 2MB) Bambi (1942) One of Walt Disney's timeless classics (and his own personal favorite), this animated coming-of-age tale of a wide-eyed fawn's life in the forest has enchanted generations since its debut nearly 70 years ago. Filled with iconic characters and moments, the film features beautiful images that were the result of extensive nature studies by Disney's animators. Its realistic characters capture human and animal qualities in the time-honored tradition of folklore and fable, which enhance the movie's resonating, emotional power. Treasured as one of film's most heart-rending stories of parental love, "Bambi" also has come to be recognized for its eloquent message of nature conservation. Expanded essay by John Wills (PDF, 360KB) Expanded essay by Gail Alexander (wife of Stan Alexander - “Flower”) (PDF, 371KB) Original drawing of Bambi Bamboozled (2000) Mixing elements of “A Face in the Crowd,” “The Producers,” “Network” and “Putney Swope,” Spike Lee’s “Bamboozled” showcases his unique talents, here blending dark comedy and satire exposing hypocrisy. An African American TV executive (Damon Wayans) grows tired of his ideas being rejected by his insincere white boss, who touts himself with an “I am Black People” type of vibe. To get out of this untenable situation, Wayans proposes an idea he feels will surely get him fired: a racist minstrel show featuring African American performers donning blackface. The show becomes a smash hit while at the same time sparking outrage, including militant groups leading to violence. As with the best satire, the focus is not on believable plot but rather how the story reveals the ills of society, in this case how Hollywood and television have mistreated African Americans over the decades. Added to the National Film Registry in 2023. The Band Wagon (1953) Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray and Jack Buchanan star in this sophisticated backstage toe-tapper directed by Vincente Minnelli, widely considered one of the greatest movie musicals of all time. Astaire plays a washed-up movie star (in reality he'd been a succesful performer for nearly 30 years) who tries his luck on Broadway, under the direction of irrepressible mad genius Buchanan. Musical highlights include "Dancing in the Dark" and "That's Entertainment" (written for the film by Howard Dietz and Arthur Schwartz) and Astaire's sexy Mickey Spillane spoof "The Girl Hunt" danced to perfection by Charisse. Fred Astaire would only make three more musicals after "The Band Wagon," before turning to a film and television career that included the occasional turn as a dramatic actor. Lobby card Additional artwork The Bank Dick (1940) Perhaps more than any other film comedian in the early days of movies, W.C. Fields is an acquired taste. His absurdist brand of humor, at once dry and surreal, endures for the simple reason that the movies bear up under repeated viewings; in fact, it's almost a necessity to watch them over and over, if only to figure out why they're so funny. In his second-to-last feature, The Bank Dick (which he wrote under the moniker "Mahatma Kane Jeeves"), Fields as unemployed layabout Egbert Souse -- Soosay, if you don't mind -- replaces drunk movie director A. Pismo Clam on a location shoot in his hometown of Lompoc, California before chance lands him in the job of bank detective -- after which the movie becomes a riff on the comic possibilities of his new-found notoriety. The stellar comic supporting cast includes future Stooge Shemp Howard as the bartender at Fields' regular haunt, The Black Pussy, and Preston Sturges regular Franklin Pangborn as bank examiner J. Pinkerton Snoopington. Expanded essay by Randy Skretvedt (PDF, 401KB) The Bargain (1914) After beginning his career on the stage (where he originated the role of Messala in "Ben-Hur" in 1899), William S. Hart found his greatest fame as the silent screen's most popular cowboy. His 1914 "The Bargain," directed by Reginald Barker, was Hart's first film and made him a star. The second Hart Western to be named to the National Film Registry, the film was selected because of Hart's charisma, the film's authenticity and realistic portrayal of the Western genre and the star's good/bad man role as an outlaw attempting to go straight. Added to the National Film Registry 2010. Expanded essay by Brian Taves (PDF, 1692KB) Watch it here The Battle of the Century (1927) "Battle of the Century" is a classic Laurel and Hardy silent short comedy (2 reels, ca. 20 minutes) unseen in its entirety since its original release. The comic bits include a renowned pie-fighting sequence where the principle of "reciprocal destruction" escalates to epic proportions. "Battle" offers a stark illustration of the detective work (and luck) required to locate and preserve films from the silent era. Only excerpts from reel two of the film had survived for many years. Critic Leonard Maltin discovered a mostly complete nitrate copy of reel one at the Museum of Modern Art in the 1970s. Then in 2015, film collector and silent film accompanist Jon Mirsalis located a complete version of reel two as part of a film collection he purchased from the Estate of Gordon Berkow. The film still lacks brief scenes from reel one, but the film is now almost complete, comprising elements from MoMA, the Library of Congress, UCLA and other sources. It was restored by the UCLA Film and Television Archive in conjunction with Jeff Joseph/SabuCat. The nearly complete film was preserved from one reel of 35mm nitrate print, one reel of a 35mm acetate dupe negative and a 16mm acetate print. Laboratory Services: The Stanford Theatre Film Laboratory, Deluxe Entertainment Services Group, Cineaste Restoration/Thad Komorowksi, Point 360/Joe Alloy. Special Thanks: Jon Mirsalis, Paramount Pictures Archives, Richard W. Bann, Ray Faiola, David Gerstein. The Battle of San Pietro (1945) John Huston's documentary about the WW II Battle of San Pietro Infine was considered too controversial by the U.S. military to be seen in its original form, and was cut from five reels to its released 33 minute-length. powerful viewing, vivid and gritty. Some 1,100 men died in the battle. scenes of grateful Italian peasants serve as a fascinating ethnographic time capsule. Filmed by Jules Buck. Unlike many other military documentaries, Huston's cameramen filmed alongside the Army's 143rd regiment, 36th division infantrymen, placing themselves within feet of mortar and shell fire. The film is unflinching in its realism and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. Because it showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film. The depiction of death would inspire them to take their training seriously. Subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major. Expanded essay by Ed Carter (PDF, 423KB) View this film at National Film Preservation Foundation External The Beau Brummels (1928) Al Shaw and Sam Lee were an eccentrically popular vaudeville act of the 1920s. In 1928 they made this eight-minute Vitaphone short for Warner Bros. The duo later appeared in more than a dozen other films, though none possessed the wacky charm of "The Beau Brummels." As Jim Knipfel has observed: "If Samuel Beckett had written a vaudeville routine, he would have created Shaw and Lee." Often considered one of the quintessential vaudeville comedy shorts, the film has a simple set-up—Shaw and Lee stand side by side with deadpan expressions in non-tailored suits and bowler hats as they deliver their comic routine of corny nonsense songs and gags with a bit of soft shoe and their renowned hat-swapping routine. Shaw's and Lee's reputation has enjoyed a recent renaissance and their brand of dry, offbeat humor is seen by some as well ahead of its time. The film has been preserved by the UCLA Film & Television Archive. Beauty and the Beast (1991) Disney's "Beauty and the Beast" is an animated, musical retelling of the fairy tale by Jeanne-Marie Leprince du Beaumont. The film follows Belle (voiced by Paige O'Hara), an intelligent and rebellious young French woman, who is forced to live with a hideous monster, the Beast (voiced by Robby Benson), after offering to take her father's place as the Beast's prisoner. Unaware that the Beast is actually an enchanted prince, Belle falls in love with him. "Beauty and the Beast" was the first animated film nominated for an Academy Award in the Best Picture category. Alan Menken won an Oscar for his original score, and he and lyricist Howard Ashman (posthumously) earned Oscars for the film's theme song "Beauty and the Beast." Movie poster Becky Sharp (1935) Actress Miriam Hopkins had a long and successful movie career, appearing in many classics, including "Trouble in Paradise" and "Design for Living." However, it is as this film's titular heroine that she received her only Academy Award best-actress nomination. Based upon Thackeray's novel "Vanity Fair," "Becky" is the story of a socially ambitious woman and her destructive climb up the class system. "Becky Sharp" merits historical note as the first feature-length film to utilize the three-strip Technicolor process, which, even today, gives the film a shimmering visual appeal. The lengthy, complicated restoration process of "Becky Sharp" by the UCLA Film and Television Archive marked one of the earliest archival restorations to garner widespread public attention. Partners in this painstaking effort included the National Telefilm Associates Inc., Fondazione Scuola Nazionale di Cinema, Cineteca Nazionale (Rome), British Film Institute, The Film Foundation, National Endowment for the Arts, Paramount and YCM Laboratories. More information can be found at https://cinema.ucla.edu/restoration/becky-sharp-restoration External. Before Stonewall (1984) In 1969, New York City police raided the Stonewall Inn, a gay bar in Greenwich Village. After years of harassment, this infamous act proved a tipping point and led to three days of riots. The Stonewall riots are credited with launching the modern gay civil rights movement in the U.S. Narrated by Rita Mae Brown, "Before Stonewall" provides a detailed look at the history and making of the LGBTQ community in 20th-century America through archival footage and interviews with those who felt compelled to live secret lives during that period. Elements, prints and a new 2016 digital cinema package are held in the Outfest UCLA Legacy Project Collection at the UCLA Film & Television Archive. Behind Every Good Man (1967) This pre-Stonewall UCLA student short by Nikolai Ursin offers a stunning early portrait of Black, gender fluidity in Los Angeles and the quest for love and acceptance. Following playful street scene vignettes accompanied by a wistful, baritone voice-over narration, the film lingers tenderly on our protagonist preparing for a date who never arrives. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project. Special thanks to John Campbell, Stephen Parr and Norman Yonemoto. Being There (1979) Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer's persona, including the man's cultured walk, talk and even his expensive clothes, and is mistaken as "Chauncey Gardner," whose simple adages are interpreted as profound insights. He becomes the confidant of a dying billionaire industrialist (Melvyn Douglas, in an Academy Award-winning performance) who happens to be a close adviser to the U.S. president (Jack Warden). Chance's gardening advice is interpreted as metaphors for political policy and life in general. Jerzy Kosinski, assisted by award-winning screenwriter Robert C. Jones, adapted his 1971 novel for the screenplay which Hal Ashby directed with an understatement to match the subtlety and precision of Sellers' Academy Award-nominated performance. Shirley MacLaine also stars as Douglas's wife, then widow, who sees Chauncey as a romantic prospect. Film critic Robert Ebert said he admired the film for "having the guts to take this totally weird conceit and push it to its ultimate comic conclusion." That conclusion is a philosophically complex film that has remained fresh and relevant. Expanded essay by Jerry Dean Roberts (PDF, 118KB) Ben-Hur (1925) Adapted from General Lew Wallace's popular novel "Ben-Hur: A Tale of the Christ" published in 1880, this epic featured one of the most exciting spectacles in silent film: the chariot race that was shot with 40 cameras on a Circus Maximus set costing a staggering (for the day) $300,000. In addition to the grandeur of the chariot scene, a number of sequences shot in Technicolor also contributed to the epic status of "Ben-Hur," which was directed by Fred Niblo and starred Ramon Novarro as Judah Ben-Hur and Francis X. Bushman as Messala. While the film did not initially recoup its investment, it did help to establish its studio, MGM, as one of the major players in the industry. Expanded essay by Fritzi Kramer (PDF, 254KB) Lobby card Ben-Hur (1959) This epic blockbuster stars Charlton Heston in the title role of a rebellious Israelite who takes on the Roman Empire during the time of Christ. Featuring one of the most famous action sequences of all time -- the breathtaking chariot race -- the film was a remake of the impressive silent version released in 1925. Co-starring Stephen Boyd as Judah Ben-Hur's onetime best friend and later rival, it also featured notable performances by Hugh Griffith and Jack Hawkins. Directed by Oscar-winner William Wyler, who found success with "Mrs. Miniver" "The Best Years of Our Lives" and others, "Ben-Hur" broke awards records, winning 11 Oscars, including best picture, director, actor, supporting actor, and score. Famed stuntman Yakima Canutt was brought in to coordinate all the chariot race stunt work and train the driver The race scene alone cost is reported to have cost about $4 million, or about a fourth of the entire budget, and took 10 weeks to shoot. Expanded essay by Gabriel Miller (PDF, 499KB) Bert Williams Lime Kiln Club Field Day (1913) In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians. The Best Years of Our Lives (1946) A moving and personal story directed by real-life veteran William Wyler, the film depicts the return to civilian life by three World War II servicemen, portrayed by Dana Andrews, Fredric March and Harold Russell. Adapted by Robert Sherwood from MacKinlay Kantor's novel "Glory for Me," Gregg Toland's deep-focus cinematography is memorable for emotionally evokative long dolly shots. It also starred Myrna Loy, Teresa Wright, Cathy O'Donnell, and Virginia Mayo. The film won nine Oscars including Best Picture, as well as two awards for Russell, who lost his hands in the war. Expanded essay by Gabriel Miller (PDF, 319KB) Betty Tells Her Story (1972) Liane Brandon’s classic documentary explores the layers of storytelling and memory - how telling a story again can reveal previously hidden details and context. In this poignant tale of beauty, identity and a dress, the filmmaker turns the storytelling power over to the subject. Deceptively simple in its approach, the director in two separate takes films Betty recalling her search for the perfect dress for an upcoming special occasion. During the first take, Betty describes in delightful detail how she found just the right one, spent more than she could afford, felt absolutely transformed … and never got to wear it. Brandon then asks her to tell the story again, and this time her account becomes more nuanced, personal and emotional, revealing her underlying feelings. Though the facts remain the same, the story is strikingly different. “Betty Tells Her Story” was the first independent documentary of the Women’s Movement to explore the ways in which clothing and appearance affect a woman’s identity. It is used in film studies, psychology, sociology, women’s studies, and many other academic disciplines as a perceptive look at how our culture views women in the context of body image, self-worth and beauty in American culture. The film was restored with a grant from New York Women in Film & Television’s Women's Film Preservation Fund. Inductees' Gallery - Liane Brandon, producer and director Big Business (1929) As gifted in their repartee as they were in their physical antics, Stan Laurel and Oliver Hardy were the perfect team for the transition from silent film comedy to sound. Their legendary career spanned from 1921 to 1951 and included more than 100 films. This two-reeler finds the duo attempting to sell Christmas trees in sunny California. Their run-in with an unsatisfied customer (played by James Finlayson) lays the groundwork for a slapstick melee eventually involving a dismantled car, a wrecked house and an exploding cigar. The film was produced by the team's long-time collaborator, Hal Roach, the king of no-holds-barred comedy. Expanded essay by Randy Skretvedt (PDF, 308KB) The Big Heat (1953) One of the great post-war noir films, "The Big Heat" stars Glenn Ford, Lee Marvin and Gloria Grahame. Set in a fictional American town, the film tells the story of a tough cop (Ford) who takes on a local crime syndicate, exposing tensions within his own corrupt police department as well as insecurities and hypocrisies of domestic life in the 1950s. Filled with atmosphere, fascinating female characters, and a jolting—yet not gratuitous—degree of violence, "The Big Heat," through its subtly expressive technique and resistance to formulaic denouement, manages to be both stylized and brutally realistic, a signature of its director Fritz Lang. Movie poster The Big Lebowski (1998) From the unconventional visionaries Joel and Ethan Coen (the filmmakers behind "Fargo" and "O Brother, Where Art Thou?") came this 1998 tale of kidnapping, mistaken identity and bowling. As they would again in the 2008 "Burn After Reading," the Coens explore themes of alienation, inequality and class structure via a group of hard-luck, off-beat characters suddenly drawn into each other's orbits. Jeff Bridges, in a career-defining role, stars as "The Dude," an LA-based slacker who shares a last name with a rich man whose arm-candy wife is indebted to shady figures. Joining Bridges are John Goodman, Tara Reid, Julianne Moore, Philip Seymour Hoffman, Steve Buscemi and, in a now-legendary cameo, John Turturro. Stuffed with vignettes—each staged through the Coens' trademark absurdist, innovative visual style—that are alternately funny and disturbing, "Lebowski" was only middling successful at the box office during its initial release. However, television, the Internet, home video and considerable word-of-mouth have made the film a highly quoted cult classic. Expanded essay by J.M. Tyree & Ben Walters (PDF, 354KB) The Big Parade (1925) One of the first films to deglamorize war with its startling realism, "The Big Parade" became the largest grossing film of the silent era. From a story by Laurence Stallings, director King Vidor crafted what "New York Times" critic Mordaunt Hall called "an eloquent pictorial epic." The film, which Hall said displayed "all the artistry of which the camera is capable," depicts a privileged young man (John Gilbert) who goes to war seeking adventure and finds camaraderie, love, humility and maturity amid the horrors of war. Along the way he befriends two amiable doughboys (Karl Dane and Tom O'Brien) and falls for a beautiful French farm girl (Renée Adorée). Vidor tempered the film's serious subject matter with a kind of simple, light humor that flows naturally from new friendships and new loves. A five-time nominee for Best Director, Vidor was eventually recognized by the Academy in 1979 with an honorary lifetime achievement award. Both stars continued to reign until the transition to talking pictures, which neither Gilbert nor Adorée weathered successfully. Their careers plummeted and both died prematurely. The Big Sleep (1946) Howard Hawks directed this Raymond Chandler story featuring private eye Philip Marlowe, played by Humphrey Bogart. Appearing opposite him in only her second film was a former model named Lauren Bacall, with whom Bogart had fallen in love (and vice versa) during filming of "To Have and Have Not" earlier that year. Hawks and his writers attempted to untangle the threads of Chandler's complicated plot which caused frequent production delays. More than a month behind schedule and about $50,000 over budget, the film was ready in mid-summer1945, and that version was distributed to servicemen overseas. Shortly thereafter "To Have and Have Not" was released, and audiences loved the Bogart-Bacall chemistry, so the wide release of "The Big Sleep" was further delayed the wide release by rewriting scenes to heighten the chemistry and bring out Bacall's "insolent" quality that audiences found so appealing the pair's earlier film. The pre-release cut is only two minutes longer, but contains 18 minutes of scenes missing from the final picture. The first "draft" was discovered at the UCLA Film and Television Archive where both versions have since been preserved. The Big Trail (1930) This taming of the Oregon Trail saga comes alive thanks to the majestic sweep afforded by the experimental Grandeur wide-screen process developed by the Fox Film Corporation. Audiences marveled at the sheer scope of the panoramic scenes before them and delighted in the beauty of the vast landscapes. Hollywood legend has it that director Raoul Walsh was seeking a male lead for a new Western and asked his friend John Ford for advice. Ford recommended an unknown actor named John Wayne because he "liked the looks of this new kid with a funny walk -- like he owned the world." When Wayne professed inexperience, Walsh told him to just "sit good on a horse and point."Wayne's starring role in "The Big Trail" did not catapult him to stardom, and he languished in low-budget pictures until John Ford cast him in the 1939 classic "Stagecoach." Expanded essay by Marilyn Ann Moss (PDF, 375KB) The Birds (1963) "The Birds" was the fourth suspense hit by Alfred Hitchcock—following "Vertigo," "North by Northwest" and "Psycho"—revealing his mastery of his craft. Hitchcock transfixed both critics and mass audiences by deftly moving from anxiety-inducing horror to glossy entertainment and suspense, with bold forays into psychological terrain. Marked by a foreboding sense of an unending terror no one can escape, the film concludes with its famous, final scene, which only adds to the emotional impact of "The Birds." The Birth of a Nation (1915) This landmark of American motion pictures is the story of two families during the Civil War and Reconstruction. Director D.W. Griffith's depiction of the Ku Klux Klan as heroes stirred controversy that continues to the present day. But the director's groundbreaking camera technique and narrative style advanced the art of filmmaking by leaps and bounds. Profoundly impacted by the novel "The Clansman: An Historical Romance of the Ku Klux Klan," Griffith hired its author Thomas F. Dixon Jr. to adapt it as a screenplay. At the heart of the story are two pairs of star-crossed lovers on either side of the conflict: Southerner Henry B. Walthall courts Northerner Lillian Gish, and the couple's siblings, played by Elmer Clifton and Miriam Cooper, are also in love. The ravages of war and the chaos of reconstruction take their toll on both families. The racist and simplistic depictions of blacks in the film is difficult to overlook, but underneath the distasteful sentiment lies visual genius. Expanded essay by Dave Kehr (PDF, 599KB) Movie poster Black and Tan (1929) In one of the first short musical films to showcase African-American jazz musicians, Duke Ellington portrays a struggling musician whose dancer wife (Fredi Washington in her film debut) secures him a gig for his orchestra at the famous Cotton Club where she's been hired to perform, at a risk to her health. Directed by Dudley Murphy, who earned his reputation with "Ballet mécanique," which is considered a masterpiece of early experimental filmmaking, the film reflects the cultural, social and artistic explosion of the 1920s that became known as the Harlem Renaissance. Ellington and Washington personify that movement, and Murphy—who also directed registry titles "St. Louis Blues" (1929), another musical short, and the feature "The Emperor Jones" (1933) starring Paul Robeson—cements it in celluloid to inspire future generations. Washington, who appeared with Robeson in "Emperor Jones," is best known as "Peola" in the 1934 version of "Imitation of Life." The Black Pirate (1926) This swashbuckling tour-de-force by Douglas Fairbanks, king of silent action adventure pictures, is most significant for having been filmed entirely in two-strip Technicolor, a process still being perfected at the time, and the precursor to Technicolor processes that would become commonplace by the 1950s. Fairbanks plays a nobleman who has vowed to avenge the death of his father at the hands of pirates, and once upon the pirates' vessel, protects a damsel in distress (Bessie Love)taken hostage by the band of thieves. Fairbanks wrote the original story under a pseudonym, and Albert Parker directed. Expanded essay by Tracey Goessel (PDF, 356 KB) The Black Stallion (1979) When a ship carrying young Alec Ramsey (Kelly Reno) and a black Arabian stallion sinks off the coast of Africa, Alec and the horse find themselves stranded on a deserted island. Upon their rescue, Alec and horse trainer/former jockey Henry Dailey (Mickey Rooney) begin training the horse to become a formidable racer. Directed by Carroll Ballard and based on the Walter Farley novel of the same name, the film was executive produced by Francis Ford Coppola who finally persuaded United Artists to release the film after shelving it for two years. The film's supervising sound editor, Alan Splet, received a Special Achievement Award for his innovations including affixing microphones around the horse's midsection to pick up the sound of its hoof beats and breathing during race sequences. "The Black Stallion" was nominated for two Academy Awards, one for Best Supporting Actor for Mickey Rooney and one for Best Film Editing for Robert Dalva. Expanded essay by Keith Phipps (PDF, 375 KB) Blackboard Jungle (1955) In a 1983 interview, writer-director Richard Brooks claimed that hearing Bill Haley and the Comets' "Rock Around the Clock" in 1954 inspired him to make a rock & roll-themed picture. The result was "Blackboard Jungle," an adaptation of the controversial novel by Evan Hunter about an inner-city schoolteacher (played in the film by Glenn Ford) tackling juvenile delinquency and the lamentable state of public education— common bugaboos of the Eisenhower era. Retaining much of the novel's gritty realism, the film effectively dramatizes the social issues at hand, and features outstanding early performances by Sidney Poitier and Vic Morrow. The film, however, packs its biggest wallop even before a word of dialog is spoken. As the opening credits roll, Brooks' original inspiration for the film – the pulsating strains of "Rock Around the Clock" – blasts across theater speakers, bringing the devil's music to Main Street and epitomizing American culture worldwide. Blacksmith Scene (1893) Not blacksmiths but employees of the Edison Manufacturing Company, Charles Kayser, John Ott and another unidentified man are likely the first screen actors in history, and "Blacksmith Scene" is thought to be the first film of more than a few feet to be publicly exhibited. The 30-second film was photographed in late April 1893 by Edison's key employee, W.K.L. Dickson, at the new Edison studio in New Jersey. On May 9, audiences lined up single file at the Brooklyn Institute of Arts and Sciences to peer through a viewing machine called a kinetoscope where glowed images of a blacksmith and two helpers forging a piece of iron, but only after they'd first passed around a bottle of beer. A Brooklyn newspaper reported the next day, "It shows living subjects portrayed in a manner to excite wonderment." First Motion Picture Copyright Found National Film Preservation Foundation - Blacksmithing Scene External Blade Runner (1982) A blend of science fiction and film noir, "Blade Runner" was a box office and critical flop when first released, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built for use in dangerous off-world colonization. Deckard, a onetime blade runner – a detective that hunts down rogue replicants – is forced back into active duty to assassinate a band of rogues out to attack earth. Along the way he encounters Sean Young, a replicant who's unaware of her true identity, and faces a violent confrontation atop a skyscraper high above the city. Expanded essay by David Morgan (PDF, 358 KB) Blazing Saddles (1974) This riotously funny, raunchy, no-holds-barred Western spoof by Mel Brooks is universally considered one of the funniest American films of all time. The movie features a civil-rights theme (the man in the white hat (Cleavon Little ) turns out to be an African-American who has to defend a bigoted town), and its furiously paced gags and rapid-fire dialogue were scripted by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Unger. Little as the sheriff and Gene Wilder as his recovering alcoholic deputy have great chemistry, and the delightful supporting cast includes Harvey Korman, Slim Pickens, and Madeline Kahn as a chanteuse modelled on Marlene Dietrich. As in "Young Frankenstein," "Silent Movie," and "High Anxiety," director/writer Brooks gives a burlesque spin to a classic Hollywood movie genre. Expanded essay by Michael Schlesinger (PDF, 662 KB) 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." The Blood of Jesus (1941) Also known as "The Glory Road," this was among the approximately 500 "race movies" produced between 1915 and 1950 for African-American audiences and featuring all-black casts. In this film, a deeply devout woman (Cathryn Caviness) faces a spiritual crossroads after being accidentally shot, and is forced to choose between heaven and hell. Spencer Williams, who wrote, directed and starred in the film, produced the film in response to a need for spiritually-based films that spoke directly to black audiences. Long thought lost, prints were discovered in a warehouse in Tyler, Texas, in the mid-1980s. Expanded essay by Mark S. Giles (PDF, 256 KB) View this film at Southern Methodist University Central University Libraries External The Blue Bird (1918) Maurice Tourneur's beautiful expressionist adaptation of Maurice Maeterlink's play remains one of the most aesthetically pleasing films. The film is a sumptuously composed pictorial entrance into a fantasy world, which tries to teach us not to overlook the beauty of what is close and familiar. Expanded essay by Kaveh Askari (PDF, 445 KB) The Blues Brothers (1980) Dan Aykroyd and John Belushi, then both best known for their star-turns as part of the "Not Ready for Prime-Time Players" troupe on TV's "Saturday Night Live," took their recurring "Blues Brothers" SNL sketch to the big screen in this loving and madcap musical misadventures of Jake and Elwood Blues on a mission from God. An homage of sorts to various classic movie genres — from screwball comedy to road movie — "The Blues Brothers" serves as a tribute to the lead duo's favorite city (Chicago) as well as a lovely paean to great soul and R&B music. In musical cameos, such legends as Cab Calloway, Ray Charles, James Brown, Aretha Franklin and John Lee Hooker all ignite the screen. Added to the National Film Registry in 2020. Interview with Dan Aykroyd (PDF, 2MB) Interview with John Landis (PDF, 2MB) Body and Soul (1925) One of the truly unique pioneers of cinema, African-American producer/director/writer/distributor Oscar Micheaux somehow managed to get nearly 40 films made and seen despite facing racism, lack of funding, the capricious whims of local film censors and the independent nature of his work. Most of Micheaux's films are lost to time or available only in incomplete versions, with the only extant copies of some having been located in foreign archives. Nevertheless, what remains shows a fearless director with an original, daring and creative vision. Film historian Jacqueline Stewart says Micheaux's films, though sometimes unpolished and rough in terms of acting, pacing and editing, brought relevant issues to the black community including "the politics of skin color within the black community, gender differences, class differences, regional differences especially during this period of the Great Migration." For "Body and Soul," renaissance man Paul Robeson, who had gained some fame on the stage, makes his film debut displaying a blazing screen presence in dual roles as a charismatic escaped convict masquerading as a preacher and his pious brother. The George Eastman Museum has restored the film from a nitrate print, producing black-and-white-preservation elements and later restoring color tinting using the Desmet method. Bohulano Family Film Collection (1950s-1970s) Delfin Paderes Bohulano and Concepcion Moreno Bohulano recorded their family life for more than 20 years. Shot primarily in Stockton, California, their collection documents the history of the Filipinx community (once the largest in the country) during a period of significant immigration. The couple moved to the United States following American military service during World War II. They were involved in the local Filipino American community, including the building of Stockton's new Filipino Center in the early 1970s. The movies record community events, family gatherings, trips to New York, Atlantic City, and Washington, DC, as well as the family's 1967 visit to the Philippines. The 15-reel collection is shot on Super 8mm, 8mm, and 16mm, and in color and silent. Preserved by the Center for Asian American Media. Added to the National Film Registry in 2023. Bonnie and Clyde (1967) Setting filmmaking and style trends that linger today, "Bonnie and Clyde" veered from comedy to social commentary to melodrama and caught audiences unaware, especially with its graphic ending. The violence spawned many detractors, but others saw the artistry beyond the blood and it earned not only critical succes which eventually showed at thebox office. Arthur Penn deftly directs David Newman and Robert Benton's script, aided by the film's star and producer Warren Beatty, who was always eager to push the envelope. Faye Dunaway captures the Depression-era yearning for glamour and escape from poverty and hopelessness. Expanded essay by Richard Schickel (PDF, 530KB) Movie poster Born Yesterday (1950) Judy Holliday's sparkling lead performance as not-so-dumb "dumb blonde" Billie Dawn anchors this comedy classic based on Garson Kanin's play and directed for the screen by George Cukor. Kanin's satire on corruption in Washington, D.C., adapted for the screen by Albert Mannheimer, is full of charm and wit while subtly addressing issues of class, gender, social standing and American politics. Holliday's work in the film (a role she had previously played on Broadway) was honored with the Academy Award for Best Actress and has endured as one of the era's most finely realized comedy performances. Expanded essay by Ariel Schudson (PDF, 394KB) Movie poster Boulevard Nights (1979) "Boulevard Nights" had its genesis in a screenplay by UCLA student Desmond Nakano about Mexican-American youth and the lowrider culture. Director Michael Pressman and cinematographer John Bailey shot the film in the barrios of East Los Angeles with the active participation of the local community (including car clubs and gang members). This street-level strategy using mostly non-professional actors produced a documentary-style depiction of the tough choices faced by Chicano youth as they come of age and try to escape or navigate gang life ("Two brothers...the street was their playground and their battleground"). In addition to "Boulevard Nights," this era featured several films chronicling youth gangs and rebellion — "The Warriors" (1979), "Over the Edge" (1979), "Walk Proud" (1979) and "The Outsiders" (1983). The film faced protests and criticism from some Latinos who saw outsider filmmakers, albeit well-intentioned, adopting an anthropological perspective with an excessive focus on gangs and violent neighborhoods. Nevertheless, "Boulevard Nights" stands out as a pioneering snapshot of East L.A. and enjoys semi-cult status in the lowrider community. Boys Don't Cry (1999) Director Kimberly Peirce made a stunning debut with this searing docudrama based on the infamous 1993 case of a young Nebraska transgender man who is brutally raped and murdered (along with two other people) in a small Nebraska town. Released a year after the killing of Matthew Shepard, a gay student at the University of Wyoming, the film brought the issue of hate crimes clearly into the American public spotlight. Sometimes compared to Theodore Dreiser's "An American Tragedy," "Boys" raised issues that are still relevant 20 years later: intolerance, prejudice, the lack of opportunity in small towns, conceptions of self, sexual identity, diversity and cultural, sexual and social mores. New York Times' critic Janet Maslin lauded the film for not taking the usual plot routes: "Unlike most films about mind-numbing tragedy, this one manages to be full of hope." Several things helped create that result, particularly the performance of 22-year-old Hilary Swank, who won an Oscar as Brandon. Boyz N the Hood (1991) In his film debut, John Singleton wrote and directed this thought-provoking look at South Central L.A.'s black community. A divorced father (Larry Fishburne) struggles to raise his son, Tre (Cuba Gooding, Jr.) in a world where violence is a fact of life. Tre is torn by his desire to live up to his father's expectations and pressure from friends pushing him toward the gang culture. Roger Ebert praised the film for its "maturity and emotional depth," calling it "an American film of enormous importance." The lead players are backed by strong supporting performances from Ice Cube, Morris Chestnut, Tyre Ferrell, Angela Bassett and Nia Long. 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. This article by director Paul Schrader originally appeared in the Fall 1971 issue of "Cinema Magazine." (PDF, 1764KB) Bread (1918) Billed as a "sociological photodrama, "Bread" tells the story of a naïve young woman in a narrow-minded town who journeys to New York to become a star but faces disillusionment when she learns that sex is demanded as the price for fame. Ida May Park, director and scenarist of "Bread," was among more than a half-dozen prolific women directors working at the Universal Film Manufacturing Company during the period in which Los Angeles became the home of America's movie industry. Park directed 14 feature-length films between 1917 and 1920, and her career as a scenarist lasted until 1931. She reasoned that because the majority of movie fans were women, "it follows that a member of the sex is best able to gauge their wants in the form of stories and plays." In an essay Park contributed to the book "Careers for Women," she stated that women were advantaged as motion picture directors because of "the superiority of their emotional and imaginative faculties." In the two surviving reels of "Bread," one of only three films Park directed that are currently known to exist, she displays an accomplished ability to knowingly vivify her protagonist's plight as she fends off an attacker and places her frail hopes in a misshapen loaf of bread that has come to symbolize for her the good things in life. Breakfast at Tiffany's (1961) Truman Capote's acclaimed novella—the bitter story of self-invented Manhattan call girl Holly Golightly—arrived on the big screen purged of its risqué dialogue and unhappy ending. George Axelrod's screenplay excised explicit references to Holly's livelihood and added an emotionally moving romance, resulting, in Capote's view, in "a mawkish valentine to New York City." Capote believed that Marilyn Monroe would have been perfect for the film and judged Audrey Hepburn, who landed the lead, "just wrong for the part." Critics and audiences, however, have disagreed. The Los Angeles Times stated, "Miss Hepburn makes the complex Holly a vivid, intriguing figure." Feminist critics in recent times have valued Hepburn's portrayals of the period as providing a welcome alternative female role model to the dominant sultry siren of the 1950s. Hepburn conveyed intelligent curiosity, exuberant impetuosity, delicacy combined with strength, and authenticity that often emerged behind a knowingly false facade. Critics also have lauded the movie's director Blake Edwards for his creative visual gags and facility at navigating the film's abrupt changes in tone. Composer Henry Mancini's classic "Moon River," featuring lyrics by Johnny Mercer, also received critical acclaim. Mancini considered Hepburn's wistful rendition of the song on guitar the best he had heard. The Breakfast Club (1985) John Hughes, who had previously given gravitas to the angst of adolescence in his 1984 film, "Sixteen Candles," further explored the social politics of high school in this comedy/character study produced one year later. Set in a day-long Saturday detention hall, the film offers an assortment of American teen-age archetypes such as the "nerd," "jock," and "weirdo." Over the course of the day, labels and default personas slip away as members of this motley group actually talk to each other and learn about each other and themselves. "The Breakfast Club" is a comedy that delivers a message with laughs. Thirty years later, the movie's message is still vivid. Written and directed by Hughes, the film's cast includes Molly Ringwald, Anthony Michael Hall, Judd Nelson, Emilio Estevez and Ally Sheedy. The Bride of Frankenstein (1935) Director James Whale took his success with "Frankenstein," added humor and thus created a cinematic hybrid that perplexed audiences at first glance but captivated them by picture's end. Joined eventually by a mate (Elsa Lanchester), the Frankenstein monster (Boris Karloff reprising his role and investing the character with emotional subtlety) evolves into a touchingly sympathetic character as he gradually becomes more human. Ernest Thesiger as Dr. Pretorious is captivatingly bizarre. Many film historians consider "Bride," with its surreal visuals, superior to the original. Expanded essay by Richard T. Jameson, (PDF, 672KB) examines "Frankenstein" and "Bride of Frankenstein" in a single entry. Movie poster The Bridge on the River Kwai (1957) At the heart of David Lean's antiheroic war epic about a band of British POWs forced to build a bridge in the wilds of Burma is the notion of men clinging to their sanity by clinging to military tradition. The film's cast, which reflects a broad spectrum of acting styles, includes Alec Guinness as the British commanding officer and Sessue Hayakawa as his Japanese counterpart, and William Holden as an American soldier who escapes from the camp and Jack Hawkins as the British major who convinces him to return and help blow up the bridge. Lean elects to keep the musical score to a minimum and instead plays up tension with nature sounds punctuating the action. For many film critics and historians, "Bridge on the River Kwai" signals a shift in Lean's directorial style from simpler storytelling toward the more bloated epics that characterized his later career. Sessue Hayakawa and Alec Guinness in a scene from "The Bridge On The River Kwai" Bringing Up Baby (1938) In this fast-paced screwball comedy from director Howard Hawks, Susan Vance (Katharine Hepburn), an eccentric heiress with a pet leopard named Baby, proves a constant irritant to paleontologist David Huxley (Cary Grant), who is trying to raise $1 million to complete his dinosaur skeleton reconstruction project. Based on a short story by Hagar Wilde, Hawks worked closely with Wilde and screenwriter Dudley Nichols to perfect the script, in which the role of Susan Vance was written specifically with Hepburn in mind. Although now considered a cinematic classic, "Bringing Up Baby" received mixed critical reviews upon release and performed well in only certain areas of the United States, thus reaffirming the film industry's then-current view of Hepburn as "box office poison." Significantly, "Bringing Up Baby" is possibly the first American film to use the term "gay" as a reference to homosexuality. Expanded essay by Michael Schlesinger (PDF, 25KB) Broadcast News (1987) James L. Brooks wrote, produced and directed this comedy set in the fast-paced, tumultuous world of television news. Shot mostly in dozens of locations around the Washington, D.C. area, the film stars Holly Hunter, William Hurt and Albert Brooks. Brooks makes the most of his everyman persona serving as Holly Hunter's romantic back-up plan while she pursues the handsome but vacuous Hurt. Against the backdrop of broadcast journalism (and various debates about journalist ethics), a grown-up romantic comedy plays out in a smart, savvy and fluff-free story whose humor is matched only by its honesty. Expanded essay by Brian Scott Mednick (PDF, 432KB) Brokeback Mountain (2005) "Brokeback Mountain," a contemporary Western drama that won the Academy Award for best screenplay (by Larry McMurtry and Diana Ossana) and Golden Globe awards for best drama, director (Ang Lee) and screenplay, depicts a secret and tragic love affair between two closeted gay ranch hands. They furtively pursue a 20-year relationship despite marriages and parenthood until one of them dies violently, reportedly by accident, but possibly, as the surviving lover fears, in a brutal attack. Annie Proulx, the Pulitzer Prize-winning author of the short story upon which the film was based, described it as "a story of destructive rural homophobia." Haunting in its unsentimental depiction of longing, lonesomeness, pretense, sexual repression and ultimately love, "Brokeback Mountain" features Heath Ledger's remarkable performance that conveys a lifetime of self-torment through a pained demeanor, near inarticulate speech and constricted, lugubrious movements. In his review, Newsweek's David Ansen wrotes that the film was "a watershed in mainstream movies, the first gay love story with A-list Hollywood stars." "Brokeback Mountain" has become an enduring classic. Broken Blossoms (1919) Most associated with epics such as "Intolerance" and "The Birth of a Nation," D.W. Griffith also helmed smaller films that struck a chord with silent era audiences. "Broken Blossoms," Griffith's first title for his newly formed United Artists, is one example. Set in the slums of London, it concerns an abused 15-year-old girl, Lucy, portrayed by Lillian Gish and the former missionary turned shopkeeper Cheng Huan (Richard Barthelmess) who rescues her from her brutal father. More than a tender but chaste love story, "Broken Blossoms" entreats audiences to denounce racism and poverty. Expanded essay by Ed Gonzalez (PDF, 495KB) Lobby card Additional image A Bronx Morning (1931) Part documentary and part avant-garde, this renowned city symphony was filmed by Jay Leyda when he was 21. It features sensational and stylish use of European filmmaking styles The images movingly show the resilience of people persevering with style and enthusiasm during the early years of the depression. "A Bronx Morning" won Leyda a scholarship to study with the renowned Soviet filmmaker Sergei Eisenstein. Added to the National Film Registry in 2004. Expanded essay by Scott Simmon for the National Film Preservation Foundation (NFPF) (PDF, 284KB) Watch it here Buena Vista Social Club (1999) "The best Wim Wenders documentary to date and an uncommonly self-effacing one, this 1999 concert movie about performance and lifestyle is comparable in some ways to "Latcho Drom," the great Gypsy documentary/musical. In 1996, musician Ry Cooder traveled to Havana to reunite some of the greatest stars of Cuban pop music from the Batista era (who were virtually forgotten after Castro came to power) with the aim of making a record, a highly successful venture that led to concerts in Amsterdam and New York. The players and their stories are as wonderful as the music, and the filmmaking is uncommonly sensitive and alert," wrote film critic Jonathan Rosenbaum. The Buffalo Creek Flood: An Act of Man (1975) This powerful documentary by the Kentucky-based arts and education center Appalshop represents the finest in regional filmmaking, providing important understanding of the environmental and cultural history of the Appalachian region. The 1972 Buffalo Creek Flood Disaster, caused by the failure of a coal waste dam, killed more than 100 people and left thousands in West Virginia homeless. Local citizens invited Appalshop to come to the area and to film a historical record, fearing that the Pittston Coal Co.'s powerful influence in the state would lead to a whitewash investigation and absolve it of any corporate culpability. Newsweek hailed the film as "a devastating expose of the collusion between state officials and coal executives." Expanded essay by the film's director Mimi Pickering (PDF, 793KB) Bullitt (1968) The winding streets and stunning vistas of San Francisco, backed by a superb Lalo Schifrin score, play a central role in British director Peter Yates' film renowned for its exhilarating 11-minute car chase, arguably the finest in cinema history. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt. The story, based on Robert L. Pike's cr
7961	dbpedia	0	68	https://www.historytoday.com/archive/shifting-attitudes-homosexuality	en	Shifting Attitudes on Homosexuality	https://www.historytoday…iles/favicon.png	https://www.historytoday…iles/favicon.png	[ "https://www.historytoday.com/themes/custom/historytoday/assets/HT-logo.png", "https://www.historytoday.com/sites/default/files/inline-images/HT%20August%202024%20Thumb.jpg", "https://www.historytoday.com/themes/custom/historytoday/assets/HT-logo.png", "https://www.historytoday.com/sites/default/files/printnew.png", "https://www.historytoday.com/sites/default/files/victim.jpg", "https://www.historytoday.com/sites/default/files/styles/teaser_list/public/2024-07/king_johns_lost_treasure_history_today_0.jpg?itok=WDgZXRxS", "https://www.historytoday.com/sites/default/files/styles/teaser_list/public/393px-Robert_Kennedy_CORE_rally_speech2.jpg?itok=CvTRRQKg", "https://www.historytoday.com/sites/default/files/styles/sidebarnew/public/2024-07/king_johns_lost_treasure_history_today_0.jpg?itok=YeItcdEg", "https://www.historytoday.com/sites/default/files/styles/sidebarnew/public/2024-07/conservative_federal_union_history_today_0.jpg?itok=fzz5BgqO", "https://www.historytoday.com/sites/default/files/styles/sidebarnew/public/2024-07/catherine_of_braganza_history_today_0.jpg?itok=oQxGRFiB" ]	[]	[]	[ "" ]	null	[]	null		en	/sites/default/files/favicon.png		https://www.historytoday.com/archive/shifting-attitudes-homosexuality	In late 1960, what appeared to be a run-of-the-mill British crime film, complete with trilby-hatted detectives in their bell-clanging Wolseley police cars roaming a bomb-scarred London, went into production. The casting seemed notably deluxe for such a seemingly mainstream enterprise, but on its release in 1961 Victim became one of the few pictures to genuinely shift social attitudes. In 1861 Parliament had passed The Offences Against the Person Act, section 61 of which removed the death penalty as the punishment for ’buggery’ and replaced it with a minimum period of penal servitude. Almost a century later, after the Second World War, Sir Theobald Matthew, the Director for Public Prosecutions, embarked on his long campaign against homosexuals in ‘positions of authority and trust’, assisted by such headlines as the Sunday Pictorial‘s 1952 gem: ‘Is it true that degenerates infest the West End of London and the social centres of many provincial cities?’ That same year saw the cause célèbre of the John Gielgud case, in which the recently knighted actor was arrested by the Metropolitan Police for ‘cottaging’. Despite the fact that the actor gave a false name and occupation to the magistrates’ court - ‘Arthur Gielgud, a £20 per week clerk’ – and was fined a nominal £10, the press soon acquired the story. Then, on the August Bank Holiday of 1953, Edward Montagu and the film director Kenneth Hume took two boy scouts to a beach hut at Beaulieu for a bathe, where a stolen camera was subsequently reported by Montagu to Hampshire Constabulary. However, the boys claimed that they had been indecently assaulted and Montagu was charged by the police with both committing an unnatural offence and an indecent assault. At his trial Montagu was acquitted of committing an unnatural offence but the jury disagreed on the lesser charge and the DPP decided that Montagu and Hume should be tried again for indecent assault. Three weeks later Michael Pitt-Rivers, a cousin of Montagu, and Peter Wildeblood, a journalist, were also arrested and their premises were searched without a warrant prior to their being charged with indecency against two RAF servicemen in a beach hut at the Pitt-Rivers estate in Dorset. Not all of the press coverage of the Montagu affair was unsympathetic and some journalists detailed the dubious methods of Hampshire police in their quest for evidence. A month after the Montagu trial David Maxwell-Fyffe, the home secretary, agreed to the appointment of a departmental committee to examine and report on the laws relating to homosexuality, chaired by Sir John Wolfenden, the former headmaster of Uppingham and Shrewsbury public schools and then vice-chancellor of Reading University. The committee deliberated over a period of three years and in the Report of the Departmental Committee on Homosexual Offences and Prostitution, published on September 3rd, 1957, concluded that ‘homosexuality cannot legitimately be regarded as a disease, because in many cases it is the only symptom and is compatible with full mental health in other respects. It is not, in our view, the function of the law to intervene in the private life of citizens, or to seek to enforce any particular pattern of behaviour’. In short the committee considered that homosexuality should be treated on a par with other forms of sexual behaviour that, although viewed as repugnant by some, were not proscribed by law. Meanwhile the British film industry was heading towards one of its regular crises; by 1957 television had overtaken radio in terms of popularity and cinemas were closing at a rate of knots. When the former school teacher John Trevelyan was appointed secretary to the British Board of Film Censorship (BBFC) in 1958 he was facing both a declining film industry and an acceptance that ‘The main thing is that people’s ideas have changed’. Ten years earlier Trevelyan’s predecessor had laid down the threefold criteria for film censorship: was the story, incident or dialogue likely to impair the moral standards of the public by extenuating vice or crime or depreciating moral standards; was it likely to give offence to reasonably minded cinema audiences; and what effect would it have on children. In fact until the X certificate was introduced in 1951 there was no film category that specifically excluded children – even the H’ (for ‘horror’) certificate was ‘advisory’. The BBFC retained the power to ban certain films – such as the 1953 biker film starring Marlon Brando, The Wild One – but by the end of the decade Trevelyan argued that ‘The British Board of Film Censors cannot assume responsibility for the guardianship of public morality. It cannot refuse for exhibition to adults films that show behaviour that contravenes the accepted moral code, and it does not demand that “the wicked” should also be punished. It cannot legitimately refuse to pass films which criticise “the Establishment” and films which express minority opinions.’ It was the release in 1959 of Room at the Top, based on John Braine’s gritty novel, that established the idea that X films could encompass commercially and critically successful ‘adult dramas’. Unlike British theatre, where the Lord Chamberlain’s censorship policy had banned plays with a ‘homosexual theme’ until 1957, there was never any explicit bar to films tacking the subject but initially Trevelyan was wary: ‘Until it becomes a subject that can be mentioned without causing offence, it will be banned’. However by 1959 the BBFC did pass, albeit with an X certificate, Serious Charge, which concerned a teddy boy falsely accusing a vicar of molesting him. The following year saw two further breakthroughs with separate portrayals of Oscar Wilde by Robert Morley and Peter Finch. These developments inspired the film producer Michael Relph’s plans for a picture with ‘... the same point of view as the Wolfenden Report, that the law should be changed ... The film shows that homosexuality may be found in otherwise completely responsible citizens in every strata of society’. Relph and his directing partner Basil Dearden had recently made Sapphire, a brave if not wholly successful attempt to tackle racial prejudice on screen, and for their next ‘social conscience film’ they showed the censor their plans for a film concerning an apparently successful, happily married barrister who is a covert homosexual. When his ‘boyfriend’ commits suicide he attempts to uncover the blackmail ring that led to the young man’s death. When Trevelyan was shown a draft script in early 1960 he realised that there was a wealth of difference between the depictions of a genuine historical figure who had been dead for nearly six decades and a drama centring on a ‘respectable’ character in contemporary London. ‘It would be wise to treat the subject with the greatest discretion,’ he said. Relph assured the BBFC that this would indeed be the case and filming started in the autumn of 1960. The film’s leading man was Dirk Bogarde, by now one of the most high profile actors in the United Kingdom. To satisfy the BBFC’s worries over the potentially damaging use of explicit language, the word ’queer' was sparingly used and the screenplay ensured that there was at least one sympathetic police officer in the form of John Barrie’s detective-inspector. ‘The less we have of groups of “queers” in bars, and clubs and elsewhere the better. There is plenty of scope for the police ... to let a little normality, light and shade on this very sombre world,’ advised Trevelyan. Indeed, with the exception of Bogarde’s character, virtually all the homosexuals portrayed in Victim are essentially passive. Homosexuality is seen as ‘a condition’ and although Bogarde’s Melville Farr takes an active and heroic role in uncovering the blackmail ring, Janet Green’s screenplay is at some pains to point out that although Farr has homosexual desires, he has ‘never acted on them’. Victim was released in the UK in autumn 1961 to critical plaudits. As with most of Dearden’s films it is a polished production with some of Britain’s finest character actors – Nigel Stock and Norman Bird in particular – conveying a real sense of pervading fear, but Bogarde was highly dissatisfied with the film’s original ending. In the first draft of the script Farr was to have been handed compromising photographs by the inspector and just before the final credits it was to be revealed that they showed the barrister embracing a young man. Bogarde’s own long-term relationship with his manager Tony Forwood was only vaguely alluded to in his many volumes of autobiography and the star often claimed that the film’s only gay actor was Dennis Price, whose role as a matinee idol under the constant threat of blackmail was indeed a tragic case of art imitating life.But it was Bogarde who penned the scene in which Farr screams in anguish to his wife just why he stopped seeing ‘Boy Barrett’, for one simple reason: ‘Because I wanted him!’ It was the first time such a statement had ever been uttered in any mainstream English-language film. The idea that homosexuality was an affliction would take a long time to dissipate and for the next few years the standard British cinematic viewpoint was that of A Taste of Honey (1961) and The Leather Boys (1964), where the gay characters, played by Murray Melvin and Dudley Sutton respectively, are charming, caring and intelligent yet doomed by the final reel to remain alone and isolated. But before Victim gay characters in British film were all too often comic relief figures of the prissy-camp school of cameo – one thinks of Michael Ward, Charles Hawtrey or the young Kenneth Williams. Although the film was heavily re-shaped by BBFC ‘advice’, the idea of homosexual desire had been openly stated by one of Britain’s major film stars. The door to social acceptance and understanding had been narrowly but significantly opened.
7961	dbpedia	0	29	https://www.tcm.com/tcmdb/title/83928/the-moon-is-blue/	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	https://www.tcm.com/unavailable	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
7961	dbpedia	3	9	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3830676/	en	Romantic Relationship Patterns in Young Adulthood and Their Developmental Antecedents	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-nihpa.png", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3830676/bin/nihms521046f1.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3830676/bin/nihms521046f2.jpg" ]	[]	[]	[ "" ]	null	[ "Amy J. Rauer", "Gregory S. Pettit", "Jennifer E. Lansford", "John E. Bates", "Kenneth A. Dodge" ]	2013-11-05T00:00:00	The delayed entry into marriage that characterizes modern society raises questions about young adults' romantic relationship trajectories and whether patterns found to characterize adolescent romantic relationships persist into young adulthood. The current ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3830676/	Romantic Relationships in Young Adulthood and Their Developmental Antecedents The challenge of determining what constitutes normative romantic development in young adulthood is recent. In previous decades, this development was both clear and uniform, with young adults launched from their family of origin into a committed relationship that represented their entry into adulthood (Duvall, 1962). Whereas marriage used to represent a first step into adulthood, dramatic changes in the sequencing and timing of interpersonal partnerships and parenthood over the last few decades of American family life coupled, with the rising focus on self-development, have pushed the marriage milestone further into adulthood (Cherlin, 2009). Though young adults still value marriage (Scott et al., 2009), most no longer appear to be willing to commit to a relationship before they fully explore their options. This has not only given rise to unprecedented variability in young adult romantic experiences, a trend clearly illustrated by the five unique romantic profiles found here, but it suggests that the definition of normative needs to be revised. Perhaps most illustrative of the sociodemographic shifts experienced in today's society was that the most prevalent romantic relationship profile in this sample was the later involvement cluster—young adults who postponed the pursuit of a serious relationship well into their midtwenties, if not later for some (9.4% of the sample had yet to report a romantic relationship of at least 3 months in duration by age 25). This pattern's prevalence, which corresponds with its prevalence in Meier and Allen's (2009) study of adolescent relationships, dovetails nicely with Cherlin's (2009) assertion that a committed relationship now often represents the last step into adulthood rather than the first. Although such individuals appear to be fairly normative both in the current sample and according to Cherlin, their delayed entry into a committed relationship is nonnormative according to previous studies proposing these individuals should have achieved this milestone years earlier (Collins, 2003; Seiffge-Krenke, 2003). This later involvement, however, may reflect a focus on achieving other developmental tasks before this one. For example, although women who pursue higher education are more likely to delay marriage, they are also more likely to eventually marry (Goldstein & Kenney, 2001). This delay may simply be that and not reflective of an overall reduced capacity for intimacy. However, recent work has suggested that individuals who delay romantic activity in young adulthood are less likely to achieve success in other key domains (Lehnart et al., 2010; Seiffge-Krenke, 2010). Possibly shedding light on whether this lack of serious romantic relationship involvement is problematic are the developmental antecedents of noninvolvement. Romantic activity delays may signify the larger problem of a difficulty relating to other individuals, as less involvement in romantic relationships, which characterized those in both the later and sporadic involvement clusters, was related to both lower observed mother–child relationship quality and less friendship support in adolescence. Our analyses suggest these represent persistent patterns of difficulty in the family and peer domains that go back to early childhood. This history may have made these individuals feel less confident to establish healthy, outside relationships (Englund, Kuo, Puig, & Collins, 2011). It may also be the case that these individuals had personality or social characteristics that made it difficult for them to establish and maintain healthy romantic relationships. Thus, although young adults in the sporadic involvement cluster initiated romantic relationships earlier than did those with later involvement and thus could be considered more successful by some standards (Seiffge-Krenke, 2010), they had difficulty maintaining this involvement across young adulthood. It may be, then, that it is not the delay in romantic relationship activity itself that is problematic but rather that individuals who had difficulty in connecting competently with others earlier in life continue to have these difficulties in the romantic domain as adults, especially if these problems with parents and peers persist across multiple developmental periods. The rather abbreviated romantic relationship history of those in the lower involvement clusters may also owe to the disproportionate number of males in these clusters. A national study revealed that young men are not only less likely to be in a romantic relationship in comparison to young women, but they are also less likely to consider lifelong commitment as a critical component of a successful relationship (Scott et al., 2009). Thus, it is less surprising that young men may not be as interested in pursuing a long-term relationship (Wood et al., 2008). Though these delays in romantic involvement may be expected, Seiffge-Krenke (2010) found men who stayed single from ages 20 to 28 experienced substantial declines in their self-esteem. Interestingly, women who remained single had relatively stable self-esteem. This suggests that although young men profess to not be as interested in serious, committed relationships as are women and behave accordingly, spending a significant portion of one's young adulthood single may have consequences down the road. Even for men, romantic relationships represent an important and vital connection to others. It thus appears that the timing of romantic relationship activity cannot be the only measure by which we evaluate romantic success. Delays in commitment for those who established healthy connections with others early in life may be of an entirely different nature, as indicated by those with frequent and steady involvement. These young adults had not yet progressed to the serious commitment seen in the long-term committeds but they did have a high level of involvement in romantic relationships, which may reflect a history of high-quality relationships with family and peers. Interestingly, despite more consistent participation in romantic relationships, these individuals switched partners across the study period as much as did those with sporadic involvement and far more often than did those with later involvement or the long-term committeds. Though romantic turnover can be traumatic (Simpson, 1987), these dissolutions did not appear to deter these young adults from the pursuit of intimacy. Looking at the antecedents, it may be that these individuals are more embedded in their peer networks, not only giving them access to a wider range of potential romantic partners (Furman, 1999) but also perhaps reflecting a tendency to gravitate toward relationships of all types (Cavanagh, 2007). The fact that these seemingly less stable relationships are likely to become more common in the future (Wood et al., 2008) does not necessarily warrant heightened concern, because a lack of early commitment may be problematic only when it represents a full abstention from romantic relationship activity and other key developmental tasks. This echoes Seiffge-Krenke's (2003) conclusion that greater involvement in early romantic relationships, regardless of how many partners it involves, should lead to eventual positive romantic outcomes, as it provides individuals with valuable learning experiences they can apply to later romantic relationships. If delaying serious romantic involvement now appears to represent the normative course of development for young adults, what about those who adhere more closely to the theoretically expected progression to a single, committed relationship (Seiffge-Krenke, 2003)? Representing approximately one fifth of the analytic sample, the long-term committeds appeared to buck the trend of postponing key markers of adult status, as evidenced by their earlier entry into marriage and parenthood compared to other young adults in this sample and to national trends (Mathews & Hamilton, 2009). What contributed to this earlier entry into adulthood? Strong relationships with family and peers earlier in life coupled with less deviant friends may have fostered earlier commitment. Attachment theory suggests that the high-quality parent– child and peer relationships they experienced earlier in life likely enabled them to not only establish but also maintain healthy, committed romantic relationships as young adults (Hazan & Shaver, 1987). Thus, what differentiates these young adults from those with later and sporadic involvement is that although none may be very comfortable interacting with multiple romantic partners, the long-term committeds have developed the social skills early on that are necessary to sustain a romantic relationship once they do initiate romantic activity with their chosen partner. It is also possible that personality differences in social anxiety and preference for stability contributed to the divergent paths of the two groups, a question addressable in future studies.
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"https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Georg Szalai" ]	2024-08-06T06:00:00+00:00	Columbia Pictures and its 100 years in business are celebrated at the Locarno Film Festival 2024, Locarno77, in Sony program The Lady With the Torch.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/movies/movie-news/columbia-pictures-100-anniversary-locarno-film-festival-2024-1235950765/	From war movies and westerns to noir films, screwball comedies all the way to musicals – Sony-owned Columbia Pictures has had them all over its first 100 years. The 77th edition of the Locarno Film Festival is celebrating the centenary in the Swiss town with “a tribute both to beloved classics and unheralded gems produced at the Hollywood studio between the dawn of sound and the late 1950s,” as organizers highlight online. The Sony studio had previously had a 100th-anniversary bash at Cannes in May, co-hosted by Tom Rothman, chairman & CEO of Sony Pictures Entertainment’s Motion Picture Group. Locarno unveiled its retrospective of 40, mostly black-and-white, titles by emphasizing the importance of the studio for Hollywood history. “In 1924, the relatively small-scale motion picture company Cohn-Brandt-Cohn rebranded itself as Columbia Pictures,” the fest explains on its website. “This new studio would eventually feature, as its masthead, the Lady with a Torch, the Statue of Liberty-like female figure draped in the American flag that has become recognizable to film lovers everywhere. As Columbia Pictures, the studio struck gold, producing a major string of successes and becoming, over the next decade, an integral part of the Hollywood ecosystem.” And Locarno artistic director Giona Nazzaro highlighted: “It was Columbia that offered the greatest professional opportunities to women and allowed Dorothy Arzner to make her debut behind the camera.” The festival promises a “large, multi-faceted retrospective,” curated by documentarian, film critic, and film curator Ehsan Khoshbakht, that “will attempt to disentangle the knotty myths that surround Columbia Pictures and present a richer and more complex portrait of a studio worth celebrating.” Khoshbakht himself vows to showcase “fast-talking career women of screwball comedies, “existentialist cowboys,” “prophetic anti-fascist quickies,” and “unsettling ‘problem pictures’.” So what Columbia Pictures golden age classics will Locarno77 unspool? The full lineup, including such silver-screen legends as Rock Hudson (Gun Fury, 1953), Spencer Tracy (Man’s Castle, 1933), and William Holden (Picnic, 1955), can be found here. Below, see a selection of 11 of the titles featured in the retrospective to whet your appetite. Wall Street No, this is not the 1987 movie directed and co-written by Oliver Stone, which stars Michael Douglas, Charlie Sheen, Daryl Hannah, and Martin Sheen and was distributed by Fox. This is the one directed by Roy William Neill and starring Ralph Ince, Aileen Pringle, Philip Strange, Sam De Grasse, and Freddie Burke Frederick from 1929, making it the oldest Columbia Pictures movie in the Locarno homage lineup. At 68 minutes, it is also shorter than other fare in the tribute program. The story focuses on a steelworker-turned-ruthless tycoon whose tough business methods lead a rival to suicide. The widow believes she can ruin the tycoon and conspires with her husband’s former partner. Bitter Victory This war film, starring Richard Burton and Curd Jürgens as two British Army officers sent out on a commando raid in North Africa, will be introduced at Locarno by Haden Guest, the director of the Harvard Film Archive. Based on the novel of the same name by René Hardy, the French-American co-production also features Ruth Roman and Raymond Pellegrin. The movie, directed by Nicholas Ray, not only featured foreign lands on screen but also traveled itself, debuting at the Venice Film Festival in 1957. Address Unknown The 1944 film noir drama, directed by William Cameron Menzies, is based on Kressmann Taylor’s 1938 novel of the same name. Cinematographer Rudolph Maté’s creative use of shadows and camera angles has often been lauded. The 72-minute movie tells the story of two families caught up in the rise of Nazism in Germany before the start of World War II. Its cast includes Paul Lukas, Carl Esmond, Peter van Eyck, Mady Christians, Morris Carnovsky, and K.T. Stevens. The film screening in Locarno’s Columbia Pictures retrospective received Oscar nominations for best original score and best art direction. Gunman’s Walk As the title suggests, this is a Western. The Locarno crowd will be treated to a special introduction from Sony Pictures Entertainment’s film restoration and digital mastering guru Grover Crisp. Directed by Phil Karlson, this one stars Van Heflin, Tab Hunter, Kathryn Grant, and James Darren. Heflin plays a powerful rancher who always protects his hot-tempered adult son (Hunter) by paying for damages and bribing witnesses – until his crimes become too serious. Grant plays a beautiful half-French, half-Sioux woman toward who the hothead makes unwanted advances. In a sign of its influence, Quentin Tarantino later said that the film was an inspiration for Tanner, the fictitious movie in his Once Upon a Time in Hollywood. Gunman’s Walk premiered in 1958, one year before another Western, and the newest film in the Columbia Pictures retrospective at Locarno, Ride Lonesome, directed by Budd Boetticher and starring Randolph Scott, Karen Steele, and Pernell Roberts. Craig’s Wife Based on the eponymous play by George Kelly, this 1936 melodrama is a rare movie from female creators in the retrospective. Dorothy Arzner, one of just a few women directors who managed to have a long and successful career in Hollywood in its early days and later became a focus for students of film and relationships, directed the film from a screenplay by Mary C. McCall Jr. The introduction at Locarno will come from another female voice, namely freelance writer, critic, and film historian Pamela Hutchinson. Rosalind Russell, John Boles, Billie Burke, Jane Darwell, and Dorothy Wilson star in the film about Harriet, who has married a man because he is able to provide the kind of posh lifestyle she desires. But when her husband gets a scare involving the police, her way of life is threatened. You Nazty Spy! The 1940 comedy short, directed by Jules White, stars the famous slapstick comedy team The Three Stooges (Moe Howard, Larry Fine, and Curly Howard) and was the 44th of the 190 shorts released by Columbia Pictures with the comedians between 1934 and 1959. The 18-minute film is often recognized as Hollywood’s first anti-Nazi comedy as its release predated that of Charles Chaplin’s The Great Dictator by several months. The title mixes parody of comedian Joe Penner’s catchphrase “You Nasty Man!” with the 1939 Warner Bros. film Confessions of a Nazi Spy. Here is the plot: Three ammunition manufacturers are unhappy about a profit decline due to King Herman the 6+7⁄8‘s pacifist policies. So they conspire to overthrow him and set up a dictatorship. The unwitting Stooges are wallpaper hangers who get chosen as figureheads for the new regime The Talk of the Town Cary Grant, Jean Arthur, and Ronald Colman star in the romantic comedy/drama, directed by George Stevens, that debuted in 1942. Grant plays Leopold Dilg who is accused of arson and murder but escapes from jail during his trial and looks to hide in a remote cottage owned by his former schoolmate Nora, on whom he has had a crush for years. Nora rented the cottage to a law professor writing a book (Colman) for the summer. When both Lightcap and Dilg arrive within minutes of each other, Nora hides Dilg in the attic, and things take their course from there. A couple of the elements of the movie were unusual for the time. One was the use of two leading men. The other was the role of a valet, played by Rex Ingram, which back then was a rare example of a non-stereotypical part for a Black actor. The Lady From Shanghai Orson Welles. Rita Hayworth. Everett Sloane. Noir thriller. Do we need to say more? Well, we could. Welles stars in, directed, and wrote the screenplay for the 1947 movie, based on the novel If I Die Before I Wake by Sherwood King. Glenn Anderson and Ted De Corsia also star. Plus, Charles Lawton Jr. handled the cinematography. The classic is about Michael, an Irish sailor (Welles), who rescues Elsa (Hayworth) when her coach gets waylaid in Central Park and falls for her. But Elsa and her disabled criminal defense attorney husband (Sloane) just arrived in New York City from Shanghai and travel on to San Francisco via the Panama Canal. Michael agrees to sign on as a seaman aboard the husband’s yacht. The Big Heat This 1953 film noir also packs a punch and star power. Directed by the “Master of Darkness” Fritz Lang, stars Glenn Ford, Gloria Grahame, and Jocelyn Brando. The story is quickly explained: a cop takes on the crime syndicate that controls his city. The movie begins when a homicide detective is called on to investigate the suicide of a fellow cop. As far as the story of the production goes, Columbia wanted Marilyn Monroe to star but did not want to pay the amount that 20th Century Fox demanded for loaning a rival their star. Women’s Prison The cast list for the 1955 Columbia Pictures classic is full of female power: Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter, Phyllis Thaxter. Behind the scenes, of course, men were in charge. Lewis Seiler directed the film based on a screenplay from Crane Wilbur and Jack DeWitt. The plot can partly be guessed from the title. A sadistic prison warden takes out her sexual frustration on her women inmates, while a physician tries to improve the brutal atmosphere in the prison. And a pair of rebellious inmates may take matters into their own hands. Mr. Deeds Goes to Town Can’t get enough of Cary Grant and Jean Arthur? Well, here is another romantic comedy/drama, this time from 1936. Plus, it is directed by Frank Capra. Robert Riskin wrote the screenplay in his fifth collaboration with Capra, based on the short story “Opera Hat” by Clarence Budington Kelland. During early principal photography, the project still used the short story’s title it was renamed based on the winning entry of a contest held by the Columbia Pictures publicity department. Grant plays an unassuming greeting card poet from a small town who heads to New York City after inheriting a fortune, only to be hounded by people trying to take advantage of him.
7961	dbpedia	3	31	https://en.wikipedia.org/wiki/Intimate_Relations	en	Intimate Relations	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/5/5f/Disambig_gray.svg/30px-Disambig_gray.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/w/resources/assets/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-01-22T19:25:02+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Intimate_Relations
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https://spaces.filmstories.co.uk/uploads/2020/01/oscars.jpg 1000w", "https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 512w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 150w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 300w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 270w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 192w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 180w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 32w", "https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 512w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 150w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 300w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 270w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 192w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 180w, https://spaces.filmstories.co.uk/uploads/2019/10/cropped-SiteLogoRound-1.png 32w" ]	[]	[]	[ "" ]	null	[ "Em McGowan" ]	2024-08-15T20:17:11+00:00	Who needs Netflix and Prime? The BBC offers a terrific collection of free movies. Here's our updated list of the best films on iPlayer.	en	https://spaces.filmstori…-512-2-32x32.png	Film Stories	https://filmstories.co.uk/features/the-best-films-to-watch-on-bbc-iplayer-right-now/	Share this Article: Who needs Netflix and Prime? BBC iPlayer has a terrific collection of films to watch – here’s our updated list of what to watch right now (and when they’re leaving the service). Whilst all eyes tend to be on streaming services such as Netflix and Amazon Prime when it comes to movie updates, on the quiet the BBC iPlayer service continues to play host to a limited, diverse selection of films. What’s more, a good number of them you can download to your tablet to watch on the move. So, without further ado, welcome to the weekly updated iPlayer film list. This list will be updated every week with the test available data from the BBC, in order of how long you have left to watch (so you can prioritise your viewing pleasure) NEW! – denotes all new movies this week! BRAND-NEW THIS WEEK: Mud, The Book of Life, Children of Men, Green Book, Dial M for Murder, Blinded by the Light, Crazy Rich Asians. Bridge of Spies LEAVING THIS WEEK: Chariots of Fire, Yesterday, The Hurt Locker, Wallace and Gromit: A Matter of Loaf and Death, The Impossible, Marry Me, Queen and Slim, The Beach, Doctor Zhivago FILM STORIES & FILM JUNIOR MAGAZINES Latest issues of our independent film magazines now available at store.filmstories.co.uk Disappearing soon… catch them while you can! (Available until 17th August 2024…) How the West Was Won (1962) Epic western about three generations of a pioneer family, showing how its fortunes fluctuated during the dynamic westward expansion of America during the 19th century. Three top directors each tackle separate episodes of the story, filmed in the short-lived three-camera Cinerama process, and with an all-star cast. How the West Was Won – BBC iPlayer The Courier (2021) Recruited to infiltrate Cold War Moscow, salesman Greville Wynne becomes friends with Oleg Penkovsky, whose intel he carries to the CIA and MI6 from 1961. As the stakes rise, Greville makes some risky choices with deadly consequences. The Courier – BBC iPlayer King of Kings (1961) This biblical epic concentrates on three main elements of the New Testament story – the life of Christ, the tensions between Herod’s court and the Roman administration culminating in the execution of John the Baptist and, finally the story of Barabbas. King of Kings – BBC iPlayer Available until 18th August 2024… Chariots of Fire (1981) Oscar-winning drama. Two rival British runners push themselves to the limit in their quest to make the 1924 British Olympic team, but neither is prepared to compromise on his principles. Chariots of Fire – BBC iPlayer Peter Rabbit 2: The Runaway (2021) Bea is delighted to be approached by ambitious publisher Nigel, but new husband Thomas is not so keen. Peter Rabbit, horrified to learn that he is being cast as a bad character, determinedly sets out on his own to the city. He is soon approached by Barnabas, who embroils Peter and his friends in some dastardly deeds. Peter Rabbit 2: The Runaway – BBC iPlayer Yesterday (2019) Following a road accident, struggling singer-songwriter Jack Malik wakes up in an alternative reality where no-one seems to have ever heard of The Beatles. As he plays their songs and almost unwittingly starts to take credit for them, his career suddenly takes off. Yesterday – BBC iPlayer The Hurt Locker (2008) Baghdad, 2004. A maverick member of a US military unit tackling IEDs and bomb disposal aggravates his teammates. The Hurt Locker – BBC iPlayer Wallace and Gromit: A Matter of Loaf and Death (2008) Wallace and Gromit have opened a new bakery – Top Bun – and business is booming, not least because a deadly Cereal Killer has murdered all the other bakers in town. Gromit is worried that they may be the next victims, but Wallace does not care, as he has fallen head over heels in love with Piella Bakewell, former star of the Bake-O-Lite bread commercials. Wallace and Gromit: A Matter of Loaf and Death – BBC iPlayer The Impossible (2008) Thailand, Boxing Day 2004. A tsunami devastates the coast and separates members of a holidaying family of five. Their traumatic experiences give a glimpse of the horrors faced in the aftermath by locals and visitors alike. The Impossible – BBC iPlayer Before I Go to Sleep (2014) Christine Lucas wakes up every morning next to a man she does not know, who patiently explains that he is her husband and that she has suffered a head injury and loss of memory. Every day, Christine gets a call from Dr Nasch, who explains that he is treating her condition and to look for a camera hidden in her bedroom wardrobe. Gradually, Christine begins to remember elements of her past until a terrifying truth emerges. Before I Go to Sleep – BBC iPlayer Available until 19th August 2024… Marry Me (2022) Singer Kat Valdez is about to marry her fellow superstar Bastian in a live broadcast in front of a global audience of millions when it turns out he has been unfaithful. Instead, she picks Charlie, a total stranger in the crowd, and marries him. Marry Me – BBC iPlayer Available until 20th August 2024… Queen and Slim (2019) A young black couple go on a forgettable first date together in Ohio. As he drives her home, they are pulled over by the police for a minor traffic violation, with a tragic outcome which forces Queen and Slim to go on the run together. The incident, which was caught on camera, goes viral, and people around the country track the escape of these two unlikely fugitives. Queen and Slim – BBC iPlayer Available until 21st August 2024… The Beach (2000) Restless in Thailand, tourist Richard learns of a legendary remote location. With a French couple, he embarks on the hazardous quest to find it. However, even a perfect place can be torn apart by lust, jealousy and rash acts. The Beach – BBC iPlayer Available until 22nd August 2024… Doctor Zhivago (1965) Doctor and poet Yuri Zhivago is brought up in the family of Alexander Gromeko, whose daughter Tonya he eventually marries. But his true love is for the passionate and beautiful Lara, the mistress of a political opportunist. With the outbreak of the Great War, and with Moscow transformed by the Revolution, their romance is disrupted by the social upheaval surrounding them. The Beach – BBC iPlayer Available until 23rd August 2024… Hell or High Water (2016) A divorced father and his ex-con older brother resort to a desperate scheme in order to save their family’s ranch in west Texas. Hell or High Water – BBC iPlayer County Lines (2020) Fourteen-year-old Tyler lives with his struggling single mother and young sister. He is picked on at school, and his teachers worry about his erratic behaviour. One day, he is approached by a young man who appears to offer him protection, but this is in fact the start of Tyler being groomed as a smuggler for the man’s drug-dealing network. County Lines – BBC iPlayer Summer Holiday (1963) Don and his friends persuade their employer to lend them a London bus for their summer holiday. En route to the south of France, the boys run into some girls and offer them a lift to Athens. Then, they pick up an American boy who isn’t exactly what he seems but who is running away from an exploitative mother. Summer Holiday – BBC iPlayer High Society (1956) Musical comedy. Time is short if playboy CK Dexter-Haven is to reclaim his former wife before she remarries. Cynical reporter Mike Connor is covering the wedding. High Society – BBC iPlayer Available until 24th August 2024… The Shining (1980) When writer Jack Torrance, who has a history of alcoholism and child abuse, takes a job as winter caretaker at a hotel high in the Rocky Mountains, the accumulated power of evil deeds committed at the hotel begins to drive him mad. Now there may be no escape for his wife and son in this story of madness, memory and family violence. The Shining – BBC iPlayer The Turning (2020) Supernatural thriller based on a story by Henry James. A young woman becomes the governess of two unruly children at a secluded manor. The Turning – BBC iPlayer Available until 25th August 2024… Photograph (2019) Rafi, a street photographer in Mumbai, goes about taking snaps of tourists. His revered grandmother is constantly nagging him to get married. On a whim, Rafi sends her a photograph of Miloni, a young woman studying to be an accountant, and then has to convince this complete stranger to pretend to be his girlfriend. Photograph – BBC iPlayer Early Man (2018) Young Dug’s sheltered life with his Stone Age tribe is shattered by bronze-mining invaders, led by greedy Lord Nooth. To win his home back, desperate Dug gambles on challenging these more sophisticated folk in a contest they love, but he only knows from rock paintings: football. BBC iPlayer – Early Man Shaun the Sheep: The Movie (2015) When Shaun decides to take the day off and have some fun, he gets more fun than he bargained for. A mix-up with the Farmer, a caravan and a very steep hill lead Shaun and the flock to the big city, and it is up to Shaun to return everyone to the green green grass of home. BBC iPlayer – Shaun the Sheep: The Movie Shaun the Sheep: Farmageddon (2019) When an alien crash-lands near the farm, Shaun has to help her return home before the Ministry of Alien Detection discovers her. BBC iPlayer – Shaun the Sheep: Farmageddon Available until 28th August 2024… On Chesil Beach (2017) Young university graduates from different social classes get married after an intense but non-physical affair. She is a talented and ambitious classical violinist from a supercilious striving family, he is from humbler stock, but despite their intense love for each other, the honeymoon proves to be a huge challenge to their relationship. On Chesil Beach – BBC iPlayer Available until 29th August 2024… Elizabeth: The Golden Age (2007) A mature Queen Elizabeth endures multiple crises late in her reign, including court intrigues, an assassination plot, the Spanish Armada and romantic disappointments. Elizabeth: The Golden Age – BBC iPlayer Available until 30th August 2024… Close (2022) The intense friendship between two 13-year-old boys Leo and Remi suddenly gets disrupted. Struggling to understand what has happened, Leo approaches Sophie, Remi’s mother. Close is a film about friendship and responsibility. BBC iPlayer – Close The Theory of Everything (2014) A look at the relationship between the famous physicist Stephen Hawking and his wife. The Theory of Everything – BBC iPlayer Pride and Prejudice (1940) Period drama based on Jane Austen’s classic novel about the five husband-hunting Bennet sisters and the impact of the handsome but apparently aloof Mr Darcy on the spirited Elizabeth. Though attracted to Darcy, Elizabeth – the second of the Bennet daughters – is repelled by his cold manner and by rumours of the man’s cruelty towards one of his friends. Pride and Prejudice (1940) – BBC iPlayer Available until 31st August 2024… Mrs Brown’s Boys D’Movie (2015) Big-screen spin-off from the popular sitcom. Mrs Brown faces car chases, ninjas and outdoor musical numbers – things impossible on a TV budget – as she battles to retain her Dublin market stall in the face of an unscrupulous developer and ominous Russian thugs. The fight is on for Mrs Brown’s good reputation – it’s a shame she lost that long ago! Mrs Browns Boys DMovie – BBC iPlayer Official Secrets (2019) The true story of the publication of a leaked GCHQ memo in the run-up to the Iraq war, the devastating consequences for whistleblower Katharine Gun, who was put on trial for breaching the Official Secrets Act, and the journalists who were determined to unmask a conspiracy. Official Secrets – BBC iPlayer The Great Caruso (1951) Dramatisation of the career of legendary tenor Enrico Caruso, from his days spent singing on street corners in order to survive, to his apprenticeship in an opera chorus in Naples and his sensational success in America. The Great Caruso – BBC iPlayer Available until 1st September 2024… The Tommy Steele Story (1957) Teenager Tommy Steele buys a second hand guitar in a junk shop before joining the merchant navy. Once onboard, his boss loses his patience, telling him he has to choose between his music or a career at sea. He chooses music and returns to London, where, by chance, he’s offered a job playing his guitar in a coffee shop in Soho. He’s soon spotted by an agent and has a meteoric rise to fame as Britain’s first rock ‘n’ roll teen idol. The Tommy Steele Story – BBC iPlayer What We Did on Our Holiday (2014) Comedy about Doug and Abi, travelling to Scotland for a birthday celebration, who are trying to hide the fact from their family that they are going through a divorce. What We Did on Our Holiday – BBC iPlayer Point Break (1991) Action thriller. FBI special agent Johnny Utah goes undercover with a gang of surfers suspected of being the infamous bank robbers known as the ‘Ex-Presidents’. But the closer he gets to the enigmatic leader Bodhi, the more his cover gets blurred. Is Johnny the cat, or the mouse? Point Break – BBC iPlayer Available until 2nd September 2024… Pride (2016) In 1984, with Margaret Thatcher and the Conservative Party in power, a group of lesbian and gay activists, led by Mark Ashton, find unlikely allies in a collective of Welsh miners taking industrial action following pit closures. With both groups equally despised by Thatcher, Ashton proposes a show of solidarity between them, but tabloid smears and a frosty reception from the miners’ families threaten to derail his plans. Pride – BBC iPlayer All The President’s Men (1976) In the early 1970s, Washington Post reporters Bob Woodward and Carl Bernstein uncover the Watergate scandal – a conspiracy to cover up abuses of power leading all the way to the Oval Office and eventually to the resignation of President Richard Nixon. All the Presidents Men – BBC iPlayer Booksmart (1976) Amy and Molly, two academic superstars and best friends, on the eve of their high school graduation, suddenly realise that they should have worked less and played more. Determined never to fall short of their peers, the girls set out on a mission to cram four years of fun into one night. Booksmart – BBC iPlayer Available until 3rd September 2024… The Piano (1993) Ada McGrath is a non-speaking Scottish woman and eloquent piano player who has been sold into marriage to a farmer in New Zealand. Shipped off across the waters, along with her young daughter Flora and her precious piano, Ada sternly refuses to warm up to her husband, Alisdair, or the settler way of life – especially after Alisdair informs her that he has sold her piano to local farm hand George Baines and that she is to teach Baines to play it. The Piano – BBC iPlayer Available until 6th September 2024… Mud (2012) NEW! Two young lads join a spirited mystery man’s quest to reunite with his one true love, unaware of the forces and feelings that must be faced. Mud – BBC iPlayer The Book of Life (2014) NEW! A museum tour guide explains the Mexican tradition of the Book of Life to a group of bored schoolchildren. They become entranced by the story of Manolo and Joaquin, who vie for the love of the beautiful and feisty Maria. The Book of Life – BBC iPlayer Available until 7th September 2024… Children of Men (2006) NEW! In a chaotic future 2027, children are no longer being born because of a years-long fertility crisis. Borders are closed, and Britain has become a brutal police state, with immigrants herded into cages and treated like animals. Government employee Theo receives a message from someone from his past, asking for help getting a refugee some papers. But Theo is soon drawn into something much bigger than himself. Kee is not just a refugee needing help – she is pregnant. Children of Men – BBC iPlayer Green Book (2018) NEW! New York, 1962: Italian-American nightclub bouncer Tony Lip gets taken on as a driver for acclaimed African American pianist Donald Shirley on a tour of the Deep South, where racism and segregation are still commonplace. Green Book – BBC iPlayer The Man Who Never Was (1956) NEW! Espionage thriller in which a British intelligence officer plans an elaborate hoax in the spring of 1943 to fool the Germans into thinking the Allies are about to invade Greece, not Sicily. The plan calls for the navy to float a dead body carrying false identification and information so that the Germans will pick it up. The first part of the mission succeeds, but will the Nazis take the bait? The Man Who Never Was – BBC iPlayer Available until 8th September 2024… Love & Mercy (2014) NEW! Biographical drama. At the height of success with his band The Beach Boys, musical genius Brian Wilson begins to suffer from mental illness, which is not helped by his experiments with LSD. A decade later, Wilson is in the grip of shady psychotherapist Eugene Landy, whose extreme treatment is causing further deterioration, until the day he decides he wants a new car. Love & Mercy – BBC iPlayer The Cruel Sea (1953) NEW! Classic documentary-style account of the trials of a British warship during World War II. A captain is haunted by the loss of his past vessel and seeks revenge. The Cruel Sea – BBC iPlayer Dial M for Murder (1954) NEW! Margot Wendice tells her former lover, Mark, that her husband, Tony, has turned over a new leaf and is loving and attentive. While Margot is worrying about a stolen love letter, Tony has devised the perfect murder. Alfred Hitchcock’s famed drama of deadly intrigue and dogged detective work. Dial M for Murder – BBC iPlayer Available until 9th September 2024… The Elephant Man (1980) NEW! In 1884, an ambitious young surgeon is intrigued by a sideshow freak billed as the Elephant Man. He finds, behind the disfigured exhibit, an intelligent person whose rehabilitation he undertakes. The Elephant Man – BBC iPlayer Blinded by the Light (2019) NEW! Luton, 1987. Javed Khan is a British-Pakistani college student in a family with a domineering father. Facing parental pressure and everyday racism, Javed unexpectedly finds his frustrations and ambitions expressed in Bruce Springsteen songs. Inspired by the rock star and a teacher who encourages his own writing, he sets out to fulfill his dreams. Feelgood drama with music, inspired by a true story. Blinded by the Light – BBC iPlayer Available until 10th September 2024… The Sense of an Ending (2017) NEW! Mystery drama. Tony Webster, semi-retired owner of a specialist photography shop, receives a mysterious legacy and finds himself contending with a past he had never thought that much about. The Sense of an Ending – BBC iPlayer Crazy Rich Asians (2018) NEW! New Yorker Rachel Chu accompanies her longtime boyfriend, Nick Young, to his best friend’s wedding in Singapore. Excited about visiting Asia for the first time but nervous about meeting Nick’s family, Rachel is unprepared to learn that Nick has neglected to mention a few key details about his life. Not only is he the scion of one of the country’s wealthiest families, but also one of its most sought-after bachelors. Being on Nick’s arm puts a target on Rachel’s back, with jealous socialites and, worse, Nick’s own disapproving mother taking aim. It soon becomes clear that the only thing crazier than love is family. Crazy Rich Asians – BBC iPlayer Available until 13th September 2024… Bridge of Spies (2015) NEW! At the height of the Cold War, insurance lawyer James Donovan takes on the job of defending captured Russian spy Rudolf Abel, not knowing that this sets him on a path to East Berlin and leading the tense negotiations for a prisoner swap involving Abel and US spy pilot Gary Powers. Bridge of Spies – BBC iPlayer Available until 8th October 2024… Roise and Frank (2023) Film about Róise, a widow who lost her beloved husband Frank two years ago. When a strange dog comes into her life, Róise is convinced Frank has returned The Tommy Steele Story – BBC iPlayer Available until 3rd November 2024… Tove (2020) Biopic of Tove Jansson, the renowned Finnish artist, author and creator of the Moomins. Born in the 1910s to an artist family, young Tove is always creative, but from early on she has to contend with the shadow of her father, established Finnish sculptor Viktor Jansson. The film charts Tove’s formative years – her love affairs with philosopher Atos Wirtanen and theatre director Vivica Bandler, her early career as a painter, and how she came up with the Moomin characters that eventually made her famous. BBC iPlayer – Tove Available until 15th November 2024… The Keeper (2018) NEW! Recruited from the local prisoner-of-war camp by the manager of non-league St Helens, Bert Trautmann has to overcome the prejudices of his fellow team members who are all appalled at the prospect of playing with the enemy. At the end of the war, Bert is free to return to his home in Bremen, but his growing connection with Margaret, the boss’s daughter, leads him to stay and pursue a career in professional football. The Keeper – BBC iPlayer Available til Early 2024… 47 Metres Down: Uncaged (2019) (Available until July 2024) Four teenage girls go on a diving adventure to explore a submerged Mayan city in Mexico. They soon face a battle for survival after discovering that the sunken ruins are home to a school of deadly great white sharks. BBC iPlayer – 47 Meters Down: Uncaged Citizen Kane (1941) (Available until July 2024) Frequently voted one of the best films ever made, Orson Welles’s masterpiece tells the story of newspaper magnate Charles Foster Kane in a series of flashbacks. A reporter is intrigued by the dying Kane’s last word – rosebud – and sets out to find a new angle on the life of one of the most powerful men in America. Nine Oscar nominations resulted in only one award for the outspoken Welles – Best Screenplay. BBC iPlayer – Citizen Kane Angel Face (1953) (Available until July 2024) Chilling drama about a family chauffeur (Robert Mitchum) who gets embroiled in the murderous schemes of his employer, a beautiful female psychopath (Jean Simmons). BBC iPlayer – Angel Face Horror Express (1972) (Available until July 2024) An English palaeontologist working in Manchuria in 1907 discovers a frozen two-million-year-old anthropoid monster with mystical powers. On the train journey home, the beast thaws, comes back to life and wreaks havoc among the passengers of the train. Classic cult horror starring Peter Cushing and Christopher Lee. BBC iPlayer – Horror Express A Farewell to Arms (1932) (Available until July 2024) In World War I, an American serving as an ambulance driver in Italy falls in love with a nurse in this adaptation of Ernest Hemingway’s novel. Papadopoulos and Sons (2012) (Available until July 2024) After a financial market collapse, self-made millionaire Harry loses everything he has apart from an abandoned fish and chip shop half-owned by his estranged brother. With no alternative, Harry and his family are forced to abandon their old lifestyle and try to bring the old family business back to life. Mission: Joy – With Archbishop Desmond Tutu and the Dalai Lama (2022) (Available until July 2024) Deeply moving and laugh-out-loud funny, Mission: Joy gives unprecedented access to the friendship between His Holiness the Dalai Lama and the late Archbishop Tutu. The self-described ‘mischievous brothers’ were filmed over five days by an award-winning team who captured a relationship built on truth, honesty and, most importantly, joy. BBC iPlayer – Mission: Joy – With Archbishop Desmond Tutu and the Dalai Lama Masked and Anonymous (2004) (Available until July 2024) Written by and starring Bob Dylan and set in the near-future in a fictional America. Against the backdrop of a nation on the brink of revolution, a singer, whose career has gone on a downward spiral, is forced to make a comeback to the performance stage for a benefit concert. Tycoon (1947) (Available until July 2024) Romantic melodrama about an engineer battling to build a railroad in the Andes while trying to save his marriage to the boss’s daughter. After wedding his bride against her father’s wishes, he then jeopardises his marriage and the railroad enterprise by single-mindedly battling to get the extraordinary engineering project completed on time and within budget. Don’t Take Me Home (2020) (Available until July 2024) In 2015, Wales hadn’t qualified for a major football tournament since 1958. When the young national manager, Gary Speed, tragically took his own life in 2011, a youthful side and nation was left devastated. Qualification felt further away than ever and less important. However, spurred on by the enduring memory of the late manager, Wales qualified for Euro 2016. How would they fare? BBC iPlayer – Dont Take Me Home Food for Ravens (1997) (Available until July 2024) Powerful drama on the life of Aneurin Bevan, founder of the National Health Service. Written by Trevor Griffiths, the play focuses on Bevan’s final days, showing him musing on his life and career from his sickbed in Buckinghamshire. BBC iPlayer – Food for Ravens Effie Gray (2014) (Available until July 2024) When young Effie Gray becomes the wife of John Ruskin, one of the most distinguished writers and critics of the day, who has known her since her childhood, it soon becomes apparent that Ruskin regards her as a muse rather than a wife, and the stifling atmosphere of their home and Ruskin’s overbearing wealthy parents soon take a toll on Effie’s health. BBC iPlayer – Effie Gray Love Affair (1939) (Available until September 2024) A French playboy and an American former nightclub singer fall in love aboard a ship. They arrange to reunite six months later, after he has had a chance to earn a decent living. Kitty Foyle (1940) (Available until September 2024) A hard-working, white-collar girl from a middle-class family meets and falls in love with a young socialite, but she soon clashes with his family. Citizen Kane (1941) (Available until September 2024) Following the death of publishing tycoon Charles Foster Kane, reporters scramble to uncover the meaning of his final utterance; ‘Rosebud’. Bringing Up Baby (1938) (Available until September 2024) While trying to secure a $1 million donation for his museum, a befuddled palaeontologist is pursued by a flighty and often irritating heiress and her pet leopard, Baby. Vivacious Lady (1938) (Available until September 2024) A professor marries a nightclub singer, much to the consternation of his family and friends back home. The Velvet Touch (1948) (Available until September 2024) A Broadway star unintentionally kills her impresario but keeps mum about it when the police investigator targets a rival actress. The Sky’s the Limit (1943) (Available until September 2024) Flying Tiger Fred Atwell sneaks away from his famous squadron’s personal appearance tour and goes incognito for several days of leave. He quickly falls for photographer Joan Manion, pursuing her in the guise of a carefree drifter. She Wore a Yellow Ribbon (1949) (Available until September 2024) Captain Nathan Brittles, on the eve of retirement, takes out a last patrol to stop an impending massive Indian attack. Encumbered by women who must be evacuated, Brittles finds his mission imperilled. King Kong (1933) (Available until September 2024) A film crew goes to a tropical island for an exotic location shoot and discovers a colossal ape who takes a shine to their female blonde star. He is then captured and brought back to New York City for public exhibition. The Spanish Main (1945) (Available until September 2024) After being wronged by the Caribbean authorities, a Dutch captain turns pirate to wage war. Angel Face (1952) (Available until September 2024) Ambulance driver Frank Jessup is ensnared in the schemes of the sensuous but dangerous Diane Tremayne. My Favourite Wife (1940) (Available until September 2024) Missing for seven years and presumed dead, a woman returns home on the day of her husband’s second marriage. Mr Blandings Builds His Dream House (1948) (Available until September 2024) A man and his wife decide they can afford to have a house in the country built to their specifications. It’s a lot more trouble than they think. Blackbeard the Pirate (1952) (Available until September 2024) Honest Edward Maynard finds himself serving as ship’s surgeon under the infamous pirate Blackbeard. The Magnificent Ambersons (1942) (Available until September 2024) The spoiled young heir to the decaying Amberson fortune comes between his widowed mother and the man she has always loved. Wagon Master (1950) (Available until September 2024) Two young drifters guide a Mormon wagon train to the San Juan Valley and encounter cut-throats, Indians, geography, and moral challenges on the journey. Beautiful but Dangerous (1954) (Available until September 2024) Lina, a music hall singer, has fallen in love with Sergei, a Russian prince. Maestro Doria, who gives her voice lessons and who hopes to make her his mistress, takes her to Paris where she becomes the star of the “Folies-Plastiques”. Top Hat (1935) (Available until September 2024) An American dancer comes to Britain and falls for a model whom he initially annoyed, but she mistakes him for his goofy producer. Carefree (1938) (Available until September 2024) A psychiatrist agrees to hypnotize his friend’s girlfriend in order to convince her to accept his proposals of marriage, but she ends up falling for the psychiatrist instead. The Gay Divorce (1934) (Available until September 2024) An American woman travels to England to seek a divorce from her absentee husband, where she meets – and falls for – a dashing performer. Suspicion (1941) (Available until September 2024) A shy young heiress marries a charming gentleman, and soon begins to suspect he is planning to murder her. Fort Apache (1948) (Available until September 2024) At Fort Apache, an honourable and veteran war captain finds conflict when his regime is placed under the command of a young, glory hungry lieutenant colonel with no respect for the local Indian tribe. The Miracle of the Bells (1948) (Available until September 2024) Granting her final request, a Hollywood press agent brings the dead body of an actress, who died after making her first and only film, back to her home town for burial. To arouse public interest, and to get the reluctant studio head to release the film, he asks all the local churches to ring their bells for three days. Letter from an Unknown Woman (1947) (Available until September 2024) Classic melodrama in which a young woman falls in love with a concert pianist, beginning a lifelong infatuation. The story of unrequited love is told through a series of flashbacks as the pianist finally comes to read a letter from the dying woman he never really knew. Double Dynamite (1951) (Available until September 2024) Bank teller Johnny Dalton, too poor to marry his sweetheart, saves a big-time bookie from a beating and receives a munificent reward… which just happens to match a mysterious shortage at the bank. Rosie (2018) (Available until September 2024) Mother-of-four Rosie tries to keep her young family afloat as they become homeless when their rented house is put on the market for a price they can’t afford. The story unfolds over 36 hours, as Rosie’s partner John-Paul works long hours in a restaurant kitchen, while she spends the day driving around with the kids and making countless phone calls in the search for emergency accommodation. The Outlaw (1943) (Available until September 2024) Unconventional western about the life of outlaw Billy the Kid, including his partnership with Doc Holliday and clashes with lawman Pat Garrett. Stars Jane Russell and Jack Buetel. Gold Run (2022) (Available until September 2024) This is the incredible true story of how 55 tonnes of gold was transported through rough winter landscapes on trucks, trains and boats by a group of unlikely resistance fighters ahead of the invading Nazi forces. BBC iPlayer – Gold Run The Babadook (2014) (Available until September 2024) Widow Amelia’s worries over her high-strung young son’s behaviour worsen when a mysterious pop-up book inspires fresh fears. Boiling Point (2019) (Available until October 2024) During the busy run-up to Christmas, a single-take snapshot of the immense stress and skills of a talented head chef reveals that things are about to burst behind the restaurant’s flash façade. BBC iPlayer – Boiling Point (2019 Short Film) Wallace and Gromit: A Close Shave (1995) (Available until September 2023) Oscar-winning claymation comedy thriller from Nick Park, featuring the popular inventor and his dog. Wallace’s whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep rustling in a fiendish criminal plot, meeting a sheep named Shaun along the way. Will Wallace snap out of his daze in time to rescue his canine companion? BBC iPlayer – Wallace and Gromit: A Close Shave Wallace and Gromit: The Wrong Trousers (1993) (Available until September 2023) Oscar-winning animated adventure featuring Wallace and Gromit. The duo are plunged into a hilarious tale of skulduggery involving an extraordinary pair of automated trousers and a villainous penguin. Featuring Peter Sallis as the voice of Wallace. BBC iPlayer – Wallace and Gromit: The Wrong Trousers Wallace and Gromit: A Grand Day Out (1992) (Available until September 2023) Bafta-winning, Oscar-nominated claymation by Nick Park, which introduced the world to inventor Wallace and his canine companion Gromit. The pair blast off in a homemade rocket to go on a bank holiday outing to the moon and test the theory that it is made of cheese. What they find there surprises them. BBC iPlayer – Wallace and Gromit: A Grand Day Out Wallace and Gromit: A Matter of Loaf and Death (2008) (Available until September 2023) Wallace and Gromit have opened a new bakery – Top Bun – and business is booming, not least because a deadly Cereal Killer has murdered all the other bakers in town. Gromit is worried that they may be the next victims, but Wallace does not care, as he has fallen head over heels in love with Piella Bakewell, former star of the Bake-O-Lite bread commercials. So Gromit is left to run things on his own, when he would much rather be getting better acquainted with Piella’s lovely pet poodle Fluffles. BBC iPlayer – Wallace and Gromit: A Matter of Loaf and Death Ali & Ava (2021) (Available until October 2024) Devoted mother and grandmother Ava, a teaching assistant with a love of country and folk music, is offered a lift home from school by the charismatic Ali, who is estranged from his wife but continuing with the charade of marital domesticity for the sake of their close-knit relatives in Bradford. On the journey, they find many things in common, including a love of music, and begin an unusual and secretive courtship. BBC iPlayer – Ali & Ava The Eichmann Show (2015) (Available until October 2024) The behind-the-scenes true life story of groundbreaking producer Milton Fruchtman and blacklisted TV director Leo Hurwitz, who, overcoming enormous obstacles, set out to capture the testimony of one of the war’s most notorious Nazis, Adolf Eichmann. He is accused of executing the ‘final solution’ and organising the murder of six million Jews. This is the extraordinary story of how Eichmann’s trial came to be televised and the team that made it happen. BBC iPlayer – The Eichmann Show An Ideal Husband (1999) (Available until October 2024) Sir Robert Chiltern, a brilliant politician and a perfect gentleman, is the ideal husband for the morally upstanding Lady Chiltern. They have a widely envied marriage until charming Mrs Cheveley appears with the intention of revealing a dark secret from Chiltern’s past. BBC iPlayer – An Ideal Husband Moonlight (2016) (Available until October 2024) A coming-of-age drama that presents the childhood, adolescence and early adult life of Chiron, born to a drug-addicted single mother in Miami and facing difficulties with his sexuality and identity. His first role model is the Afro-Cuban drug dealer Juan, who takes pity on the bullied youth. BBC iPlayer – Moonlight Macbeth (1948) (Available until November 2024) Classic film version of Shakespeare’s play about a Scottish nobleman heavily influenced by his wife’s lust for power. Dominated by actor/director/producer Orson Welles, both in terms of his screen presence and his departures from the text, the film was shot in just 23 days in the summer of 1947. BBC iPlayer – Macbeth Bulldozer (2022) (Available until November 2024) Ray’s estate is being bulldozed. On the way to a fireworks night, Ray and her daughter take a detour through the new development that is being built in its place. BBC iPlayer – Bulldozer King Lear (2018) (Available until November 2024) The 80-year-old King Lear divides his kingdom among his daughters, Goneril, Regan and Cordelia, according to their affection for him. Cordelia refuses to flatter him, so he banishes her. Having acquired power, Goneril and Regan expel their father from their homes. At the same time, Lear’s prime minister, Gloucester, is betrayed by his son Edmund and his other son, Edgar, is forced to go into hiding. Lear becomes mad, Gloucester is blinded: both the kingdom and the family collapse into chaos and warfare. Lear and Cordelia are reunited; for a brief moment love reigns, then tragedy descends. BBC iPlayer – King Lear Black Box (2021) (Available until November 2024) Obsessive forensic analyst Mathieu Vasseur is disappointed to be sidelined in the examination of the black box of an Atrian 800 airliner which has mysteriously crashed in the Alps. BBC iPlayer – Black Box Schemers (2023) (Available until November 2024) Davie is a dreamer from the council schemes, constantly hustling for his next buck then losing it on the horses. After a football injury, Davie falls for trainee nurse Shona and tries to impress her by running a disco. Along with friends John and Scot, Davie starts promoting bands, culminating in a hugely ambitious Iron Maiden gig at Caird Hall in Dundee. BBC iPlayer – Schemers Let It Snow (2020) (Available until November 2024) A thrill-seeking American couple are determined to experience snowboarding – but they must survive against not only nature but a malevolent snowmobile rider, seemingly out for their blood. BBC iPlayer – Let It Snow The Curse of the Cat People (1944) (Available until November 2024) The follow-up to the seminal Cat People, this is the tale of a lonely young girl who conjures up the spirit of Irena – her father’s first wife – to provide herself with a companion. But Irena believed herself to be descended from a race of cat people, and before long the fiendish feline is on the prowl again. BBC iPlayer – The Curse of the Cat People Lizard (2021) (Available until November 2024) After eight-year-old Juwon, who has the ability to sense danger, gets removed from Bible class by her Sunday school teacher, she follows an agama lizard into the bowels of the Heaven’s Gate mega church. Her journey into the labyrinth exposes the inner financial workings and hidden activities behind the scenes, plunging her deeper and deeper – until she is confronted by a spellbinding sermon and a congregation worshipping in a hypnotised frenzy. BBC iPlayer – Lizard Lara Croft: Tomb Raider (2001) (Available until November 2024) Angelina Jolie is Lara Croft (until Alicia Vikander anyway), as the eponymous heroine of the classic video games races against time to find an ancient relic before the planets align for the first time in 5,000 years. Can she save the day? The sequel’s below so chances are, she might… Lara Croft Tomb Raider: The Cradle of Life (2003) (Available until November 2024) Angelina Jolie is Lara Croft, again. Lara discovers that the mythical Pandora’s Box is no myth, and must once again race against time to prevent an evil billionaire bio-weapons dealer from finding it and unleashing its plague onto the world. Can she save the day once more? Equals (2015) (Available until November 2024) In a future society which lives under the Collective, citizens are mentally stabilised, and all emotions and illnesses are eradicated. Alerted to an outbreak of switched-on syndrome, a disease which is gradually restoring emotions to the victims, Silas notices that his co-worker Nia is betraying feelings, and when he is diagnosed with the condition, the couple begin a dangerous affair. BBC iPlayer – EqualsFinal Cut (2022) (Available until December 2024) A small film crew shooting a low-budget zombie movie remake for a live broadcast find that anything that can go wrong, will go wrong. In French with English subtitles. BBC iPlayer – Final Cut Three Faces (2018) (Available until December 2024) Actress Behnaz Jafari is distraught when she comes across a young girl’s video plea for help after her family prevents her from taking up her studies at the Tehran drama conservatory. Behnaz abandons her shoot and turns to the film-maker Jafar Panahi to help her with the young girl’s troubles. They travel by car to the rural, Azeri-speaking north west of Iran, where they encounter the charming and generous folk of the girl’s mountain village. But Behnaz and Jafar also discover that old traditions die hard. BBC iPlayer – Three Faces Kindling (2022) (Available until December 2024) A group of young men return to their home town in order to turn their friend’s final days into a celebration of life and friendship. BBC iPlayer – Kindling The Last Bus (2021) (Available until December 2024) Tom, an elderly widower, uses his trusty free bus pass to take a series of local buses on a deeply nostalgic trip across the length of the UK, from John o’Groats to Land’s End. His mission is to fulfil a promise he made to his late wife to take her back to the place where they first met and lived happily together. BBC iPlayer – The Last Bus Eat the Peach (1986) (Available until December 2024) Inspired by the 1964 Elvis Presley film Roustabout, Vinnie (Stephen Brennan) and Arthur (Eamon Morrissey) decide to build their own ‘Wall of Death’, a high-walled, barrel-like tank where centrifugal force keeps the rider circling up in the air. Against his wife’s wishes, Vinnie clears a patch near his house and begins work, with the aim being that the wall will be a source of income as people buy tickets to watch his and Arthur’s daring performances. BBC iPlayer – Eat the Peach Persian Lessons (2020) (Available until December 2024) World War II. Gilles, a young Jewish man in a concentration camp, has his life saved when executioners realise he owns a Persian book. Brought before a camp officer who wants to learn Farsi, Gilles agrees to teach him despite not knowing a word of the language. Being a favourite of this officer may keep him alive, but that depends on how long GIlles can sustain the lie. BBC iPlayer – Persian Lessons Any One of Us (2020) (Available until January 2025) When professional mountain biker Paul Basagoitia experiences a devastating spinal cord injury (SCI), his life is changed in an instant. Discovering that he’s become paralysed, Paul begins an intense physical and emotional journey to recover and adapt, initially living in the hope of one day being able to walk again as he once did. His excruciating recovery unfolds in real time through raw, intimate footage- much of which was filmed by Paul himself- as we see him wrestle with the agonies of an unpredictable journey and uncertain future. BBC iPlayer – Any One Of Us I Walked With a Zombie (1943) (Available until January 2025) Young Canadian nurse Betsy comes to the West Indies to care for the wife of a plantation manager in an offbeat zombie horror movie. From the director of aforementioned Cat People. A Woman’s Secret (1949) (Available until January 2025) Drama directed by Nicholas Ray. A singer grooms a talented youngster for success, only to confess to the murder when her protege is found shot dead. BBC iPlayer – A Womans Secret The Mother (2004) (Available until January 2025) Drama about a widow who goes to stay with her grown up son and daughter. As she begins to come to terms with the past, she embarks on a startling new relationship with her daughter’s boyfriend, which causes havoc in the family. BBC iPlayer – The Mother Bulldozer (2022) (Available until January 2025) Ray’s estate is being bulldozed. On the way to a fireworks night, Ray and her daughter take a detour through the new development that is being built in its place. BBC iPlayer – Bulldozer Frequently Asked Questions About Time Travel (2009) (Available until January 2025) Comedy about three ordinary men who hold the fate of the world in their hands when they discover a rift in the space-time continuum in their local pub. Chris O’Dowd stars. BBC iPlayer – Frequently Asked Questions About Time Travel Red Dust (2004) (Available until January 2025) A woman leaves her law career in New York to return to South Africa to assist an old friend as prosecutor on a Truth Commission hearing. The man she is representing, a social activist, is shocked to discover that the former police deputy who once tortured him is now seeking amnesty for his actions. BBC iPlayer – Red Dust Love + Hate (2008) (Available until January 2025) A love story set across the racial frontline in a town in northern England. Adam has been brought up in a community that fosters racial hatred. Naseema is a second-generation Asian who abhors the way her peers have espoused violence as a way of reclaiming the lost pride of their fathers. But what they share is a privately held desire to break free from their small town, something they discover they have in common whilst working at the local DIY store. BBC iPlayer – Love + Hate Opal Dream (2006) (Available until January 2025) Pobby and Dingan are invisible. They live in an opal town in Australia and are friends with Kellyanne, the nine-year-old daughter of an opal miner. The film tells the story of the bizarre and inexplicable disappearance of Pobby and Dingan, Kellyanne’s imaginary friends, and the impact this has on her family and the whole town. The story is told through the eyes of Kellyanne’s eleven-year-old brother Ashmol. BBC iPlayer – Opal Dream My Summer of Love (2004) (Available until January 2025) In the Yorkshire countryside, working-class tomboy Mona meets the exotic, pampered Tamsin. Over the summer season, the two young women discover they have much to teach one another, and much to explore together. Mona, behind a spiky exterior, hides an untapped intelligence and a yearning for something beyond the emptiness of her daily life; Tamsin is well-educated, spoiled and cynical. Complete opposites, each is wary of the other’s differences when they first meet, but this coolness soon melts into mutual fascination, amusement and attraction. BBC iPlayer – My Summer of Love Expensive Sht (2022) (Available until January 2025) In a Glasgow nightclub, Tolu, a Nigerian toilet attendant desperate for survival, manipulates the behaviour of unsuspecting women for the titillation of men watching behind the mirrors. But tonight, a line has been crossed, and as the night spins out of control, Tolu has to find the strength to change everything. BBC iPlayer – Expensive Sht 2003 (2021) (Available until January 2025) Before embarking on his first tour of duty, a young soldier and his father must face up to the painful realities that have long gone unspoken between them. BBC iPlayer – 2003 Bill (2015) (Available until October 2024) While King Philip of Spain plots to kill Queen Elizabeth of England, young Bill Shakespeare leaves Stratford to follow his latest dream, to be a playwright in London – despite the theatres being closed due to plague. Luckily the Queen desires a new play – unluckily she chooses creepy Lord Crawley to write it. BBC iPlayer – Bill Man on the Moon (1999) (Available until January 2025) Star of Taxi and Saturday Night Live, Andy Kaufman was a troubled individual for whom the boundaries of reality and stage performance were often blurred. Frequently misunderstood, even by those closest to him, he remained a strictly maverick entertainer until his untimely death from lung cancer in 1984. BBC iPlayer – Man on the Moon Wonder Boys (2000) (Available until January 2025) Pittsburgh English Professor Grady Tripp cannot finish his latest novel. Nor can he handle his wife leaving, his girlfriend’s pregnancy announcement, the arrival of his editor or a strange talented student seeking mentorship – all in the same week BBC iPlayer – Wonder Boys A Simple Plan (1998) (Available until January 2025) Minnesota. Winter. Hank and Jacob Mitchell and their pal Lou find a downed single-engine plane buried in the snowy woods. Inside it is a decaying pilot and a bag carrying $4 million. The men decide to hide the money until spring when the snow has melted and the plane is found. But nothing goes as planned… BBC iPlayer – A Simple Plan Primary Colors (1998) (Available until January 2025) No red, blue or yellow in sight, this is actually John Travolta at a career best as Jack Stanton, a governor running an election campaign for President. Based on an anonymous insider novel on the 1992 Clinton campaign. BBC iPlayer – Primary Colors The Relic (1997) (Available until January 2025) A container of findings from a Natural History Museum expedition in South America is sent to Chicago, and coincidentally a series of violent murders occurs soon after. Turns out it’s a lizard-like monster who’s eating people. BBC iPlayer – The Relic Twelve Monkeys (1995) (Available until January 2025) A deadly virus, believed to be released by a group known as the Army of the Twelve Monkeys, wipes out almost all of humanity in 1996. In 2035, James Cole is sent back in time to find the original virus to find a cure. Bruce Willis, Madeleine Stowe and Brad Pitt lead this neo-noir science fiction cult favourite. BBC iPlayer – Twelve Monkeys HyperNormalisation (2016) (Available until January 2025) This film is the epic story of how we got to this strange place. It explains not only why these chaotic events are happening – but also why we, and our politicians, cannot understand them. BBC iPlayer – HyperNormalisation The Jackal (1997) (Available until January 2025) Fictitious story based upon Carlos the Jackal, Bruce Willis stars as The Jackal, a master of disguise assassin hired to carry out a hit on a high profile American government target as retaliation for the US meddling in Russian business. Holiday Affair (1949) (Available until January 2025) Connie is a war widow devoted to her small son, Timmy. Carl is the solid man she intends to marry in order to achieve security. But Steve, a drifter in Christmastime New York, comes into their lives and proceeds to woo Connie through her little boy’s desire for a train set. The Gay Divorce (1934) (Available until January 2025) Guy Holden comes to the rescue of a trapped damsel in distress in a crowded customs shed. More frustrating encounters follow until Mimi mistakes Guy for a professional correspondent in a Brighton hotel. BBC iPlayer – The Gay Divorce Bringing Up Baby (1938) (Available until January 2025) Classic screwball comedy about a madcap heiress who makes a shambles of an absent-minded palaeontologist’s life when she arrives on the scene complete with her pet leopard. The film’s rollercoaster plot formed the basis for 1972’s What’s Up, Doc? and is notable for Katharine Hepburn’s foray into zany comedy. BBC iPlayer – Bringing Up Baby Suspicion (1941) (Available until January 2025) Classic thriller in which a timid heiress becomes convinced that her husband is trying to kill her. After escaping from her oppressive parents, the woman meets and marries a fortune hunter. At first, her happiness prevents her from reflecting on his character, but when events take a sinister twist, she fears that his intentions are murderous. BBC iPlayer – Suspicion She Wore a Yellow Ribbon (1949) (Available until January 2025) In the second in John Ford’s cavalry trilogy, a US cavalry officer suffers a setback on his last mission and is ‘retired’ before he can take further action. To avert a full-scale war, he decides to act alone. BBC iPlayer – She Wore a Yellow Ribbon Yellow Canary (1943) (Available until January 2025) Wartime thriller set aboard a ship bound for Canada from Britain, in which an undercover agent is approached by a Nazi spy with a scheme to sabotage a British convoy in Nova Scotia. Sylvia Scarlett (1935) (Available until January 2025) Comedy drama in which a widowed, ne’er-do-well father on the run disguises his daughter as a boy to escape the law. They travel from France to England in a bid to start afresh and, during the journey, the pair make the acquaintance of a jewel thief. Second Chance (1953) (Available until January 2025) A disillusioned boxer and a gangster’s fugitive girlfriend meet in Mexico where they are trying to rebuild their lives. However, their growing romance is shadowed by a killer. Anne of Green Gables (1934) (Available until January 2025) Adaptation of LM Montgomery’s Canadian classic following the adventures of determined, imaginative optimist Anne Shirley. Middle-aged brother and sister Matthew and Marilla Cuthbert want some help on the farm, so they decide to adopt a boy. However, the orphanage sends them a girl by mistake. Anne of Windy Poplars (1940) (Available until January 2025) Sentimental drama about an ambitious young teacher who arrives in a small town to take the job of vice-principal. Based on one of L M Montgomery’s ‘Anne of Green Gables’ sequels. Primrose Path (1940) (Available until January 2025) Teenager Ellie May lives on the wrong side of the tracks with her family, and when she meets handsome beach café owner Ed, they quickly fall in love and get married. Ellie May tries to keep Ed from learning of her background and when he finally meets her family it causes a major strain on the relationship. Bachelor Knight (1947) (Available until January 2025) Comedy about a teacher (Cary Grant) whose playboy antics are curbed by a judge who insists that he romance a girl (Shirley Temple), until her crush on him wears off. I Remember Mama (1948) (Available until January 2025) Saga about a family of Norwegian immigrants struggling to get by in San Francisco at the turn of the century. At the heart of the penniless family is the warm, caring figure of the mother, Mama Hanson, who is surrounded by a variety of engaging and loveable relatives and friends. Hotel Reserve (1944) (Available until January 2025) An atmospheric thriller based in the south of France prior to the outbreak of World War II. While on holiday at the Hotel Reserve, an Austrian medical student is wrongly charged with espionage by the French police. Threatened with deportation, he is forced to embark on a search for the real spy among the hotel guests. The Thing from Another World (1951) (Available until January 2025) Scientists at a lonely Arctic outpost dig up an alien from the permafrost and face a desperate fight for their lives when it is accidentally thawed. Famously re-made in 1982 by John Carpenter as ‘The Thing’. A Damsel in Distress (1937) (Available until January 2025) Sparkling Gershwin musical-comedy. A dance star pursues an aristocratic heiress. Songs include Foggy Day in London Town, Nice Work If You Can Get It. Alice in Wonderland (1966) (Available until January 2025) Adaptation of Lewis Carroll’s classic novel Alice’s Adventures in Wonderland. Starring Ann-Marie Mallik, Michael Redgrave and Peter Sellers. Directed by Jonathan Miller. BBC iPlayer – Alice in Wonderland Aftersun (2022) (Available until February 2025) Sophie is beginning to remember a formative holiday her divorced dad Calum took her on as a child. What her 11-year-old self experienced is now conjuring up things that perhaps went unseen. BBC iPlayer – Aftersun Full Time (2021) (Available until February 2025) Single mother of two children Julie Roy is the head chambermaid at a five-star hotel in central Paris. Her commute from the suburbs is precision-timed, as she relies on a tolerant neighbour for childcare. BBC iPlayer – Full Time The Commitments (1991) (Available until February 2025) Jimmy Rabbitte, an unemployed Dublin boy, decides to put together a soul band made up entirely of the Irish working class. BBC iPlayer – The Commitments Anna Karenina (1961) (Available until February 2025) Anna, the wife of government minister Alexis Karenin, visits Moscow to help straighten out a family quarrel. There, Count Alexis Vronsky falls in love with her. Television adaptation of a play based on Leo Tolstoy’s novel by Marcelle Maurette. BBC iPlayer – Anna Karenina Sicario (2015) (Available until February 2025) FBI special agents Kate Macer and Reggie Wayne lead a raid on a drug cartel safe house in Chandler, Arizona, where two police officers are killed. Subsequently recruited to a joint task force overseen by CIA officer Matt Graver and a secretive ex-prosecutor Alejandro Gillick to flush out and apprehend a cartel drug lord, Kate is soon out of her depth in the murky world of a lawless borderland. BBC iPlayer – Sicario The Railway Station Man (1993) (Available until February 2025) Painter Helen Cuffe has fled to Donegal with her young son Jack after the killing of her husband in Northern Ireland. She lives in isolation until she meets a mysterious, disabled American, who is obsessed with restoring an abandoned railway station. Romance blossoms, but then a group of so-called freedom fighters decides to store arms in the railway station – and enlists the help of Helen’s son. BBC iPlayer – The Railway Station Man Lunana: A Yak in the Classroom (2019) (Available until February 2025) Oscar-nominated Bhutanese drama. Disillusioned young teacher Ugyen dreams of moving to Australia to pursue a singing career but instead finds himself posted to the most remote school in the world – high in the Himalayan mountains. BBC iPlayer – Lunana: A Yak in the Classroom The Private Affairs of Bel Ami (1947) (Available until April 2025) Drama set in 19th-century Paris. Adapted from the novel by Guy de Maupassant, the film tells the story of Georges Duroy, a womanising rogue whose ambitions to gain wealth and social status leave a string of broken hearts in his wake. BBC iPlayer – The Private Affairs of Bel Ami The Fall of the Roman Empire (1964) (Available until April 2025) Star-studded recreation of the death throes of the greatest empire in world history. After Marcus Aurelius is poisoned, the role of emperor goes not to his adopted son as he had wished, but to his cruel son Commodus – who soon displays a tyrannical streak. BBC iPlayer – The Fall of the Roman Empire Master Cheng (2019) (Available until April 2025) Professional chef Cheng arrives in a remote Finnish village with his young son looking for ‘Fongtron’, but nobody can help him. Sarkki, owner of the local café, offers them a meal and a room. Cheng repays her hospitality by cooking his own food, which soon entrances the locals. BBC iPlayer – Master Cheng Dolly Parton – Here I Am (2019) (Available until April 2025) A landmark documentary that explores the extraordinary life and music of Dolly Parton. From her humble beginnings to her global success, the film discovers how a young girl from the Smoky Mountains conquered Nashville to become the queen of country music. BBC iPlayer – Dolly Parton – Here I Am Mr Jones (2019) (Available until March 2025) Drama based on a true story. In 1933, suspicious of Russia’s miraculous resurgence under Stalin, Gareth Jones escapes Moscow’s decadence and discovers Ukraine’s desperation. However, it is not just the Soviets who want word of the terrible reality suppressed. BBC iPlayer – Mr Jones Luzzu (2021) (Available until April 2025) Jesmark, like his father before him, makes a precarious living from fishing on his 12-foot luzzu on the inshore waters of Malta. On learning that his infant son is not showing normal growth and needs specialist attention, his financial situation becomes critical, and he has to make a potentially life-changing decision. BBC iPlayer – Luzzu Eternal Beauty (2019) (Available until April 2025) Jilted at the altar as a young woman, Jane has been living with depression and paranoid schizophrenia for many years. But one day, while attending a mental health clinic, Jane runs into the flamboyant but equally troubled Mike, who opens a window of opportunity to experience life as never before. BBC iPlayer – Eternal Beauty El Cid (1961) (Available until April 2025) The epic story of the 11th-century Spanish hero Rodrigo Diaz de Bivar, better known as El Cid. Involved in a tempestuous marriage to the beautiful Chimene, Rodrigo plots against various royal factions to gain power after the death of King Ferdinand, but his greatest campaign is to rid Spain of its Moorish invaders. He drives the Moors to their last outpost – Valencia – for a tumultuous and decisive battle. BBC iPlayer – El Cid Wagon Master (1950) (Available until April 2025) Poetic story of a pioneering Mormon community. Forced out of Crystal City, a group of Mormons head westward in search of the promised land. The journey is treacherous, and two footloose horse traders are persuaded to ‘give the Lord a hand’ and guide them across the desert. On the trail, the wagon train encounters travelling entertainers, fugitive gunfighters and Native Americans. BBC iPlayer – Wagon Master Rancho Notorious (1952) (Available until April 2025) Unusual western about a young man hunting for the brutal killers of his fiancee. The only clue he has is the mysterious word ‘Chuck-a-Luck’ whispered by a dying victim. A rare foray into the genre for director Fritz Lang. BBC iPlayer – Rancho Notorious Fort Apache (1948) (Available until April 2025) The first of John Ford’s cavalry trilogy, in which a commanding officer, bitter at his demotion after the Civil War, takes his resentment out on the men of Fort Apache, a remote outpost in the Arizona desert. He is determined to tighten up discipline but eventually shows his ignorance of American Indian behaviour when he leads his troops into a deadly confrontation. BBC iPlayer – Fort Apache Blue Story (2018) (Available until April 2025) A feature adaptation of Rapman’s YouTube series about two young south London friends from different boroughs and their deepening relationships with gangs and girls. BBC iPlayer – Blue Story I Am Greta (2020) (Available until April 2025) The story of teenage climate activist Greta Thunberg is told through compelling, never-before-seen footage in this intimate documentary about a young girl who has become the voice of a generation. Starting with her one-person school strike for climate justice outside the Swedish Parliament, the film follows Greta – a shy student with Asperger’s – as she rises to prominence, and her galvanising global impact as she sparks school strikes around the world. BBC iPlayer – I Am Greta Cat People (1942) (Available until April 2025) Serbian Irena arrives in New York and meets Oliver. They soon fall in love and marry, but Irena fears she suffers from an ancient curse from her homeland that means they can never be intimate, or she might literally kill him. BBC iPlayer – Cat People The Blair Witch Project (1999) (Available until March 2025) On the trail of a local legend about a witch, three student film-makers ignore warnings from locals and go into the Maryland woods for the weekend. Deep in the forest and miles from help, they learn the terrifying truth. BBC iPlayer – The Blair Witch Project Nowhere Special (2021) (Available until March 2025) A terminally ill single father searches for a new family to take in his young son after his passing. BBC iPlayer – Nowhere Special The History Boys (2006) (Available until April 2025) A class of likely lads, caught in a clash of educational styles as they prepare to apply to Oxford or Cambridge, find their loyalties as well as their intellects tested. BBC iPlayer – The History Boys Odd Squad: The Movie (2017) (Available until May 2025) The Odd Squad investigate strange events. When a group of adults run Odd Squad out of business, the agents are forced to become regular kids again. BBC iPlayer – Odd Squad: The Movie Citizen Ashe (2022) (Available until May 2025) Documentary that tells the little-known story of sports legend Arthur Ashe off the tennis court. Known to most on account of his stellar sports career – he became the first black man to win Wimbledon in 1975 – the film uncovers Ashe’s work as a social activist, a role that embraced the civil rights movement in the US, African Americans and oppressed people throughout the world. BBC iPlayer – Citizen Ashe Lie with Me (2022) (Available until May 2025) Successful novelist Stéphane Belcourt returns to his provincial hometown at the invitation of the local cognac makers, who are celebrating their bicentennial. There, he meets Lucas, a young marketing executive for the company who turns out to be the son of his first love, Thomas. BBC iPlayer – Lie with Me The Phantom of the Open (2021) (Available until May 2025) The heartwarming true story of shipyard crane operator Maurice Flitcroft, who, having never played a round of golf in his life, entered the 1976 British Open and subsequently shot the worst round of golf in Open history, drawing the ire of the golfing elite but becoming a folk hero in the process. BBC iPlayer – The Phantom of the Open Mrs Dalloway (1997) (Available until May 2025) An adaptation of the classic Virginia Woolf novel. As society hostess Clarissa Dalloway prepares for another of her legendary parties, she finds herself haunted by figures and scenes from her passionate youth. BBC iPlayer – Mrs Dalloway Happy New Year, Colin Burstead (2018) (Available until July 2025) A New Year’s Eve party is the setting for a fractious family comedy-drama, as Colin Burstead plans a lavish event for his extended family, which doesn’t exactly go to plan…. BBC iPlayer – Happy New Year, Colin Burstead The Road Dance (2021) (Available until July 2025) Kirsty MacLeod dreams of a better life away from the isolation of small village life on an island in the Outer Hebrides. Suppressing these aspirations, she sees her lover, Murdo, conscripted for service in the First World War, soon to set off and fight alongside the other young men from the village. A road dance is held in their honour the evening before they depart, and it’s on this fateful evening that Kirsty’s life takes a dramatic and tragic turn. BBC iPlayer – The Road Dance Homeward (2023) (Available until July 2025) Mustafa, a Crimean Tatar, and his son Alim transport the body of Mustafa’s other son, a soldier killed in combat, from Kyiv to Crimea to give him a proper burial. BBC iPlayer – Homeward Whisky Galore! (2016) (Available until July 2025) In 1943, disaster strikes on the remote Hebridean island of Todday when they run out of whisky. Salvation arrives when a ship carrying 50,000 cases of whisky founders on the island’s rocks. But the islanders clash with authority in the shape of Home Guard commander Captain Waggett. BBC iPlayer – Whisky Galore! Law of Tehran (2019) (Available until July 2025) The police relentlessly pursue a drug lord named Nasser Khakzad, but when they finally manage to catch him, he tries whatever he can think of to escape and save his family. Iranian thriller. BBC iPlayer – Law of Tehran Burton and Taylor (2013) (Available until July 2025) Drama telling the story of Hollywood’s most glamorous couple, Richard Burton and Elizabeth Taylor, who acted together for the last time in Noel Coward’s Private Lives in 1983. BBC iPlayer – Burton and Taylor Wildlife (2018) (Available until July 2025) In the early 1950s, 14-year-old Joe Brinson has moved with his mother and father to a small town in Montana. When his father unjustly loses his job at the local golf course, he decides to take up firefighting in the hills. His mother Jeanette feels abandoned and increasingly treats Joe as an adult, who soon has to learn some powerful and indelible life lessons. BBC iPlayer – Wildlife The Thing from Another World (1951) (Available until July 2025) Scientists at a lonely Arctic outpost dig up an alien from the permafrost and face a desperate fight for their lives when it is accidentally thawed. BBC iPlayer – The Thing from Another World Shadow in the Cloud (2020) (Available until August 2025) NEW! Pilot officer Maude Garrett is assigned to travel with a top secret package from Auckland at the height of the Pacific battles with the Japanese during World War II. The mixed-nationality Allied crew give her a derisive welcome, including assigning her quarters in the aircraft’s empty ball turret. Little do they know that they are about to experience the worst flight of their lives as an evil presence makes itself known. Shadow in the Cloud – BBC iPlayer We’ve done our best to list all the available films on BBC iPlayer and the date they’re removed from the service as detailed by the BBC, but it goes without saying that the BBC probably reserve the right to add or remove films from their service at any time, for any reason. The BBC also list an expiration time for each film, which could be 6pm or 1am on the expiration date. We’re not including those for purely logistical reasons. We’ll try our best to keep this list as up to date as possible, though. Thank you for visiting! If you’d like to support our attempts to make a non-clickbaity movie website: Follow Film Stories on Twitter here, and on Facebook here. Buy our Film Stories and Film Stories Junior print magazines here. Become a Patron here. See one of our live shows, details here. Share this Article:
7961	dbpedia	0	72	https://www.vulture.com/article/50-best-western-movies-ever.html	en	The 50 Greatest Western Movies Ever Made	https://pyxis.nymag.com/…social.w1200.jpg	https://pyxis.nymag.com/…social.w1200.jpg	[ "https://assets.nymag.com/media/components/customer-alert-banner/alert.svg", "https://assets.nymag.com/media/components/customer-alert-banner/double_chevron.svg", "https://assets.nymag.com/media/components/customer-alert-banner/close_x.svg", "https://pyxis.nymag.com/v1/imgs/de2/ba4/7147d133883cc04c3973e7f848f3c865d8-1724Cov-4x5-Pets.w240.jpg", "https://pyxis.nymag.com/v1/imgs/554/69b/97ae591b1ea1675646e7f1f45a670a5e02-greatest-westerns-updated-dec-2020-lede-.rhorizontal.w1100.jpg", "https://pyxis.nymag.com/v1/imgs/554/69b/97ae591b1ea1675646e7f1f45a670a5e02-greatest-westerns-updated-dec-2020-lede-.rhorizontal.w1100.jpg", "https://pyxis.nymag.com/v1/imgs/cf0/99d/12a251c93483c94ce384310349eb6bbcce-divorced-parents-final.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/dc0/746/b6c487546978eac371477597b9f4f8b6e3-streamliner-8-14-2024.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/2b0/8db/d06eacc4bf48b87d658b6a290d2628e289-kamala-economy-2056666543.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/739/0dc/6f46684429131a1590c178af50cc52c158-cinematrix-8-18-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/0b6/b01/85797dbd5c24fecf372b814a74a9cfbd3d-GettyImages-2167010760.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/5fc/762/763c61e620a21c70807ea2da3abdbc9bc2-alien-romulus.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/ce5/13c/5c268093fcdbe7b7a40306baaea5dd1592-The-Morning-Show-Photo-030111.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/dc0/746/b6c487546978eac371477597b9f4f8b6e3-streamliner-8-14-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/d65/e6b/9b16fd6477a4638d242a4395e927ca13d6-benched.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/a48/16f/0705ff263279df4be5143404b5663e246d-ansel-elgort-ken-watanabe.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/b25/3a6/3b41778538a60a859d0e4a33a8353d485c-beau-.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/247/42f/3f8722aff930dc0f8d8daf8cbad60a550d-rusicals-quad.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/a82/cba/eb6f1d9e78d245462620a405bfb2ccbf1d-serpent-queen-ep6.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/e7f/1d5/b6fc5ee714eaad45bba634f2a8940e53f8-dakota-chris-dating.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/38c/3c8/c1be8271275fd602b19082240f93bc0b85-lady-inthe-lake-ep6.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/c52/b06/032a61b8a5582f52e4e1d627928515f25c-yerin-ha.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/ebc/ddc/6ff57754034ede8c71cbf8c016c3f08e3c-Laurie-Hernandez-Instagram.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/1d8/35a/3cc58cf271766eb5444f437e2767b6b895-amber-ruffin-late-night.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/daa/8d9/bd46647ac4967b43c93785380418522afe-justin-blake-drama.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/399/607/210510750b887fade43d5065a5ab2d7b72-EIP-405-Unit-01137R.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/b6b/688/6da803b433ff867ae7d0bb5933253affab-daughters-review.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/6d9/52c/f1ae79594b0391ba71178395c8750329f6-gena-rowlands-opening-night.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/07e/f97/c4db0d8db112e4cda01a898181cdda5fa9-brunomars-ladygaga-lede.rsquare.w536.png" ]	[]	[]	[ "" ]	null	[ "Keith Phipps" ]	2021-01-18T10:00:28.392000-05:00	The history of movie Westerns more or less begins with the end of the Old West itself. We run down the 50 best examples of the genre.	en	https://assets.vulture.c…e/icon.76x76.png	Vulture	https://www.vulture.com/article/50-best-western-movies-ever.html	This article was originally published September 4, 2019 and has been updated to include additional movies. America can only claim a few art forms as its own. Jazz, for sure. Comic books, certainly. It’s probably safe to add the Western to that list, too, even if — like jazz and comics — the Western has roots around the globe and has since been adopted in many lands. The history of movie Westerns more or less begins with the end of the Old West itself. Westerns thrived in the silent era, and though the genre’s popularity has ebbed and flowed ever since — largely fading from view in the ’80s but enjoy several resurgences in succeeding decades — it’s never threatened to fade away. The Western is a vital genre with the habit of reinventing itself every few years that doubles as a way to talk about America’s history while reflecting on its present. A strand of violent, psychologically complex Westerns that appeared in the 1950s, for example, captures both changing attitudes toward the settlement of the West and the treatment of Native Americans while channeling the spirit of a country still recovering from a devastating World War. And while there are certain themes and elements that define the genre, it’s also proven to be flexible, capable of playing host to many different stories and an infinite variety of characters. In Paul Greengrass’s film News of the World, for instance, Tom Hanks plays a traveling newsreader whose attempt to return a girl to her family doubles as a tour of a country whose divisions look like clear roots to some of our current national troubles. This list of the 50 greatest Westerns reflects that wide legacy from the very first entry, a film directed by a Hungarian and starring a Tasmanian. It’s been assembled, however, working from a fairly traditional definition of the Western: films set along the America frontier of the 19th and the first years of the 20th century. That means no modern Westerns, no stealth Westerns starring aged X-Men, and no space Westerns with blasters instead of pistols. (We did, however, make an exception for a certain comedy that concludes with its stars attending its own premiere.) That, of course, still leaves a lot of great Westerns. More, of course, than could possibly fit on a top-50 list interested in capturing the full scope of the genre. As such, not every John Ford film made the list. Anthony Mann and James Stewart made eight Westerns together. Any of them could have been included, but not all of them have been. This list is designed to double as a guide to the genre’s many different forms in the hopes it will send readers to corners they might not know and reconsider some classics they might not have seen before. So with all that said, let’s kick it off with a trip to an especially rowdy Old Western town. 50. Dodge City (1939) Some of the greatest Westerns ever made tweak the genre’s traditions and expectations — traditions and expectations created by countless films that like their good guys to wear white hats, their bad guys to be instantly identifiable villains, their saloons to play host to barroom brawls, and their climactic shoot-outs to be rousing. Dodge City has no interest in subverting any of that. Directed by Michael Curtiz and starring Errol Flynn and Olivia de Havilland — a team that had recently enjoyed great success with films like Captain Blood and The Adventures of Robin Hood — the film wants nothing more than to be a traditional Western on the grandest scale imaginable. Flynn plays a man compelled to clean up the lawless cattle town of Dodge City. De Havilland plays the woman who loves him (eventually), and Bruce Cabot plays a lawless tough guy. The rest, as the saying goes, writes itself, but the film’s so entertaining that the familiarity of it all doesn’t matter. Flynn and de Havilland transport the chemistry of their swashbuckling adventures to the Old West, while Curtiz makes brilliant use of Technicolor and a big budget. Anyone new to the Western or just wanting to see a Hollywood Western in its most basic form executed at the highest possible level should start here. (Available to rent on Amazon, Apple TV, and Google Play.) 49. The Sisters Brothers (2018) At the other end of the spectrum lies what back in the ’60s used to be called “the revisionist Western,” though its influence has so permeated the genre that it’s hard to tell where traditionalism ends and revisionism begins. Put simply, the revisionist Western steers away from, or plays against, formula, refusing to romanticize the Old West or depict it as a place with clear good guys and bad guys. It also tends to emphasize the grimier, more unpleasant aspects of life in the American West. One litmus test: If you see flies buzzing around a corpse, you’re probably watching a revisionist Western. There’s grime aplenty, but also unexpected sweetness, in The Sisters Brothers, in which John C. Reilly and Joaquin Phoenix play brothers who work as hired assassins, despite being temperamentally unsuited for the job. Hired by a rich man to take out an inventor named Warm (Riz Ahmed), they run into mission drift as they get to know both their target and the other man tracking him down, a private detective named Morris (Jake Gyllenhaal). Adapted by Jacques Audiard from a novel by Patrick deWitt, the film didn’t find much of an audience when it played in theaters. But it’s a cult classic waiting to happen, a cockeyed look at a time and place in America when the rules hadn’t yet hardened and seemingly anything could happen — for good and for ill. It also features a breathtaking ending that’s unlike anything another Western has dared. (Available to stream on Pluto TV, Tubi, and Plex.) 48. Buck and the Preacher (1972) Watch enough classic Westerns and it’s easy to conclude — leaving out a few exceptions — that African-Americans rarely had a role to play in the Old West, or at best kept to the margins of the stories that defined it. That doesn’t square with history, and Sidney Poitier’s directorial debut shines a light on just one underrepresented Old West story via the tale of some Black migrants fleeing the brutality of Reconstruction life to find a new life in unsettled territory — only to find that prejudice and other perils await them on their journey. Poitier stars as Buck, a former soldier who escorts wagon trains for pay but comes to find he has a deeper stake in the well being of those he protects. A virtually unrecognizable Harry Belafonte co-stars as Preacher, a scraggly, traveling man of God/con man who, eventually, throws in with Buck. Joined by Ruby Dee, they make a fun buddy team. Their chemistry provides a light counterbalance to the film’s exploration of the complicated racial dynamics that defined the West, including the party’s tense arrangement with the Native Americans who never let the migrants forget they’re only visitors as they pass through their territory. (Available to stream on Prime Video and Tubi.) 47. Day of Anger (1967) The Western genre got a shot of new ideas starting in the early ’60s thanks to the proliferation of European Westerns, many of them made by Italian directors using stretches of Italy and Spain that mostly looked like the Old West — not to mention a mix of American and European stars. The master of what would come to be known as Spaghetti Westerns was Sergio Leone, whose breakthrough film, 1964’s A Fistful of Dollars, made a movie star out of a TV actor named Clint Eastwood and helped spark a boom that would lead to hundreds of such films in the decades that follow. (More on Leone, Eastwood, and A Fistful of Dollars below.) With their askew takes on the American mythos, twisted characters, inventive scores, vivid imagery, and florid violence, the Spaghetti Western developed into a rich subgenre that could easily fill a top 50 list of its own, one that rewards those who venture away from Leone. One example: Day of Anger, directed by Leone’s former assistant director Tonino Valerii. Giuliano Gemma stars as Scott, a lowly street sweeper whose status starts to change when Frank Talby (Lee Van Cleef, an American actor whose career got a second act thanks to Spaghetti Westerns) takes him under his wing. But he soon learns that there’s a price to be paid by those who would use a gun to move up in the world. Clearly inspired by Leone — they’d work together again on the fun My Name Is Nobody in 1973 — Valerii mixes cutting black humor with scenes of violence, blending enthrall with revulsion as we see what it means to make one’s reputation by shedding blood. (Available to stream on Plex and Tubi). 46. The Great Train Robbery (1903) Consider this: When Edwin S. Porter made The Great Train Robbery, using New Jersey as a stand-in for the American frontier, the Old West wasn’t even that old. Most historians use 1912, when Arizona and New Mexico became states, as the closing of the frontier. But, as with the dime novels that made heroes and legends out of its inhabitants, the West was already passing into myth when Porter made this violent, crisply edited film in which bandits meet a bad end after robbing a telegraph office (but not before thrilling audiences with their daring and ruthlessness, like so many heroes and villains to follow them). The final shot, in which the lead bandit takes aim at the audience, is its own kind of wonder, implicating viewers in both the threat and the thrill of what they’d just seen. (Available to stream on YouTube.) 45. Broken Arrow (1950) If the Western genre has an original sin, it’s the portrayal of Native Americans, treated by many films alternately as buffoons and subhuman savages. The demeaning depictions have ties to some of the ugliest chapters in American history. And just as the country at large is still reckoning with the consequences of its conquest of the West, the Western genre will always have to grapple with its most thoughtless and hateful portrayals. Some films tried to offer correctives, though they usually weren’t without their own sorts of awkwardness. Directed by Delmer Daves, Broken Arrow loses points for casting white actors in most of its Native American roles, a once-common practice that now seems baffling. But it scores points for weaving a message of tolerance into an effective, fact-inspired adventure story in which James Stewart plays Tom Jeffords, an ex-Army scout who befriends the Apache chief Cochise (Jeff Chandler) and works to defuse tensions in the area. The film both helped nudge the Western’s depiction of Native Americans in a more sympathetic direction (though not every film responded to that nudge) and — with Winchester ’73, released the same year — helped confirm Stewart as one of the key stars of the new decade, thus bringing about a more complex, conflicted sort of Western hero. (Available to rent on Amazon, Apple TV, and Google Play.) 44. One-Eyed Jacks (1961) Marlon Brando only directed one movie and it didn’t exactly do his career any favors. He went over schedule, and over budget with One-Eyed Jacks, which premiered to mixed reviews and commercial indifference. The release of a restored print in 2016 — shepherded by admirers like Martin Scorsese and Steven Spielberg — helped confirm what the film’s partisans had argued all along: Brando knew what he was doing behind the camera. Scorsese described it as “represent[ing] a sort of bridge between two eras in moviemaking: the production values of old Hollywood and the emotional values of the new Hollywood,” an apt summation of a classic-looking Western anchored by Brando’s tortured performance as Rio, an outlaw determined to exact revenge on an older partner he calls Dad (Karl Malden) who’s gone straight and become a lawman — a plan made all the more complicated when Rio falls for Dad’s stepdaughter (Pina Pellicer). The production was dogged by stories of Brando wasting time waiting for just the right waves to appear for a shot, but the film itself bears out his instincts. Sometimes you just have to wait for the right wave to suggest the roiling emotions of a bad guy trying to decide if he wants to follow his instincts to their violent ends. (Available to stream on Pluto TV, Tubi, and Plex.) 43. Little Big Man (1970) Few revisionist Westerns took the task of demythologizing the West as literally as Arthur Penn’s Little Big Man, which is narrated by the 121-year-old Jack Crabb (Dustin Hoffman, under extremely impressive aging makeup) who tries to set the record straight by telling a historian what really happened in the Old West. Crabb has an unusual perspective. A white kid raised by the Cheyenne, he bounces back and forth between the white and Native American worlds over the course of the film, finding abundance of absurdity on both sides but an overabundance of hypocrisy and cruelty on only one. Penn balances comedy against tragedy, depicting Crabb bungling his way through stints as a gunslinger and a soldier then refusing to look away from the massacres he witnesses, scenes Penn fills with echoes of the Vietnam War. Even those who remember the past sometimes live long enough to see it repeated. (Available to stream on Prime Video.) 42. The Left Handed Gun (1958) Speaking of Penn, years before he made Bonnie and Clyde sympathetic outlaws, he did much the same for Billy the Kid with The Left Handed Gun. As played by Paul Newman, William Bonney is a trigger-happy hothead who’s more misunderstood than evil. Taken in by a cattle boss, he becomes enraged when a competing bunch of cattlemen kill his mentor. The anger ultimately leads to his downfall, but not before he starts to see his own short life start to become legend. Working from a take on Bonney originated by Gore Vidal, Penn and Newman treat him as a rebel with an overdeveloped sense of justice and underdeveloped impulse control. It serves as a showcase for a complex, twitchy performance for Newman, who was just coming into his own as a major movie star, and for Penn, whose directorial debut captures a director ready to question received American myths from the start. (Available to rent on Amazon, Apple TV, and Google Play.) 41. The Assassination of Jesse James by the Coward Robert Ford (2007) A similar impulse drives Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford, but rather than fill the film with restless energy, as Penn did, Dominik opts for a more meditative approach. Brad Pitt plays James opposite Casey Affleck as Robert Ford, an admirer and gang recruit who ultimately turns against his idol. Aided by stunning Roger Deakins cinematography and an entrancing score from Nick Cave and Warren Ellis, Dominik’s film locks into the rhythms of another time, letting sharp moments of violence interrupt long, slow passages that wouldn’t be out of place in a film by Terrence Malick (one of Dominick’s obvious reference points). The film had a difficult journey to theaters where it drew only small but devoted audiences, yet even then it seemed destined to be regarded as a classic unappreciated in its time. (Available to rent on Amazon, Apple TV, and Google Play.) 40. The Shootist (1976) John Wayne might not have known the end was near when he agreed to make The Shootist for Don Siegel, but he must have had his suspicions. Wayne, who died in 1979, had fought cancer since the early ’60s and had been finding it increasingly hard to work due to his physical limitations. The story of a gunfighter facing down death, The Shootist didn’t begin as an elegiac tribute to the star — a number of other, younger actors passed on the part — but it works beautifully as Wayne’s swan song, giving him a character who’s lived long enough to become a Western legend only to learn that that status has more detriments than benefits. Filled with familiar faces — James Stewart and John Carradine among them — and set in 1901, it also captures the passing of one era and the coming of another. Wayne’s character, J.B. Books, becomes the idol of a teenage boy named Gillom (Ron Howard), but the film’s ultimately about how the sort of life Books lived has no place in the world that’s coming. Nor did Wayne, but Siegel’s film gives him a fitting good-bye. (Available to stream on Showtime.) 39. Blazing Saddles (1974) Filled with deep knowledge of and affection for the classic Western, and a willingness to blow raspberries at it anyway, Blazing Saddles finds Mel Brooks (and a writing team that included Richard Pryor and Andrew Bergman) deploying every sort of gag known to comedy, from dark, anachronistic asides (“I must’ve killed more men than Cecil B. DeMille”) to a concerto of bean-assisted farts. But it might just have been a fun romp were it not for the social commentary central to the story of Bart (Cleavon Little), a black man sent by the corrupt Hedley Lamarr (Harvey Korman) to stir up trouble in the town of Rock Ridge so it can be demolished to make way for a railroad line. It’s silliness with a purpose, and the film weaves the jokes and the pointed jabs together brilliantly. Brooks directs with an understanding of how classic Westerns work, but the film is driven by a need to tell the sort of story they never could. (Available to stream on Paramount+.) 38. The Tall T (1957) Between 1956 and 1960 director Budd Boetticher, writers Burt Kennedy and Charles Lang, and star Randolph Scott teamed up for six films that came to be known as the Ranown Cycle — tough, tight, morally complex stories of the Old West and the difficulties of being a person of conscience while living within it. All beautifully crafted and carefully considered, any of them would make a fine addition to this list (and there’s one more a little further up the line). Adapted from a story by Elmore Leonard, The Tall T casts Scott as a down-on-his-luck cowboy who ends up in the middle of a scheme to ransom a wealthy woman (Maureen O’Hara) newly wed to a coward. Boetticher keeps the suspense high in a film deeply interested in what it means to be an honorable man under impossible circumstances, a struggle Scott depicts less through words than actions and the emotions he feels but never expresses. (Available to stream on Plex, Starz, and Tubi.) 37. Django (1966) Undoubtedly the most influential Spaghetti Western not directed by Sergio Leone, Django takes the ugliness and violence of Leone’s films up several notches for a story that pits an ex-Union soldier named Django (Franco Nero) against the Klan and other foes. Sergio Corbucci — who also contributed memorable entries like Navajo Joe and The Great Silence to the Spaghetti canon — directs like Leone without the lyricism, putting the emphasis squarely on violence and absurdity. But his approach, and Nero’s performance, serve the lean, mean, bloody story well. The film has one official sequel but dozens of unofficial follow-ups with titles like Django, Prepare a Coffin and A Few Dollars for Django. It also has even more imitators who found varying degrees of success by combining a mysterious hero with ever-escalating violence. The original, however, remains a dark delight. (Available to stream on Peacock and Pluto TV. ) 36. The Magnificent Seven (1960) The ’50s and ’60s found international filmmakers engaging in a fascinating cultural exchange. For his 1954 classic Seven Samurai, Akira Kurosawa looked to the American Western — especially the films of John Ford — for inspiration. The American Western repaid the tribute with this remake of Seven Samurai directed by John Sturges. Sturges’s film lacks some of the surprise and depth of Kurosawa’s film, but it’s as entertaining as big Hollywood Westerns get, putting Yul Brynner in charge of a mismatched band of gunfighters (whose ranks include Steve McQueen, Charles Bronson, and James Coburn) as they defend a Mexican village plagued by bandits under the command of a sadistic leader played by Eli Wallach. (Available to rent on Amazon, Apple TV, and Google Play.) 35. Bend of the River (1952) The West held the promise of reinvention, serving as a place where those who wanted to start a new chapter in their lives could forget the past. But does a fresh start always change the contents of a person’s heart? That’s the question at the center of this Anthony Mann Western in which James Stewart and Arthur Kennedy both play former border raiders who, in the years after the Civil War, have started to create new lives for themselves on the frontier. For Stewart’s character, that means helping a wagon train find its way to Oregon. For Kennedy’s that maybe means the same thing. But maybe not. Mann’s film explores what it takes to redeem the bad actions of the past while depicting the corrupting influence of wealth, watching as the discovery of gold turns almost everyone into monsters and the Edenic Oregon Territory into a land ruled by greed. It’s a complex, gripping drama that’s unafraid to send some likable characters down dark paths, and it all plays out against stunning Pacific Northwest scenery (some less-convincing-than-usual soundstage sequences aside). (Not currently available on streaming.) 34. A Bullet for the General (1966) The Spaghetti Western’s offshoots include the Zapata Western, which set stories against the background of the Mexican Revolution. This often provided filmmakers the chance to offer coded (and sometimes not so coded) commentary on the politics of the 1960s. Among the first of its type, Damiano Damiani’s A Bullet for the General mixes rousing action with a story of betrayal and political assassination that ends with an unambiguous call for the underclass to take up arms. Unsurprisingly, its screenwriting team includes Franco Solinas, the Marxist co-writer of The Battle of Algiers, but Damiani effectively folds the film’s political agenda into an exciting narrative filled with memorable action scenes that exemplifies how popular entertainment can often be the best way to deliver a message. (Available to stream on Plex and Tubi.) 33. Vera Cruz (1954) Spaghetti Westerns didn’t come out of nowhere. Their precursors include this Robert Aldrich film, in which a financially struggling plantation owner named Ben (Gary Cooper) seeks to bail himself out any way he can by seeking his fortune in Mexico. There he teams up with Joe (Burt Lancaster), the morally suspect leader of a band of outlaws (a band that includes Ernest Borgnine, Charles Bronson and others), to make off with a fortune in gold coins. Aldrich brings a surplus of visual flair to a sweat-soaked film in which Cooper’s character looks like a good guy only in contrast to the even worse guys around him. Cooper’s tight-lipped performance leaves Lancaster plenty of room to play the colorful rogue, a man who can keep up a charm offensive up to the moment he puts a bullet in your back. (Available to stream on MGM+, Pluto TV, and Tubi.) 32. Ride the High Country (1962) Budd Boetticher moved on from movie Westerns after Comanche Station in 1960, focusing instead on TV work and a documentary about matador Carlos Arruza. Randolph Scott, on the other hand, made one more Western, the 1962 film Ride the High Country. The first Western film directed by Sam Peckinpah, it plays a bit like the passing of the torch. Scott and Joel McCrea co-star as aging cowboys who take on the job of guarding a gold shipment. They’re men past their prime in a world that’s passing them by, and they know it, but they’re determined to make the most of their last ride. Peckinpah would soon make movies that would upend the Western genre with their balletic violence and dirt-caked vision of the West. Ride the High Country finds him exploring some of his pet themes — particularly the end of the West and what it means to be a man out of time — via a much more traditional style and using major stars of a not-quite-but-almost-bygone era. A lovely, quietly mournful film, it, too, would be one of the last of its kind. (Available to rent on Amazon, Apple TV, and Google Play.) 31. The Shooting (1966) Some films never fully give up their mysteries. The Shooting, one of two low-budget Westerns that Monte Hellman made back-to-back in Utah for an uncredited Roger Corman, is one such film. Working from a script by future Five Easy Pieces writer Carole Eastman (working under a pseudonym), Hellman turns the story of two gunslingers (Warren Oates and Will Hutchins) accompanying an unnamed woman (Millie Perkins) through an unforgiving desert while being trailed by a man in black (a menacing Jack Nicholson). Artful and at times almost abstract, it strips the Western down to its fundamental elements and then strips away some more as it builds to an ending as mysterious in its own way as the end of Don’t Look Now (or Hellman’s own Two-Lane Blacktop). For a long time, The Shooting seemed almost more like a rumor than a film. It never played theaters and aired just a few times on TV. But those who saw it kept its flame alive, and it’s rightfully received a second life thanks to home video. The film’s more conventional companion piece, Ride in the Whirlwind, also starring Nicholson and Perkins, is also very much worth a look. (Available to stream on Peacock, Prime Video, Max and Tubi.) 30. The Outlaw Josey Wales (1976) Clint Eastwood’s fifth film as a director has tangled origins. It began as a film by Philip Kaufman, who took on the job of adapting a book by a man who called himself Forrest Carter, who’d later write the memoir The Education of Little Tree recounting his upbringing in the Cherokee tradition. Kaufman lost his job while shooting the film and Carter would later be exposed as a fraud — a former member of the Klan and a speechwriter for George Wallace. Despite how it got started, The Outlaw Josey Wales ended up as very much a Clint Eastwood film, and a more mature consideration of the genre than he’d managed with its dark, violent, and deeply satisfying predecessor High Plains Drifter. Trading in a story of revenge for one of reconciliation, Eastwood stars as Josey Wales, a member of a pro-Confederate militia who heads West to escape a bounty on his head. Having lost his wife and child to pro-Union forces, he expects his journey to be a lonely one, only to pick up a kind of surrogate family that includes an aged Cherokee man (Chief Dan George), a mute Navajo woman, and others. Eastwood doesn’t skimp on the violence, but the film ultimately cares more about what happens after violence ends, and how a country patches itself together after a divisive war, a theme that resonated with mid-’70s America. (Available to rent on Amazon, Apple TV, and Google Play.) 29. The Ox-Bow Incident (1943) A tight, chilling cautionary tale about the dangers of mob mentality and rushed judgment, this William Wellman film stars Henry Fonda and Harry Morgan as cowboys who drift into a new town and find themselves drawn into a posse seeking justice for the murder of a rancher. They find some likely suspects, or at least suspects that seem likely enough to a bloodthirsty crowd. Always efficient, Wellman’s film is short and to the point, but it moves to deliberate rhythms, conveying the speed and urgency of the posse’s hunt but slowing down as their suspects endure the torture of knowing that their time on Earth may have reached an end. In a genre with no shortage of blazing guns and casual killing, The Ox-Bow Incident makes every death sting. (Available to rent on Amazon, Apple TV, and Google Play.) 28. For a Few Dollars More (1965) The middle entry in Sergio Leone’s Dollars trilogy — we’ll be hitting the others a little further up the list — For a Few Dollars More sometimes gets overlooked, sandwiched as it is between the tight, revelatory breakthrough A Fistful of Dollars and the sweeping The Good, the Bad and the Ugly. In many respects, it falls squarely between those two poles, but it’s also the most emotionally rich of the three. Eastwood returns, this time playing a bounty hunter who joins forces with a former Army colonel who keeps his reasons for seeking revenge to himself until the film’s finale, reasons that add a poignant undercurrent to a film that ups the violence and grunginess of its predecessor and sets up an even more ambitious follow-up. (Available to stream on Max.) 27. Winchester ’73 (1950) James Stewart didn’t have the easiest time returning to work after World War II. The charming comedic parts he’d specialized in before his time in the Air Force, an experience he had difficulty discussing, didn’t seem to suit him anymore, and his first film back, It’s a Wonderful Life, flopped even though it showcased a skill at playing troubled characters rarely glimpsed before. However, 1950 was a breakthrough year. He dazzled in Harvey, but it was a pair of Westerns that confirmed that he’d be a major force in the genre for years to come: Broken Arrow (see above) and this first pairing with Anthony Mann. Here Stewart plays Lin McAdam, the central figure in the story of a rare, coveted gun’s journey through the Old West, as it passes from Lin’s hands to that of an outlaw, a Native American (Rock Hudson), and others. It’s a clever device that allows Mann to explore several corners of the West and, in the process, tell a variety of stories while setting up both director and star as important voices in the genre. (Available to stream on Starz.) 26. True Grit (2010) John Wayne shook up his image with the 1969 film True Grit, an adaptation of a Charles Portis novel in which Wayne played the cantankerous, usually drunk U.S. Marshal “Rooster” Cogburn. It’s a fine film in its own right, but Joel and Ethan Coen’s second pass at the story is even better. Jeff Bridges takes on the Cogburn role, playing him as equal parts curmudgeon and hero as he helps the spirited, teenaged Mattie Ross (Hailee Steinfeld) track down the villain (James Brolin) who killed her father — with some help from a boastful Texas Ranger (Matt Damon). The results, which bring more of the novel’s eccentric touches to the screen, suggest Portis’s book was always meant to be a Coen brothers movie, creating a vision of the West as a weird, darkly comic place, one that requires an almost inhuman amount of dedication to bend it to its will. It gets points for keeping Portis’s bittersweet ending, too. (Available to stream on Paramount+ and Pluto TV.) 25. The Power of the Dog (2021) In an instantly infamous interview with Marc Maron, Sam Elliott likened the cowboys of The Power of the Dog to “those dancers, those guys in New York that wear bowties and not much else.” He meant Chippendales dancers, and though Elliott was generally wrong in his assessment of Jane Campion’s haunting, darkly funny adaptation of the 1967 Thomas Savage novel, he’s onto something by suggesting the film’s cowboys are playing a role. The brilliance of Benedict Cumberbatch’s performance as the sadistic, ultra-macho Phil Burbank is in Phil’s phoniness. He’s not a cowboy by birth, but — in attempting to live up to the cowboy ideal of his idol, the late Bronco Henry — he’s determined to live (and overplay) the part to the bitter end. In Peter Gordon (Kodi Smit-McPhee), the effete stepson of Phil’s brother George’s (Jesse Plemons) new bride, Rose (Kirsten Dunst), he finds a target for his brutality: someone who’s not quite helpless as he appears against the backdrop of a Montana that’s reluctant to embrace the 20th century and say good-bye to the ways of the Old West. (Available to stream on Netflix.) 24. The Gunfighter (1950) “Well, there was this movie I seen one time about a man riding ’cross the desert and it starred Gregory Peck,” Bob Dylan sings on his 1986 track “Brownsville Girl,” a song co-written by Sam Shepard. Then, without warning, he goes on to spoil the plot of this 1950 Henry King film, in which Peck plays a gunfighter whose prowess with a gun has made him a legend while putting a target on his back for any young gun hoping to make a name for himself. Dylan can’t quite remember the name of the movie, but it’s clearly made a deep impression on him anyway, no doubt in large part thanks to Peck’s haunted performance as a man for whom fame has become a trap and the reasons for that fame a source of shame that stands between him and the righteous, settled life he wants to live. It’s yet another 1950 Western that signaled a shift in the genre. Drawing on noir, it helped set the stage for a decade filled with haunted men shadowed by a past they can only dream of escaping. (Available to stream on Peacock and Tubi.) 23. Dead Man (1995) That same sense of fatalism hangs over every frame of Jim Jarmusch’s journey through an old, weird American West, which alternates between gritty revisionist sequences and increasingly surreal passages as it sends a Cleveland-born accountant named William Blake (Johnny Depp) on a journey toward death. Along the way he encounters everyone from a pitiless industrialist played by Robert Mitchum to a cross-dressing trader played by Iggy Pop — and, most importantly, a Native American man named Nobody (Gary Farmer) who guides him on his journey in part because he suspects Blake is the reincarnation of the poet who shares his name. A languorous Neil Young score sets the tone for a film in which Jarmusch uses starkly beautiful black-and-white images, dry humor, and Depp’s deadpan performance to create a dreamlike journey beyond the boundaries of Old West myths. (Available to stream on Max.) 22. 7 Men From Now (1956) The first Budd Boetticher, Burt Kennedy, and Randolph Scott collaboration set the pattern for those that followed, and a high standard for them to match. Boetticher reportedly described their unifying feature as common setup: “Here comes Randy. He’s alone. What’s his problem?” Here Randy’s problem’s especially tough. Once the sheriff of Silver Springs, he now hunts for the seven men responsible for a robbery that left his wife dead, a pursuit that puts him in conflict with a tough character played by Lee Marvin and a young married couple whom he suspects might not survive their journey West without his help. Whether or not that’s his problem proves central to the plot, and more complicated than it first appears. The subsequent twists allow Boetticher and his collaborators to explore the complex matter of what it means to live justly in a dangerous world while still surviving to see the next day — a question they try to answer with this and the brisk, action-packed, but always reflective films that followed, rarely arriving at any easy answers. (Available to rent on Amazon, Apple TV, and Google Play.) 21. A Fistful of Dollars (1964) The film that made Clint Eastwood a movie star, revealed Sergio Leone as a peerless stylist, and inspired hundreds (thousands?) of imitators, this breakthrough Spaghetti Western offers a bloody, enthralling reinterpretation of the American Western as viewed from afar, with a plot on loan from Akira Kurosawa’s samurai hit Yojimbo. (The cultural exchange between Kurosawa and the Western didn’t end with The Magnificent Seven.) Eastwood plays the Man With No Name (though he’s known here as “Joe”), the character he’d spin variations on in the film’s two (loosely connected) follow-ups. A drifter and gifted gunslinger, he strolls into a town controlled by two warring factions and proceeds to play them against each other to his own benefit, saying as little as possible and letting them make assumptions about his plans. Though he ultimately takes a stand for good, the Man With No Name seems happily amoral for much of the film, less a white-hatted good guy than a disillusioned anti-hero with no interest in propping up a corrupt system or the men who run it. It’s no wonder the ’60s embraced him and Leone’s irreverent, thrilling take on the genre, one scored by Ennio Morricone’s equally groundbreaking music. (Available to stream on Max.) 20. She Wore a Yellow Ribbon (1949) Playing older than his years, John Wayne stars in the middle chapter of John Ford’s Cavalry Trilogy (sandwiched between Fort Apache and Rio Grande) as a soon-to-retire captain whose final days in service find him reflecting on what it all meant as he tries to prevent a new outbreak of fighting in the days after Custer’s defeat at Little Bighorn. Shooting in stunning Technicolor in his favorite location, Utah’s Monument Valley, Ford fills the film with lyrical passages while valorizing a soldier whose primary concern is preventing bloodshed rather than facilitating it. Short on plot but no less memorable for it, the film inspired critic Dave Kehr to call it “perhaps the only avant-garde film ever made about the importance of tradition.” (Available to rent on Amazon, Apple TV, and Google Play.) 19. Shane (1953) The fundamental conflict at the heart of the classic Western pits civilization against lawlessness and the notion that might makes right against order and justice. But not all those who fought to make the West safe for law-abiding citizens got to live in the world they helped shape. Characters who realize they have no place in the changing West float through many of the greatest Westerns (including a bunch further up, and atop, this list). If there’s an archetypal version of that character, it’s Shane, the hero of George Stevens’s film of the same name. Played by Alan Ladd, Shane has a past he’d rather not talk about but sees the possibility of a better future in the Wyoming Territory, where settlers find themselves harassed by a land baron with no respect for their legal claims on the land. It’s there Shane befriends a local family (headed by Van Heflin and Jean Arthur) and tries to put his gunfighting ways behind him but is forced to call upon his old skills for the sake of his new friends and the life they’re trying to forge. Stevens makes beautiful use of location photography while asking whether it will be a plough or a gun that defines the West in the years that come. A veteran of World War II, Stevens returned from the conflict determined never to make movies that glorified violence. Even while making Shane’s choices seem unavoidable, Ladd brings a tragic heaviness to his defense of the settlers and a sense that even necessary violence goes against what’s best in the human spirit. The final shot is one of the Western’s most famous images — and one of its saddest. (Available to stream on Paramount+ and Pluto TV.) 18. 3:10 to Yuma (1957) A similar conflict between a desire to live a quiet, settled life and the need to do whatever it takes to survive plays out in Delmer Daves’s 3:10 to Yuma (the first adaptation of an Elmore Leonard story that inspired a strong remake in 2007). It even shares a cast member with Shane, Van Heflin, who plays Dan, a rancher who witnesses a stagecoach robbery but just wants to stay out of it. He’s desperate for money, however, and thus susceptible to the promise of a reward for helping ensure that Ben Wade (Glenn Ford, leering but charming) doesn’t escape before boarding a train that will take him to jail for his crimes. As they wait for the train, and the arrival of henchmen determined to set Wade free, the film explores the nature of justice and morality in an untamed land and the possibility of redemption for even the worst of men, all building to an explosive finale that takes some unexpected turns. (Available to stream on Prime Video.) 17. High Noon (1952) One of the most divisive of all the classic Westerns, High Noon inspired Howard Hawks to make Rio Bravo because he “didn’t think a good town marshal was going to run around town like a chicken with his head cut off asking everyone to help.” (You’ll find Hawks’s film a little higher on this list, but don’t take that as a slight to High Noon.) Others’ reasons for disliking it were more complicated, wrapped as they were in the politics of the day, which led screenwriter Carl Foreman to leave the country for Britain before its release, rightly assuming he’d soon be blacklisted for failing to cooperate with HUAC. That same political environment undoubtedly inspired the film, in which Marshal Will Kane (Gary Cooper), just as he’s about to retire, discovers that no one will help him against a gang of outlaws out for revenge. Letting the action unfold in something close to real time, director Fred Zinnemann builds the tension slowly, letting Kane’s mounting desperation, rather than gunfights and acts of heroism, push the film along. By the climax, it’s become a drama about a brave man — never mind Hawks’s reading — who learns just how cowardly everyone else can be when they have something to lose, and how quickly a nice town can revert back to savagery no matter how much work has been put into taming it. (Available to stream on MGM+, Paramount+, and Prime Video) 16. Forty Guns (1957) Director Samuel Fuller loved big emotions and shocking imagery. Forty Guns unites those passions, pitting a former gunslinger named Griff (Barry Sullivan) against a local landowner who holds power by controlling a cadre of men, the 40 guns of the title. It’s a classic Western setup complicated by the landowner being the commanding and beautiful Jessica Drummond (Barbara Stanwyck), who inflames Griff’s passions and he hers. Fuller fills the film with heated drama and bold flourishes — like a dinner table where Jessica shares a meal with all 40 of her enforcers — as well as some deeply Freudian gun talk with a beautiful gunsmith, a tracking shot that seemingly runs the length of a town, and a showdown filled with extremely tightly close-ups. (Leone was doubtlessly taking notes.) It’s brash and satisfying on every level, from the action scenes to the complex, sexually charged central romance. (Available to stream on Plex and Tubi.) 15. Johnny Guitar (1954) Then again, when it comes to sexual chemistry and fluid gender roles, Forty Guns looks pretty tame compared to Nicholas Ray’s Johnny Guitar, released a few years earlier. Joan Crawford plays Vienna, a saloon owner who dominates everyone she meets with her imperious attitude. (“I never met a woman who was more man,” her bartender says.) Well, almost everyone. The film puts Vienna up against Ward Bond’s John McIvers, but McIvers mostly seems to act as a cat’s-paw to Emma (Mercedes McCambridge), who hates and obsesses over Vienna. It’s all quite overheated even before the arrival of the eponymous Johnny Guitar (Sterling Hayden), when director Nicholas Ray turns up the heat even further — almost literally in a fiery climax. The film confused audiences at the time, but it’s rightly emerged as one of Ray’s most daring attempts to push the boundaries of film drama via heightened emotions and brash visuals. In a 2008 appreciation, Roger Ebert dubbed it “one of the most blatant psychosexual melodramas ever to disguise itself in that most commodious of genres, the Western.” Ray discovered just how beautifully the two could fit together. (Available to rent on Amazon, Apple TV, and Google Play.) 14. My Darling Clementine (1946) Westerns tell some stories again and again, few as often as the confrontation between the Earps and the Clantons at Tombstone’s O.K. Corral. Though John Ford claimed to have based the fight on Earp’s account, an account Ford heard from Wyatt Earp himself, My Darling Clementine fudges a lot of the details in the interest of good storytelling. Starring Henry Fonda as Wyatt Earp, Ford regular Ward Bond as his brother Morgan, and Victor Mature as “Doc” Holliday, it’s very much a “print the legend” version of the Tombstone story, to borrow a phrase from a later Ford film. But what a legend: In Ford’s hands, Earp’s story embodies the clash between order and chaos at the heart of the Western, a tale in which the courage of a few brave souls makes the West safe for civilization. Ford shapes it into a film filled with rousing sequences, but also lyrical asides and gentler moments that establish why the struggle matters. The title reveals a lot. Where other versions of the story bear names like Tombstone and Gunfight at the O.K. Corral, Ford’s emphasizes the character who symbolizes civility and the possibility of a better world to come, even if that world might have no place for men like Earp in it. (Available to rent on Amazon, Apple TV, and Google Play.) 13. Butch Cassidy and the Sundance Kid (1969) Some films were even more explicit about how changing times left some with nowhere left to call home. Released at the end of a tumultuous decade and deeply concerned with how eras end, Butch Cassidy and the Sundance Kid brings a light touch to a story of a pair of outlaws who find themselves headed toward a dead end they didn’t see coming. Butch (Paul Newman) and Sundance (Robert Redford) have grown accustomed to living well as renegades but find that the closing of the frontier and the arrival of powerful businessmen with the deep pockets to fight back against outlaws have limited their options. Directed by George Roy Hill from a script by William Goldman, it’s a film so charming — those stars help a lot — that its fatalism sneaks up on you. (Available to rent on Amazon, Apple TV, and Google Play.) 12. The Good, the Bad and the Ugly (1966) The final entry in Leone’s Dollars trilogy takes everything that’s come before and makes it bigger, bolder, meaner, and even more breathtakingly exciting. Telling the story of three men — played by Clint Eastwood, Lee Van Cleef, and Eli Wallach — who alternately team up and betray each other in the hunt for a fortune, the film finds Leone seeing how far he can take his trademark aesthetic. Sometimes it plays like a pop-art Western, reducing the genre’s iconography to its splashiest imagery. Sometimes it plays like the Western as opera, building arias of violence and suspense with editing timed to the rhythms of Ennio Morricone’s score. It’s also ridiculously entertaining from start to finish, packing seemingly everything Leone ever wanted to do with the Western into one movie. Leone wasn’t quite done with the genre, however, as this list will attest. (Available to stream on Max.) 11. The Man Who Shot Liberty Valance (1962) John Ford made all sorts of movies, but he kept circling back to the Western. Maybe that’s because he kept finding more to say with the genre, and finding more ways to express himself through it. The Man Who Shot Liberty Valance feels like no other Ford film. A return to black-and-white photography on soundstages, it’s a more intimate, psychological drama than Ford’s other Westerns. The choice suits the material, a study in contrasts between two men trying to tame the West: Ranse Stoddard (James Stewart), an idealistic young lawyer, and Tom Doniphon (John Wayne), a tough rancher. Both find themselves at odds with local cattle barons who hire the blackhearted gunfighter Liberty Valance (Lee Marvin) to prevent Stoddard’s attempts to earn statehood for the unnamed Western territory that serves as the film’s setting. The film lets Ford pair two of the Western’s most iconic stars as they play their personas off one another while considering how the stories that shape our understanding of history get written, and who gets forgotten in the process. (Available to stream on MGM+, Paramount+, and Prime Video.) 10. Meek’s Cutoff (2010) Kelly Reichardt’s radically unromantic tale of survival on the Oregon Trail sweats the details, focusing on the arduous day-to-day routines involved in moving across the Oregon high desert in search of a better life. It’s a tough existence even when things are going well, and in Meek’s Cutoff they’re not going well at all. A party led by Stephen Meek (Bruce Greenwood) starts to suspect that their leader doesn’t know what he’s doing but does nothing until the situation has already started to spin out of control. Reichardt makes their lives look exhausting, conveying the high stakes that play into every decision and the panic that sets in when those decisions seem to be leading everyone astray. In her second collaboration with Reichardt, Michelle Williams delivers a complex performance as Emily, a woman who seemingly has no say in her fate — at least at first. Reichardt’s film works both as the story of a specific wrong turn with terrible consequences and as an expression of the awful feeling created by following leaders who seem to have lost their way. (She wasn’t done with the genre, either: Reichardt returned to the West just this year with the excellent First Cow, a story of friendship and hardship among two marginal characters watching civilization take over the far frontier.) (Available to stream on Tubi.) 9. The Naked Spur (1953) In Anthony Mann’s The Naked Spur, Ralph Meeker plays a character dishonorably discharged from the cavalry on the grounds of being “morally unstable.” (That’s a label that might easily apply to most of the characters in the film, not to mention Mann’s other Westerns.) Meeker plays one of several characters drawn into bounty hunter Howard Kemp’s (James Stewart) attempt to collect an enormous bounty on Ben Vandergroat (Robert Ryan), a murderer and rapist wanted for killing a marshal. Vandergroat’s awful, but Kemp’s no less twisted up inside, driven by revenge, manipulating others into helping him, and unsure what to do about his attraction to Vandergroat’s companion Lina (Janet Leigh), who has conflicts of her own. No one’s purely on the side of good here, and the characters torture each other as Kemp’s obsession grows more intense and his chances to start over begin to dim. Mann and Stewart made eight raw, psychologically complex Westerns together, but none quite match The Naked Spur in intensity, or embody so thoroughly how Mann’s ’50s work transformed the genre. (Available to rent on Amazon, Apple TV, and Google Play.) 8. Rio Bravo (1959) Howard Hawks worked in virtually every imaginable film genre, but in each he tended to favor stories about camaraderie between disparate groups of people united for a common cause. In Rio Bravo he found a story he liked so much that he more or less remade it two more times, as El Dorado and Rio Lobo, both of which also starred John Wayne and both scripted, like Rio Bravo, by Leigh Brackett. Here, Wayne plays the wonderfully named Sheriff John T. Chance, whose defense of his drunken friend Dude (Dean Martin) pits him against some less-than-law-abiding ranchers. The film builds to an exciting climax but takes its time getting there, letting Chance and Dude rebuild their relationship as Dude crawls out from under the bottle; bringing in colorful supporting characters played by Ricky Nelson, Angie Dickinson, and others; and occasionally pausing the action for a song or two. Yet Hawks never wastes a moment. It’s the time spent getting to know Rio Bravo’s characters that lets us worry about their fates, and that reveals what matters most to them in the life they’re fighting to protect and the laws they’re determined to uphold. (Available to rent on Amazon, Apple TV, and Google Play.) 7. The Wild Bunch (1969) Released the same year as Butch Cassidy and the Sundance Kid, a far more genial if no less doom-laced story of outlaws facing the end of the road as the Old West era draws to a close, Sam Peckinpah’s landmark Western attracted controversy for its graphic violence, some of it depicted in agonizing detail through slow motion. Was he making audiences consider the ugliness of taking a life? Making bloodshed look disturbingly beautiful? Could he be doing both at once? Ugly, brutal, but not without its dark allure, this was the vision of the West that Peckinpah had been building toward since Ride the High Country. Here he populates the film with a band of outlaws, led by William Holden and Ernest Borgnine, charming enough to make it easy to forget — at least for long stretches — how they make their living and why they’ve come into such dire straits as they try to make one last score before calling it a day. Yet beneath the violence and gritty atmosphere — aspects of the film that would be much imitated in the years that followed — The Wild Bunch builds a story about how honor matters even to those on the wrong side of the law, and the ways even bad men can be haunted by the moments during which they’ve let greed and fear overwhelm their sense of duty. (Available to rent on Amazon, Apple TV, and Google Play.) 6. Red River (1948) Like Rio Bravo, Red River is a film only Howard Hawks could have pulled off. Set largely during a long, troubled cattle drive from Texas to Abilene, the film stars John Wayne as Thomas Dunson, a cattle rancher with a tragic past who grows increasingly stern and unforgiving as the drive progresses. As he threatens to turn into an Old West Ahab, his adopted son Matt (Montgomery Clift) grows increasingly concerned, and more resistant to his authority, until a confrontation becomes inevitable and a tragedy the likely outcome. Ultimately, however, Hawks has other plans, and it’s Red River’s humanity — in addition to its sweeping action — that makes it extraordinary. Hawks plays with Wayne’s persona, drawing out the shadows beneath his heroic persona while also emphasizing its tender side via Dunson’s relationship with Matt. It’s one of the most complex characters Wayne would ever play, and here he gets to play it against a backdrop of tremendous danger that threatens to destroy everything he’s built — or push him to tear it apart himself. (Available to stream on MGM+, Pluto TV, and Tubi.) 5. McCabe & Mrs. Miller (1971) Many of Robert Altman’s films, particularly in his first run of success in the early ’70s, find him putting his own spin on famous genres, be it the detective film or the war movie. With McCabe & Mrs. Miller Altman turned his attention to the Western and made one like no other before, a wistful, funny, heartbreaking film about one man’s doomed pursuit of happiness in the remote Washington town of Presbyterian Church. Warren Beatty plays McCabe, a drifter and fast-talker who falls in with, and falls in love with, Mrs. Miller (Julie Christie), a madam who offers to improve business at his low-rent brothel. They find success, but their newfound wealth attracts the attention of a mining company that initially wants to buy him out but uses even stronger tactics to take what it wants. Filmed in snowy Vancouver and set to some of the most melancholy songs Leonard Cohen ever recorded, the film lets a sense of fatalism hang over even its lightest moments. Beatty plays McCabe as a character too charming to lose all the time, but destined to lose big when he does. His short time on top in Presbyterian Church captures the freedom and possibilities of the American frontier, and the promise of America itself. His fate suggests that there might be less to that promise than advertised. (Available to rent on Amazon, Apple TV, and Google Play.) 4. Stagecoach (1939) Is there such a thing as a perfect movie? If not, Stagecoach comes pretty close. John Ford’s film made a star of John Wayne as the Ringo Kid, a fugitive from the law who’s called upon to protect a stagecoach traveling through dangerous territory. That it contains nothing less than a cross section of Old West humanity — from an alcoholic doctor to pregnant Army wife to a prostitute and so on — suggests that Ford has ambitions beyond merely staging an exciting story. Stagecoach works first as just that, but it brilliantly weaves its characters’ personal journeys into the action as the journey becomes ever more perilous. This was Ford’s first trip to Monument Valley, which would become his favorite Western location, and his first important collaboration with Wayne, whose onscreen presence he’d help shape and change over the years, giving him more complicated characters as he aged. Here he lets him play the white-hatted hero to tremendous effect in the middle of one of the most influential Westerns ever made, a tremendously entertaining, richly realized film that laid the groundwork for Ford’s future efforts in the genre and inspired countless others to take the Western in new directions. (Available to stream on Pluto TV, Prime Video, and Tubi.) 3. Once Upon a Time in the West (1968) After completing the Dollars trilogy, Leone returned to the Western minus his signature star but with a renewed sense of ambition, twisting together an epic story of greed and revenge bigger than anything he’d attempted before. Charles Bronson plays a gunslinger known only as Harmonica (thanks to his musical instrument of choice) who’s locked into a battle of wills with Frank (Henry Fonda), a merciless hired gun with whom Harmonica has a mysterious history. Without losing his trademark dark humor, Leone couples the stylistic bravado of the film’s predecessors to a sense of tragic somberness, focusing on the sacrifices asked by the West and what gets lost as history moves on. He also brings a sense of patience, letting the story play out at a stately pace (at least in the director’s preferred cut) and giving space to co-stars Claudia Cardinale and Jason Robards to develop what might otherwise have been stock characters. It’s audacious, too, casting Fonda as not just a bad guy but a sadist and opening with a wordless showdown for which the term “slow burn” is an understatement. It’s Leone’s masterpiece, the film in which he packed everything he wanted to say about the West and its myths. (Available to stream on MGM+, Paramount+, and Prime Video .) 2. Unforgiven (1992) In his Best Picture–winning 1992 film, Clint Eastwood plays William Munny, a gunfighter who, inspired by his late wife, has abandoned his old ways for the righteous life of a farmer. Financial troubles compel him to again take up bounty hunting so he can collect a reward posted by a group of prostitutes, who are seeking justice after a pair of ranch hands mutilate one of their own. Working from a screenplay that he’d held on to until he had aged enough to play Munny, Eastwood delivers a meditative, morally complex Western filled with characters who sometimes commit awful acts for righteous reasons, those who commit horrific crimes for no reason at all, and those who just do what they have to do to survive. Munny has been, at varying points, all of the above, and he’s haunted by each experience. It’s left him wondering what all the killing he’s seen and done means, if it means anything at all. Eastwood dedicated Unforgiven to the two directors who’d most shaped his career: Sergio Leone and Don Siegel, neither a stranger to this list. But while their influence can still be seen in Unforgiven, it’s an Eastwood film in every frame, the culmination of his career-long relationship with the genre, and his mixed emotions about the way it mixes heroic iconography, violence, and the sense that a man with a gun can deliver justice. (Available to stream on Apple TV.) 1. The Searchers (1956) John Wayne and John Ford made great movies — together and apart — after The Searchers, but that doesn’t make it any less of a culmination. Both had worked in, and thought about, the Western for years by the time they shot this haunting film. Wayne plays Ethan Edwards, a man driven by a hate that’s inflamed when Comanches murder Ethan’s brother and other members of his family before kidnapping his two nieces. Ethan and his companions soon find one, Lucy, dead. The other, Debbie (Natalie Wood), they can’t find at all, leading Ethan to scour the West for her as he becomes increasingly twisted by his rage. Wayne delivers a terrifying performance as a lost soul who uses revenge to excuse the darkness and prejudice already inside him. Through that prejudice, Ford began to address the genre’s treatment of Native Americans, not by softening the actions of the Comanches but by having Ethan respond to monstrous acts with even more monstrous behavior. In one chilling scene, he mutilates a corpse, thus condemning his victim, by Comanche belief, to travel the afterlife blind. But as Martin Scorsese observes in his documentary A Personal Journey Through American Movies, Ethan is just placing his own curse on the corpse because “he’s a drifter, doomed to wander between the winds.”
7961	dbpedia	0	48	http://www.robinroom.net/partyend.htm	en	Alcoholism and Alcoholics Anonymous in U.S. Films			[ "http://www.robinroom.net/bks/byline.gif", "http://www.robinroom.net/bks/byline.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Alcoholism and Alcoholics Anonymous in U.S. Films, 1945-1962: The Party Ends for the "Wet Generations" Robin Room Alcohol Research Group, Institute of Epidemiology and Behavioral Medicine, Medical Research Institute of San Francisco, 1816 Scenic Ave., Berkeley, California 94709 (Journal of Studies on Alcohol 50:368-383, 1989) ABSTRACT. At least 34 Hollywood films were made between The Lost Weekend and Days of Wine and Roses with an alcoholic as a major character; six depicted an Alcoholics Anonymous-like self-help organization. Presentations of alcoholism's origin as mysterious competed with psychodynamic interpretations and situational explanations, often in the same film and sometimes concerning the same character. As paths to recovery, willpower and mutual help were each frequently shown, while neither professional treatment nor AA's spiritual side were often shown. For the women alcoholics (17 of 39 depicted), drinking went with sexuality, while for men it replaced it. "Creative" occupations were hugely overrepresented among screen alcoholics, in part reflecting the personal struggles with drinking of the movies' creators. These writers, actors and directors were drawn from the "wet generations" of middle-class youth, who had adopted heavy drinking in their college years as a generational revolt against "Victorian morality". It is shown that Alcoholics Anonymous was founded and peopled by members of the same cohorts as a generational solution to their eventual life-problems. The flurry of alcoholism films represented a parallel and overlapping generational response. INTRODUCTION Between 1945 and 1962, at least 34 Hollywood movies were made in which one or more major characters were marked by inebriety, that is, with their drunkenness presented as a continuing and defining character trait (Table 1). While normalized drinking and drunkenness episodes were quite common throughout the corpus of Hollywood films in this period, what distinguishes the films listed in Table 1 is that the character's drinking was presented as a chronic problem, as a major character defect, and usually as a problem with which the character self-consciously struggled. In short, broadly speaking the characters in question are presented as alcoholics, to use the terminology which was coming into widespread use in American society during this same period. (Concerning the growing acceptance of the alcoholism terminology in this period, see Room, 1983, pp. 69-70.) The presentation of inebriety on the screen was certainly not a new phenomenon in the postwar period. Temperance melodramas had been an important genre of American films in the early years of the cinema (Silverman, 1979), and they continued to be made until the early 1930s (Herd and Room, 1982). Many of the conventions of the temperance melodramas -- for instance, the stock scene of delirium tremens, and the ever-faithful wife -- were in fact carried over into the alcoholism films of the postwar period. Inebriety was also portrayed in the films of the 1930s, notably including the prewar versions of A Star Is Born. The Lost Weekend, however, can be taken as initiating a new era of films influenced by the alcoholism movement. Days of Wine and Roses marks a convenient end-point; after this, alcoholism stories became until recently more the province of television than of films. This transition was already underway by 1960: Days of Wine and Roses itself was adapted from a television drama. As we will argue, the films we are considering were not made only for commercial reasons. Often, indeed, they pushed against the tide of the film world's expectations. The Lost Weekend was held on the shelf for a while after it was made, and attained a greater critical than commercial success. Many of the other films fared much worse both commercially and critically. With some exceptions -- such as The Lost Weekend and Notorious -- most of the films under consideration received lukewarm reviews in The New York Times (New York Times Film Reviews, 1970). Many were seen as being depressing, and often the reviewer gave them the mixed blessing of finding them edifying. The Lost Weekend was a film "which every adult movie-goer should see", but which could not be recommended "for a gay evening on the town"; The Voice in the Mirror stood "firm as a good, small sermon on a large problem". Reviews occasionally reacted strongly against what was seen as sermonizing, invoking the memory of the melodramas of the temperance era: Smash-Up had "more resemblance to 'The Drunkard' of ancient memory than to the best film of 1945" (i.e., The Lost Weekend); Come Fill the Cup was a "tongue-parching temperance tale"; "we shudderingly watch" the protagonists in Days of Wine and Roses "suffer, we do not really suffer with them. They are impressive performers in a temperance play, and in the background one senses the tinkle of 'Father, Dear Father, Come Home To Me Now'." In common with American culture generally, the alcoholism films of this era were influenced by two related but separate efforts to secure humane treatment for the alcoholic. One effort was that of the publicly-oriented alcoholism movement, which traces its history back to an unusual alliance of scholar-entrepreneurs and ex-alcoholics with public relations expertise at the Yale Center for Alcohol Studies in the mid-1940s. Through what eventually became the National Council on Alcoholism (NCA), this movement had a large influence on public perceptions of alcohol problems, particularly in securing at least lip-service to its first principle, that "alcoholism is a disease" (Room, 1982). The other effort was Alcoholics Anonymous, a self-help group which grew by leaps and bounds in the 1940s. We know that the leaders of what became the NCA, galvanized by the success of Lost Weekend, took on substantial advisory roles in the making of Smash-Up (Johnson, 1973, pp. 282-283.) By the nature of the organization, AA's direct influence was less visible. Yet, as discussed below, it is clear that many people involved in making films listed in Table 1 had had experience as Alcoholics Anonymous members, and drew on that experience in writing or making the pictures. This paper starts from a consideration of the varying representations of alcoholism and the alcoholic in these films of the first 15 years or so after the end of World War II. As we will show, there was considerable divergence in the presentation of alcoholism; in particular, the message on alcoholism that they presented to American society often strayed quite far from the images which Alcoholics Anonymous or the National Council on Alcoholism would have preferred. We then consider some common themes in the portrayal of alcoholism which recur across the range of representations. Lastly, the efflorescence of alcoholism films in this period is considered as a generational phenomenon, reflecting the life experiences of middle class youth generations of the 1920s and 1930s. It is argued that, in a development that is both parallel and overlapping, Alcoholics Anonymous itself can be seen as having emerged as a generational solution of these "wet generations" to the problems eventually posed by their drinking histories. METHODS The corpus of 34 films listed in Table 1 was arrived at by accretion. No standard source has yet appeared for film plots of the 1940s and 1950s, and the film literature has paid relatively little attention to alcohol dimensions in films. Starting from listings in Cook and Lewington (1979) and Johnson (1973), the file was built up over several years from such sources as friends' recommendations and logs of movie reruns on television. The list is thus unlikely to be complete, particularly for films in which a character's alcoholism is an important plot premise, but is not the central focus of the story (as in Key Largo or Razor's Edge). There are a number of issues of boundary definition in drawing up such a list. Under Capricorn might be excluded as more British than American, or conversely Edward, My Son (1949) might be included. Perhaps the role of the drunken school caretaker is crucial enough that Peyton Place (1957) should have been included. In principle, a criterion for inclusion was that the character's drinking be a problem; but this begs the question, "for whom?" -- the drinking may be a problem for another character but not in the film's overall perspective. Perhaps arbitrarily, Harvey and The Sun Also Rises were included on the list, while The African Queen (1951) and A Tree Grows in Brooklyn (1945) were not. Similarly, Sarah's drinking in The Hustler goes on the list, while Eddie's does not, even though another character calls him a "loser" in part because he doesn't "know how to drink". This analysis draws on viewings of 25 of the listed films, and on such secondary materials as contemporary reviews in The New York Times and elsewhere, and more general film reviews and criticism. Detailed notes were taken during the viewing of each film, focusing on dialogue about drinking, drunkenness and alcoholism and their motivations, and the role of such aspects of drinking in the action, plot and characterization. The quotations from dialogue given here based on these notes. Soon after the viewing, analytical notes were written on each film. The methodology is thus neither that of literary analysis nor of quantitative content analysis, but might be described as applying to prepared cultural products the observational methods of qualitative sociology and anthropology. The analysis grows out of an informal collaborative project on alcohol in U.S. films (Herd and Room, 1982; Herd, 1986; Room, 1983.)(1) ALCOHOLICS ANONYMOUS IN THE FILMS: THE VOICE IN THE MIRROR In six of the movies listed in Table 1, Alcoholics Anonymous is a visible presence -- Come Fill the Cup, Come Back Little Sheba, Something to Live for, I'll Cry Tomorrow, The Voice in the Mirror and Days of Wine and Roses. The hallmark of an AA-influenced movie, indeed, seems to be the presence of a recovering alcoholic doing his (it is always a male) "twelfth-step" work. We might surmise that the AA tradition of "drunks helping drunks" is so intrinsic to an AA-oriented presentation of recovery from alcoholism, and yet so far from usual Hollywood plot conventions, that it can be used as a marker of direct AA influence. (One solution to the problem of how to fit 12th-step work into the plot was to have it be the vehicle of boy-meets-girl, as in I'll Cry Tomorrow. In the real world of AA, it is clear that such cross-gender twelfth-stepping was discouraged as potentially disruptive.) Perhaps the film with the closest and most detailed ties to the AA worldview is The Voice in the Mirror, an unpretentious movie which slipped into distribution in 1958 as a second feature on double bills. The intertitle at the opening telegraphs the story line: "this is the true account of an overwhelming terror and one man's struggle to survive it". The story of the downward slide and of the painful recovery of a commercial artist, Jim (Richard Egan), is organized around his role as a link in a chain of "drunks helping drunks". Near the beginning of the film, as Jim is released from the drunk tank, a trumpet player who managed "20 months on the wagon" talks to him of a "way for staying sober": that a "fellow in New York's got a hunch", a method that includes "admitting you're licked -- and trying to get some spiritual help". But Jim's drinking continues: he is warned by his doctor about neurological damage, quits a new job, steals from his faithful and longsuffering wife Ellen (Julie London) and from a coworker, escapes from Ellen and his doctor (Walter Matthau) as they try to commit him to a neuropsychiatric clinic after he suffers hallucinations. In a mission dormitory, he remembers the trumpet player, and asks the custodian "how do you go about arranging" for spiritual help. "Haven't you ever prayed, brother?", asks the custodian, as he leads him through the Lord's Prayer. In his search for the trumpet player, Jim encounters Bill (Arthur O'Connell) in a bar, an alcoholic who left his hometown, his family, and his job as a schoolteacher behind 14 years before. They talk over the trumpet player's message, and Jim takes Bill home to sleep off his drunkenness on the couch. Ellen is not thrilled at Bill's arrival -- "I can just shoot you" -- but Jim tries to explain to her his spiritual experience "without sounding crazy": we were both in the same boat -- we talked the same language; it wasn't some doctor or minister talking about drinking, it was a couple of drunks. And while we were talking, I got the feeling that if this poor coot could stay sober for a while, maybe I could. And if I could, well, maybe he could. . . . It didn't work too well for him, and tomorrow it might not work for me, but tonight I feel like someone lifted a hundred pound rock off of my neck. I feel like old times. Jim and Ellen end the conversation with some sexually-oriented badinage. Ellen comments that "your mind's been on other things", but in the end she withdraws from him. The theme comes up again when Ellen bridles at banter from the family doctor about "how do you suppose it's going to feel to have a husband around the house?". In a later scene, she apologizes to Jim and they kiss with passion. Meanwhile, Jim gets a job doing store-window painting and devotes himself with Bill to seeking out and trying to recruit other drunks to his incipient AA-like group, speaking at a soup kitchen and to the inmates of a drunk tank, talking to small groups on the street, calling on a woman in the hospital, picking up old men off skid row and from the police. To a young "kid" in his 20s who has mocked him, but now seeks his help after his first time in the drunk tank, Jim starts to expound, "well, you have a lot of first times coming -- first blackout, first convulsion, first DTs, first time your stomach starts to . . ." before he is interrupted. Eventually his wife returns unexpectedly to find Jim holding a group meeting in their apartment; they are too much for her, and she dashes out to weep in the bedroom. A little self-righteously, Jim reproves her: "you know I've broken my back night after night, week after week, talking to hundreds to gather together. . . . They're so unsure of themselves -- so afraid: one little spark and . . ." as he flicks his finger. Then, as the group files out, a distraught mother is at the door; her son "tried to kill himself tonight -- all because he couldn't live up to your rules." "I was only trying to help", Jim protests. "That's a mother's job -- who gave you the right to play God?" Bill goes on a bender and wrecks Jim's and Ellen's apartment. "How much more, Jim?", Ellen asks. "No more, it's all over -- everyone can relax", he replies. "You were happier when I was a drunk, weren't you? You really were: you had a function, a reason for living. . . . You didn't have to be a wife, you could be a mother". Ellen cuts him off with a slap on the face, and Jim goes off to a bar and orders a drink -- "make it a double". He pours most of the drink down quickly, and the tension in his face collapses. "Do it again", and pours another double down. "Think I almost forgot how it felt to have that little pilot light." He doesn't have the money for the drinks, and has to leave as security the sexy slip he had bought earlier for Ellen, on an impulse. He walks home, passing by a bottle shop with difficulty. At home, the trumpet player has shown up, and has had a long talk with Ellen. Now it's Jim's turn to be cynical, but Ellen says "I was blind before. The wife of an alcoholic gets mixed up, too. . . . Honey, can you just be patient with me?" As Jim softens, they agree that "maybe that's all you ever have to do, is to get by tonight". The film closes with an AA-like meeting, complete with the Serenity Prayer framed on the wall. It's 10 years later, and Ellen is in furs as Jim and she walk in to a standing ovation; we see Bill and many of the other characters of the film in the audience. Jim gives a speech for his anniversary of sobriety: A few of us were lucky enough to stumble onto an idea -- but nobody owns that idea, and nobody has the right to stand up and take a bow. And in a way that's part of our strength: that all of us, all the hundreds of thousands of us all over the world, are just nameless alcoholics getting by because we realize we're all in the same boat -- none of us more than one drink away from the gutter, for the rest of our lives. The film faithfully reflects the contemporaneous view of the world of Alcoholics Anonymous. Alcoholism is mysterious; no psychodynamic or other explanation of Jim's condition is offered, except the death of his three-year-old daughter, and, as his doctor notes, "Ellen lost a child too, but she didn't become a drunk". The medical profession is essentially powerless to deal with alcoholism. On the other hand, there's a strong emphasis on the physiological side of alcohol's effects, which can be ministered to by physicians: neurological damage, hard livers and soft heads, hallucinations and convulsions. The film is much gentler with doctors and jailers than many other alcoholism movies (Ritson, 1979): all social-handling agents are presented as good-humored, and there is no hint of sadism. Jim's doctor plays an ambiguous role: he snorts about Jim's "self-hypnosis" and "all this miraculous hocus-pocus", but when Ellen pleads that he not discourage him, he responds, "I never discourage him -- I only make him mad" -- and, indeed, Jim is presented as undertaking his mission to prove something to the doctor. The film's handling of Jim's relations with his wife also fits the AA worldview of the time. She remains ever faithful, although their sexual relations have disappeared in Jim's drinking phase. But she has difficulties when he starts to "wear the pants" in the family again, and is jealous of the energy Jim puts into his AA-like group. The film does not pick up the tendency of the psychodynamic literature of the time to blame the wife for the husband's drinking (Jackson, 1954): Ellen is indeed pushed out of shape by Jim's recovery, but she is not blamed for his drinking. Most of the key symptoms of the AA/Jellinek phaseology get picked up somewhere or other in the movie, and, without a point being made of it, Jim moves through most of the 12 Steps of AA. Alcoholics Anonymous would also have approved of the presentation of Jim's overreaching pride in his successes with other alcoholics; his "slip" teaches him the humility of living "one day at a time". Almost all the drinking in the movie is in bars. The world of the bar is presented quite positively; it's a world of wistful dreams, of laughter in the background, and of friendly (if businesslike) bartenders, with no hint of violence. The everpresentness of bars and liquor stores as temptations in the big city is repeatedly used in signalling Jim's cravings, but there is no moral loading against their presence. As in most of the AA-oriented movies, in fact (reflecting the practice of many AA members), Jim keeps a bottle of liquor at home: temptation is to be faced up to rather than avoided. The drinkers -- particularly Bill -- are soft-spoken, defeated but with some native dignity, perhaps a little effeminate when drinking. As Falk and Sulkunen (1983) noted of the portrayals in Finnish films, the world of drinking is a man's world, antithetic to sexual relations and with women kept apart from it. The most poignant expression of this in The Voice in the Mirror comes after a squabble between Ellen and Jim early in the movie, where she sits across the street at a bus stop watching him drinking in a bar. Drunkenness is mostly conveyed by staggering, by collapsing or passing out, by a narrowing of the mental focus, and of course by convulsions and other neurological signals. Except for a short hallucination sequence, the presentation is naturalistic, and without the scenery-chewing of such films as Days of Wine and Roses. Craving is presented both with music and with a visual presentation of the idea that alcoholics don't drink like other people: a reverent cradling of the drink in both hands, followed by a quick gulp. It is of course also implied by the lengths of self-humiliation involved in getting a drink. MODELS AND EXPLANATIONS OF ALCOHOLISM As we have seen, the motivation for the alcoholic's drinking in The Voice in the Mirror remains obscure. This is true for a number of the films in Table 1, reflecting the alcoholism movement's view that alcoholism was caused by a mysterious "predisposing X factor" which was presumptively physical (Jellinek, 1952). The failure to offer a motivation went against the grain both of the heavy psychodynamic and indeed Freudian emphasis in drama of the 1940s and 1950s, and of longstanding dramatic conventions which required that a motivation be supplied for a tragic flaw. Reviewers thus often complained of the lack of motivation for the drinking shown in the films. For instance, the Times reviewer felt that the "one weakness" of I'll Cry Tomorrow, "as a psychological study, at least -- is its failure to make it seem compulsory that the heroine should take to belting booze." Similarly, the reviewer of The Lost Weekend complained that "the reason for the 'dipso's' gnawing mania is not fully and convincingly explained." Strong psychodynamic interpretations of alcoholism are common in the movies that were outside a direct AA influence. In some movies, indeed -- as in much psychiatric thinking at the time (Roizen, 1977) -- the heavy drinking serves as a mere symptom of an underlying character flaw dating back to inheritance or childhood. The weak son of a Southwest oil dynasty in Written on the Wind, for instance, "always drank too much". In Too Much, Too Soon, other characters complain about Diana Barrymore "chasing your father" long before she emulates his drinking in remorse at his death, and she is later described as a "bottle baby". Another alcoholic actor explains that Diana and he are no good for each other "because of what we are -- for people like us, drinking is just a symptom of something much deeper; for you, a need for love so fierce that you make people prisoners trying to get it." For Alicia Huberman (Ingrid Bergman) in Notorious, the motivation given for her heavy drinking and associated sexual looseness is implicitly psychodynamic: at the very beginning of the movie, that she drinks heavily and throws herself at Devlin are presented as linked aspects of a self-hate that derives from the fact that she is unable to distance herself from a father whose actions she despises. But the solution is situational: with her father's suicide and a new purpose in life, she is liberated from her problems. Situational explanations of a character's alcoholism, in terms of a life event or a life situation, offer strong competition with psychodynamic interpretations of alcoholism in the movies under consideration. "Alcoholics are mostly disappointed men", says the chiropractor AA member in Come Back Little Sheba; he had had to give up his medical studies to marry a pregnant girlfriend who then miscarried. The heavy drinking of the central character in Ten North Frederick, Joe Chapin (Gary Cooper), is presented as precipitated by the ending of a promising political career following disclosure of his daughter's pregnancy, unsuitable marriage, and miscarriage. One of his political managers, asked where Joe has gone, answers that he's "Where I'd be -- off somewhere treating my wounds with alcohol". Subsequently, Joe's two law partners excuse to each other his "two double martinis before lunch" by talking of the number of blows he had had to absorb in the previous year -- including the "sneaky rabbit punch" of having turned 50. His grown children, describing Joe's ailment as "galloping despair", place much of the blame on their bitter and mean-tempered mother: "If only you'd shown him a little kindness . . .". In Joe's world, lives are tightly constrained by the network of family, business and small town ties, and heavy drinking becomes perhaps the most socially acceptable way of breaking out of these constraints. (For a discussion of alcoholism as "rattling the cage", see Ablon, 1980.) Drawing on another recurrent theme, the heavy drinking of Helen Wright (Joan Crawford) in Humoresque is presented as resulting from the loneliness and purposelessness of the idle rich woman. "I was married twice before -- once at 16 and once at 21", she explains, adding: "it really takes the glint out of your eyes -- to see how you can club a man's wings down". "Why do you drink so much?", her violinist lover (John Garfield) asks, but she parries: "Ask me no questions and I'll tell you no lies". To his follow-up probe, "They say people who drink a lot are unhappy", she responds "Or are thirsty"; "Or are lonely" is his rejoinder. In thus explicitly rejecting a psychodynamic "out" for herself, Helen lays claim to being without illusions, even about herself: "I've got one virtue -- I've never lied to myself". In a theme which emerges also in other alcoholism films, her drinking is presented as related to this painful clarity of vision: "I never wanted to look as myself as I really was -- so I drank -- that was it, pure and simple". The theme of situational anomie is sounded also concerning the singer in Smash-Up. When her husband's success and their affluent lifestyle leaves her without a function, a psychiatrist tells her husband, "With all the best intentions in the world, men like you make your wives idle, useless. You have taken all responsibility away from her. She lost you to your career. In despair she turned to this." Often there is a psychodynamic tinge to the situational explanation. The actor's drinking in The Country Girl is attributed to his guilt about his son's death, as a result of which he "shuns any responsibility like the plague". Frequently, indeed, the rhetorics of motivation are mixed together for the same character. Having offered the husband in Smash-Up an explanation in terms of purposelessness, the psychiatrist continues, without a pause, "Your wife is the victim of a disease". On the other hand, earlier the singer herself had explained to a maid, "when I used to drink in nightclubs" -- long before she was married and idle -- "I was so blamed scared I had to have two drinks just to go on". "What are you so scared of?" "I don't know -- just people, I suppose". As a counterpoint to the theme of disappointment noted above, the wife in Come Back Little Sheba explains to their roomer that her husband "was an only child and his mother thought the sun rose and set in him". In films with two alcoholic characters, quite different rhetorics of motivation for drinking are often assigned to different characters. This is notably the case in two of the films directly influenced by AA, Come Fill the Cup and Days of Wine and Roses. The drinking of the main character of Come Fill the Cup, the hardbitten newsman Lew Marsh (James Cagney), is left without motivation. As his boss puts it in firing him at the opening of the movie, "why do you do it, Lew, why do you swill all that talent right down the drain?" Lew himself remarks that "a lush can always find a reason if he's thirsty". A cynical doctor at the city hospital softens and tells him, "you've an incurable disease -- alcoholism. Liquor is as poisonous to you as sugar is to a diabetic. The only sure-cure treatment is to quit." The counterpoint is provided by the publisher's nephew, a "gifted . . . composer" with an unfinished concerto, who started drinking heavily two or three years after marrying the woman who had been Lew Marsh's old girlfriend. His mother watches over him devotedly, despite remonstrances by others that "you're smothering him". Reminding Marsh that he took him back when he sobered up, the publisher pressures him to take the nephew in hand, which Marsh reluctantly ends up doing ("you never stop paying for the bottle -- you pay and pay"). The nephew is portrayed as somewhat effeminate -- his term for being drunk is "I'm in a condition" -- and Marsh, with ample provocation, is insulting and rough with him. While Lew's world is entirely masculine, the nephew's drinking is tied up with his affair with a gangster's woman. His alcoholism is clearly attributed to his relation with his mother -- as his wife puts it, "I've seen Boyd sober before -- until his mother comes back from Europe." In Days of Wine and Roses, the drinking of Joe (Jack Lemmon) is given little motivation, other than a touch of self-hate associated with his role in public relations -- "I want to be a PR man, not a pimp." Joe's AA sponsor, Jim (Jack Klugman), explains that alcoholism is "a lottery". He then likens it to getting hives from strawberries: "How many strawberries does it take to give you an allergy -- and which one gave you the hives?" The alcoholism of Joe's wife, Kirstie (Lee Remick), on the other hand, is discussed in terms of an addictive personality. In Jim's view, "you could have known from the fact that Kirstie was so addicted to chocolates" that she would become an alcoholic. "A psychologist could have told you that she had an addictive personality." There are also broad hints of incestuous longings on Kirstie's part; she comes in drunk to her father's bedroom while he is in bed, acting kittenish. The father, scandalized, manhandles her into a shower. It is notable in Come Fill the Cup and Days of Wine and Roses -- and for that matter in Too Much, Too Soon -- that little motivation is offered for the sympathetic alcoholic's drinking, while psychodynamic motivations for drinking are associated with an unsympathetic alcoholic figure. The sense of mystery about motivations about which film reviewers often complained thus might be seen as lending itself to a sympathetic portrayal of the alcoholic character (see Alasuutari, 1986 for a related argument). Situational explanations also tend to be associated with a sympathetic presentation, although (as Joe's doctor notes in The Voice in the Mirror) they beg the question of why others don't respond in the same way. On the other hand, psychodynamic interpretations tend to diminish the authority and authenticity of the character's actions. They also seem to be more associated with women or with men who are presented as somewhat feminized. THE PATH TO RECOVERY The Voice in the Mirror is perhaps unique among films of the period in its fidelity to the Alcoholics Anonymous model of recovery. Other films influenced by AA tended to depart from the model in one or more ways. For instance, The Voice in the Mirror's unflinching presentation of the explicitly spiritual dimension of AA was rare. In Come Fill the Cup, the redemptive role is played by "angel feathers"; as Lew Marsh (James Cagney), the lead role in Come Fill the Cup, explains, "there's only one things pulls a drunk up short -- that's the sound of angel feathers -- a peek into the void. We run away from life, but we run away from death, too." In Days of Wine and Roses, as in many movies, there is no mention of a religious aspect at all. Though this aspect of the movie was little noted, Come Fill the Cup was apparently the first appearance on the screen of the AA theme of "drunks helping drunks". For the AA-oriented movies, of course, this was the prime path to recovery. Lew's path to sobriety follows a classic AA model. Befriended by a sober alcoholic, Lew moves in with him; five years later, Lew has worked his way up from lumper to city editor at his old paper. His 12th Step work is implied in his hiring of several alcoholics as reporters; when the editor complains that "this place is beginning to look like a branch of Alcoholics Anonymous -- we're crawling with ex-drunks", Lew responds, "when it comes to newspapermen, give me the reformed lush every time. . . . Work takes the place of liquor." In Days of Wine and Roses, the route is explicitly contrasted with the main alternative offered in the films: that the alcoholic should conquer alcoholism by willpower, on his or her own. Kirstie's failure to attain sobriety is linked to her inability to ask for help from others: "I refuse to ask for help for something that's a matter of self-respect and willpower. I will not get up in front of a bunch of people and degrade myself. I'll use my willpower and not drink and that's the end of it." A third alternative, of course, was professional treatment by a psychiatrist or other doctor or therapist, in a hospital or outpatient clinic. One of the main emphases of the Yale Center and the National Council on Alcoholism in the late 1940s and 1950s, in fact, was on getting states to set up networks of publicly-supported alcoholism clinics with professional treatment staffs, on the model of the outpatient Yale Plan Clinics opened in Connecticut in the mid-1940s. By the 1950s, such clinics could be found in many states (Henderson and Straus, 1952). But this effort failed to catch the imagination of Hollywood and found no reflection in the films. We have already noted Ritson's comment on the generally negative attitude towards medical treatment displayed in the alcoholism films. The main exception is the only film on which we know that leaders in the alcoholism movement -- Marty Mann and E.M. Jellinek -- played important advisory roles, Smash-Up. Dr. Lorenz (Carl Esmond), with a classic middle-European psychoanalytic demeanor, serves as the pedagogic voice of the film, explaining patiently to Angie and her husband that she has a disease and that he is partly responsible for it, and presiding benignly over the hopeful ending. Otherwise, the alternative to AA was willpower. In a culture "which attributes morality, success, and respectability to the power of a disciplined will" (Lemert, 1951, p. 356), the idea that moral problems like alcoholism have to be solved by oneself using one's willpower is an old and deep theme -- one with which Alcoholics Anonymous waged a constant struggle in its daily work. AA's position at the time, reflected in some of the AA-oriented movies, made a careful distinction: the drinker had to decide by himself or herself that he sincerely wanted to stop, but the process of stopping had to involve surrender, accepting help, and helping others; it was not something to be done by willpower and alone. But many film treatments simply fell back on willpower as the process of recovery, reflecting the deep themes in the culture, and also perhaps because of the moral worth imputed by such a single-handed triumph. The singleminded emphasis on willpower and self-therapy that started with The Lost Weekend continued into the 1950s. In The Country Girl, a character pontificates towards the end that "there are only two reasons why a drinker stops: he dies, or he decides to quit, all by himself", and the alcoholic tells his wife, "this is something I've got to work out for myself". At the end of Too Much, Too Soon, the actor portraying a professional writer (Gerold Frank, who also coauthored I'll Cry Tomorrow) comes to the hospital room to propose to Diana Barrymore that they write her autobiography together: "Maybe in reliving it you'll find the real reason why it all happened. . . . If you finish, . . . you'll have gone a long way towards straightening yourself out." AMBIGUOUS RESOLUTIONS: HEROIC DECLINE OR GENTEEL DOMESTICATION "We surely only have to be told that we are going to see a film about an alcoholic to know that it will be a tale either of sordid decline or of inspiring redemption", remarks Richard Dyer (1979). Dyer's comment, of course, epitomizes the conventions of the temperance melodrama which flourished on the stage and screen and in fiction for the 70 years before 1930 (Silverman, 1979). The common element in these melodramas was the depiction of the drunkard's progress downhill to the valley of despair. There were then two alternate endings: the path ended either in suicide, madness, or another "bad end", or in a redemption and restoration to the path of sobriety and the bosom of the family. Herd (1986) has shown that the second path was more common for leading characters marked by inebriety in the films of the 1920s. The concept of the alcoholic promoted by the alcoholism movement of the 1940s and 1950s, as Levine (1978) has shown, owes much to temperance-era conceptions of inebriety. Similarly, the alcoholism movie of the postwar period drew heavily on temperance-melodrama conventions. But happy endings, as Herd has also shown, were no longer the rule. Concerning the alcoholic heroes in the films under consideration, it is not always clear that "the lowest common denominator of their heroism is that they should transcend their alcoholism" (Grant, 1979), and relatively uncommon for us to be sure that they will live happily ever after. In the films less influenced by the alcoholism movement, even sympathetically presented figures often come to a tragic end: thus Norman Maine's heroism in A Star Is Born is expressed by walking into the sea. Where the film ends positively, the resolution is often last-minute, like a last major chord in the music of the baroque, and usually tentative. We do not know what lies ahead beyond the good intentions of the hero of The Lost Weekend, or of Too Much, Too Soon, or of The Bottom of the Bottle: the future has to be taken, as AA counseled, "one day at a time". For many of the alcoholic characters, the sober future often promises, in fact, a transition from colorful to colorless, from heroic excess to mundane constraint. This theme comes out most explicitly in Come Back Little Sheba, where the monotonous living out of a disappointed life with a well-meaning but twittering wife is broken for Doc Delaney only by the drama of a drinking episode. But the theme is also there in potential in other movies: if it is his drinking that elevates the hero of The Lost Weekend above his colorless brother, will the hero also become conventional in his new life of sobriety? Over the positive resolutions of many of the films hangs an aura of genteel domestication that could hardly have seemed appealing to youthful audiences of the 1950s. GENDER, SEX AND ALCOHOLISM IN THE MOVIES In their perceptive essay on "Women, Alcohol and the Screen", Judith Harwin and Shirley Otto (1979) start from the premise that "few films have been made about women alcoholics, many fewer than have been made about male alcoholics". But of the 39 major characters presented as active alcoholics in the films listed in Table 1, 17 are women. This is in fact an overrepresentation in comparison with the gender distribution of 5.5 males to every female alcoholic which was generally accepted for the U.S. at the time (Roizen and Milkes, 1980). Several factors might contribute to this relatively strong emphasis on women alcoholics. There may still have been some titillation value in showing a woman drinking, an apparent factor in the fascination with women's drinking in films of the late 1920s and 1930s (Room, 1988). Thus the Times review of Smash-Up talks of "the spectacle of much drinking by a lady" as a distinguishing mark of the film. As discussed below, the films portray quite a narrow class and lifestyle range, and the gender ratio of alcoholism they imply may have been quite realistic within that range.(2) The dramatic genres in which many of the alcoholism films were made may have tended to put them in the category of "women's pictures", pictures with strong female characters intended primarily for a female audience. And as Herd has discussed, the traits associated with alcoholism may also have been seen as more womanly than manly (Herd 1986). The critical reaction in the New York Times to women alcoholics was somewhat more negative for women than for men, though they did not hew so explicitly as the British reviewers cited by Harwin and Otto (1979) to double standards about men's and women's drinking. The heroine of in Smash-Up is described as a "fallen sister" and as "sousing", the woman in Humoresque as "soused to the ears", the woman in Under Capricorn as "sozzled", the woman in Something to Live For as a "drunkard", the woman in I'll Cry Tomorrow as a "lush" who takes to "boozing", and the woman in Too Much, Too Soon as wading through "a river of alcohol". Apart from uses enclosed in distancing quotation marks in the review of The Lost Weekend, "lush", "drunkard" or "drunk" are applied to a man only in the reviews of Harvey and Beloved Infidel. Male heavy drinkers are otherwise variously described as a "boozer" (Harvey, Come Fill the Cup), as "taken to self-pity and drink" (The Country Girl), as "boozing and blubbering" (Written on the Wind), as a "flabby, tippling night owl" (The Joker Is Wild), and as a "sodden", "wild-drinking ruin" (Too Much, Too Soon). Through the whole gamut of films in Table 1, there is a clear gender differentiation on the relation between drinking and sexual behavior. For women, drinking goes along with sex; for men, it replaces it. As a character in Humoresque puts it, explaining his remark that Helen Wright is "as complex as a Bach fugue", "she was born with a silver flask in her mouth. She's got a large alumni association". When Sophie reappears as an alcoholic in The Razor's Edge, she has acquired a heavy-lidded sensuality and describes her French "boyfriend" as "a sulky brute, but quite a man". The connection of drinking with "easy virtue" for women draws on a much older theme in American culture. In films before the late 1920s, "any drinking by a woman is a sign of immorality, and a first drink is often an early signal of perdition. In this, the movies were substantially reflecting the society; certainly, in pre-Prohibition days, respectable women did not drink in public places" (Room, 1988; and see note 1 above). In their role as a major wettening agent in late-1920s America, the movies sometimes inverted this relationship: the virtuous daughter in Our Dancing Daughters (1928) turns out to be the one who drinks champagne with her parents, and not the ostentatious abstainer (Herd and Room, 1982). But the cultural convention remained strong: the assumption of immorality was simply transferred from drinking at all to the heavy drinker. Days of Wine and Roses exemplifies the double standard concerning the effects of alcohol. Kirstie's drinking bout sends her off to make advances to her father, while Joe is simply impelled out into the potting shed in search of more booze. No other women are involved in Joe's drinking bouts, while for Kirstie "there were lots of detours, but I never looked at them". Already drunk, Kirstie seduces Joe into a drinking bout with an explicit challenge to his manhood: "what did they do to you at that AA place, anyway? Aren't you a man any more? Can't you hear a woman calling to you? I don't want any of your mealy-mouthed, holier-than-thou boy scouts with cold feet, who don't have the guts to take a drink." In Hitchcock's Notorious, cultural assumptions about the association of a woman's drinking with promiscuity are explicitly stated, although they are presented unsympathetically and are eventually undercut by the development of the plot. Devlin (Cary Grant), as the government agent assigned to recruit Alicia Huberman (Ingrid Bergman) as a U.S. agent, believes and repeatedly throws in Huberman's face that once a drunk is always a drunk, and that drunkenness in women is associated with promiscuity. In the affair they begin in the course of their assignment in Rio, her former drinking and presumed promiscuity become explicit issues: refusing "another drink", she comments, "Well, listen to me talk. I'm practically on the wagon." When Devlin comments, "you've been sober for eight days and as far as I know you have made no new conquests", she complains about his cop's mind with its assumption that "a woman like you can't ever change her spots". Then when it seems that their affair is only a "nice daydream", she says, "I think I will have another, then", and he comments, "I thought you'd get around to it". Defiantly, she responds, "Make it a double. Why won't you believe in me?" Huberman's assignment involves marrying a fugitive Nazi. When her husband catches them at a champagne reception in the act of discovering his secrets, Devlin and Huberman cover themselves by feigning a boozy embrace. The Nazis eventually realize Huberman is an American agent and gradually feed her poison. Devlin, meeting her when she's already sick from the poison, mistakes her condition for a drinking relapse. Asking her if she's sick, Devlin responds to himself in a bitter tone, "no, a hangover", and adds: "Back to the bottle again, eh? You ought to take it easy on that liquor. You look all mushed up, you should take it easy." While women alcoholics' drinking commonly carries sexual connotations, male alcoholics' drinking usually takes place alone or in male company -- although there is some change, reflecting trends in the society, between the male-only bar drinking usual in The Lost Weekend and the additional companionate home drinking in Days of Wine and Roses. The scenario of seduction in a bar, with mixed-gender heavy drinking, played out in recent movies -- The Verdict, for instance -- is largely absent in the movies of the immediate postwar period. For the men, drinking replaces rather than causes sexual behavior. In movies showing the process of recovery, the attachments and process it entails also often compete with cross-gender relations: the hero of Come Fill the Cup shares a bachelor apartment with his AA-like sponsor, and, as we have seen, the hero's 12th Step efforts in The Voice in the Mirror come between him and his wife even more than his drinking had. It is only the domesticated and perhaps slightly effeminate ex-drunks -- the composer in Come Fill the Cup, the beaten-down hero of Come Back Little Sheba -- who end up keeping or getting the woman. Part of the redemption of the broken-down, dependent actor in The Country Girl is his declaration of independence from his wife: "This is something I've got to work out for myself -- with you or without you". By and large, in their treatment of male alcoholics, the films of the postwar period kept the temperance-melodrama stereotype of the faithful woman who hangs on through the roller-coaster of her man's drinking. The movies of Table 1 are replete with women who "are just born suckers for men in trouble", as a character in The Voice in the Mirror puts it -- from the concerned career-woman fiancee of The Lost Weekend, through the composer's wife in Come Fill the Cup, who loves him and stands by him though she believes he will go back to drinking when his mother returns, and the faithful and loving wife of the jail escapee in The Bottom of the Bottle, to the longsuffering wife of The Voice in the Mirror. The counterpoint to this theme, of the woman driving a man to drink, also occasionally appears, most notably in Ten North Frederick and Come Back Little Sheba; again, in these movies it is notable that the wife endures whatever may come in the marriage. As in the larger society, the men married to alcoholics are more likely to leave -- for instance, the husbands in Smash-Up, in I'll Cry Tomorrow, and in Days of Wine and Roses. The most evocative treatment of the theme of the faithful wife is in The Country Girl, which explicitly plays the dominating-wife motif against the theme of the patient helpmeet. For much of the film we are led along, with a sympathetic director -- who, it emerges, has had his own problems with women -- into attributing the wife responsibility for her husband's drinking. "The good strong helpmate", the director says sarcastically. "Did it ever occur to you that your strength might be the very reason he is weak? I don't like strong women, Mrs. Elgin. . . . You want him wholly and utterly dependent. . . . You do it in the name of love." Eventually, it comes out that the husband has systematically deceived the director, and the wife has been maligned. While she admits "an element of truth" in the accusation of "controlling his life", it has only been a response to his dependency. The husband, "getting older" and "beginning to slip", had found a "respectable excuse for failure" in heavy drinking after the death of his son. THE SOCIAL POSITION OF THE MOVIE ALCOHOLIC Herd's analysis (1986) of the class and occupational status of characters with alcohol problems in U.S. movies of the 1920s and 1960s showed a strong disproportion of characters in "creative" occupations, such as writer, artist, actor or musician -- 19% in the 1920s and 24% in the 1960s. The disproportion is even more noticeable among the alcoholic major characters of the films listed in Table 1. Excluding the two films set in the 19th Century, 12 of the 21 males fall in the "creative" category of writer, journalist, artist, actor, singer or musician, as do 8 of the 16 females; none of these 37 characters, except perhaps the brother/escaped convict in The Bottom of the Bottle, is shown as having a working-class occupation. Again, we may suspect that several factors lay behind this disproportionate emphasis. As Grant (1981) and others have remarked, there is a longstanding cultural association of heavy drinking with creativity and artistic occupations. Besides, a pronounced tilt towards portraying purported upper-class lifestyles, and glamorous occupations such as actor or singer, had long been a general feature of Hollywood movies. But there was also a more proximate reason for the extreme emphasis on writing, acting and allied occupations in the alcoholism films of this period: the subject was highly topical among the creative community which was making the films. Their personal struggles with drinking or drug use must have lent a special poignancy to the participation in these films of such actors as Judy Garland (A Star Is Born) and Bing Crosby (The Country Girl). For many writers and for that matter actors, working on the book or screenplay was a form of self-therapy: we know that the authors of the original books or plays of The Lost Weekend, Come Fill the Cup, Come Back Little Sheba, I'll Cry Tomorrow and Too Much, Too Soon were drawing on their own experience as alcoholics, and it seems highly likely that this was true also for some other authors and screenwriters involved. Dorothy Parker, for instance, worked on the script of Smash-Up "with the hope that such a task might help her to overcome her drinking problems" (Johnson, 1973, p. 387). Others involved in making the films could draw on the heavy impact other people's drinking had had on their lives. After working with the heavy-drinking Raymond Chandler on Double Indemnity, a "wracking experience" which forced him "to be in close contact with a man of talent and watch him disintegrating", Billy Wilder turned to The Lost Weekend -- in an effort, Maurice Zolotow (1977) believes, "to explain Raymond Chandler to himself". The family life of Charles Brackett, who co-wrote the screenplay with Wilder, had been deeply marked by alcoholism. His wife, according to Zolotow, "had lost control of her drinking during the 1930s". A daughter "perished after falling down a flight of stairs drunk. Her husband died in a fire in the Midwest. He also was passed out." Furthermore, Brackett had "been a friend of many alcoholic writers. He was the friend who was there to nurse them through hangovers or rescue them at the end of a spree. He had nursed Scott Fitzgerald and Robert Benchley through many drunken episodes. He had seen Dorothy Parker become a lost soul because she couldn't stop drinking", and had "nursed Dashiell Hammett through many of his drunks in Hollywood." THE ALCOHOLISM FILM CYCLE AS A REFLECTION OF A GENERATIONAL EXPERIENCE The conventional interpretation of the concentration of people with alcohol problems in the film community -- underscored, indeed, by films like A Star Is Born and Too Much, Too Soon -- focused on the special cultural position of Hollywood, already well established in the 1920s, as "a synonym of Sin", or, less judgementally, as a place of "beautiful dazzling dreams", of "wild parties" and "excitement" (Anger, 1981). But there was also a more general cultural factor involved, I believe, in the efflorescence of alcoholism movies in the period of Table 1. Adopting Sulkunen's term (1979), I have written elsewhere of "wet generations" of middle-class youth in America, coming of age during and after the First World War (Room, 1984a, 1984b). In the vanguard were the bohemians, writers and other creative artists of the "lost generation", coming of age between about 1910 and 1920. Reacting against the pieties and conventions of Victorian middle-class family life, with many of their lives pulled out of accustomed orbits by the First World War, and with national Prohibition offering an archetypal symbol of the values and lifestyles they were rejecting, the avant-garde of this generation took to heavy drinking as "the symbol of a sacred cause" (Liebling, 1981, p. 667); for "intellectuals during prohibition,!27_!.!27_!.!27_!. alcohol turned from being a mild aid to dining and conversation into almost a primary and constant necessity" (Sinclair, 1964, p. 331). Through such media as Fitzgerald's early works, the lifestyles of this vanguard set an enormously attractive example for college students of the following college generations. Drawing on her analysis of college newspapers of the 1920s, Paula Fass (1977, pp. 316-317) has concluded that by the middle of the decade a new "subterranean ethic!27_!.!27_!.!27_!. began to jell" by which "one drank to become drunk, or, failing that, to appear drunk. . . . In addition, one drank in the company of and together with women". An experienced collegiate temperance worker described patterns in the late 1920s and the 1930s in terms of a "college drinking epidemic" unprecedented in the previous century (Warner, 1970). Writing in the early 1960s, Andrew Sinclair remarked concerning the cultural divide over alcohol in the 1920s that "posterity has sanctioned the rebels and repeal, not the defenders and prohibition". In terms of the world of creative arts, in terms of the mass media, and in terms more generally of American intellectual life, the repeal of prohibition signaled a near end for several decades to the national discussion of alcohol problems as an issue in the public arena. While alcohol questions maintained until fairly recently their status as a public issue in the South and prairie states, on a national level alcohol questions moved out of the public arena and became matters of purely private concern -- to use Gusfield's (1981) distinction. To bring attention to any public dimensions of alcohol issues, indeed, threatened one's credentials as progressive, forward-looking, urbane and cosmopolitan. The impulse towards "problem deflation" thus deeply affected the conceptualization of and attention to alcohol issues even in the scientific and public health literatures (Herd, 1992; Room, 1984c). It is worth noting that the big shift in drinking mores was particularly a middle-class phenomenon, and was most notable in the Northeast, Midwest, and Pacific regions of the country. By raising the effective price, prohibition had greatly diminished working-class consumption (Warburton, 1932), and the Depression kept consumption among the poor low through the 1930s. John Dollard's description in 1945 of the "drinking mores of the social classes" in terms of a U-shaped curve, with a "strong taboo on drinking" in the lower-middle class, may have still applied in the small Southern towns where he had done his major fieldwork, but it was immediately challenged by a listener as inapplicable in Connecticut.(3) As a Woman's Christian Temperance Union (WCTU) staff member saw it in 1953, "there has been a breakdown in the middle classes. The upper classes have always used liquor. The lower classes have always used liquor. Now the middle class has taken over. The thing is slopping over from both sides" (Gusfield, 1962, p. 114). Along with the decline in middle-class commitment to temperance went a shift in the class location of temperance organizations; Gusfield (1955) has demonstrated that, as early as 1925, the proportion of local WCTU leaders whose husbands had working-class jobs had risen to 45%. For the vanguard rebels coming of age in 1910-1920, and for the mass of middle-class youth coming of age at the end of the 1920s and the 1930s, the image and rhetoric of drinking and drunkenness was initially entirely tilted towards the positive. Mostly, the negative effects were ignored entirely; to take the negative effects seriously was to play into the hands of the cultural enemy. Furthermore, the only available rhetoric with which to talk of the negative effects of drinking was the discredited invective of the temperance movement. If negative effects were acknowledged, then, it was in the language of the temperance movement, but with an ironic and depreciating tone. Among drinkers, words like "drunk" and "lush" became ironic self-identifications, rather than stinging insults. The gap between generations was in part a reaction against the "feminization" (Douglas, 1978) of middle-class mores which had taken place in the late 19th century. The reaction was pointed in two somewhat contradictory directions: towards a reassertion of male prerogatives against the claims of Victorian domestication, and towards a redefinition of gender roles away from highly segregated male and female spheres and toward the "companionate" couple. In terms of drinking, these themes found representation on the one hand in the image of the "two-fisted drinker", as might be played by Humphrey Bogart or James Cagney, and on the other in the woman joining the man in the cocktail lounge, as exemplified by the couple in The Thin Man. As the members of the initial "wet generations" tried to play out these themes in their own lives, we may suspect many contradictions came to the surface. There was an obvious conflict between the machismo and male bonding of "two-fisted drinking" and the mixed-sex drinking of the companionate couple. But there were also contradictions resulting from the fact that people's emancipation from their upbringing was limited and imperfect. In particular, people were torn between the rigid gender roles of the Victorian middle-class family and the new ideals of the "career woman" and the companionate marriage, between the old expectation that a bad marriage would be endured and the new conviction that it should not. Breaking with the old expectations often proved to carry heavy loads of guilt. Lillian Rubin (1984) has described the same phenomenon in terms of the changes in gender roles of the 1970s; change, she writes, comes slowly, meeting enormous resistance both inside us and in the system of social institutions that supports our society's mandates about femininity and masculinity -- about how a good woman lives, how a good man behaves. . . . Change generally outruns consciousness, and, for most of us, change in consciousness lags well behind the changing social norms, sometimes even behind changing personal behaviors. Indeed, always, no matter how revolutionary a period of change may seem on the surface, the old myths continue to whisper to us. Consciously derogated, unconsciously avoided and denied, they continue to speak with a power and persistence that will not be dismissed. Consequently, two contradictory systems of ideals lie within us -- the emerging one vying for dominance with the old one, new behaviors creating internal conflicts as they rub against obsolete but still living rules. The trajectories of individual lives of these generations were also often buffeted by the great tides of history. Men born before 1900 experienced mobilization for the First World War. The middle-class affluence of the Twenties was succeeded suddenly by the privations of the Depression, which was in turn brought to a definite end only by another World War. In an environment whose changes could not be controlled, existing cultural values on self-reliance and self-control took on consummate importance, both as a practical strategy and as a symbolic surrogate for control of the external world. ALCOHOLICS ANONYMOUS AS A GENERATIONAL SOLUTION In the meantime, as they moved into middle age the members of the "wet generations" found that their sustained heavy drinking becoming problematic for them. As a habit that carried built-in reinforcement, heavy drinking in the long run often wrought havoc on work and home life. The founding of Alcoholics Anonymous in l935, and its emergence as a national movement around 1940, must be seen as the reaction of the initial wet generations to the predicament in which they found themselves. Table 2 shows the approximate birthdates (where these can be determined) of those contributing their life stories to the first and second editions of Alcoholics Anonymous, the main text of the movement. It will be seen that, for the first edition in 1939, the mean age of the contributors was about 45. When the stories of the "pioneers of AA" were self-consciously set off from others in the second edition of the book in 1955, they represented the same age cohort, by then at an average age of 60. It is interesting to note that the average age of those contributing the other stories to the second edition was only eight years younger. Alcoholics Anonymous was a creation, then, of the vanguard "wet generation", of those coming of age by the early 1920s, and its normative center at least through the mid-1950s seems to have remained in this generation. By 1955, the youngest members of this generation had turned 50.(4) The approach and rhetoric of AA, as it was worked out in the late 1930s, was carefully attuned to the mind-set of members of the initial wet generation -- and, in particular, to the men of the generation. Part of the process of convincing a "pigeon" to join was a heavy emphasis on what two-fisted drinkers the recovering alcoholics in AA had been. As one pigeon put it in recounting his story, "I met men whose stories convinced me that in the ranks of men who had been heavy drinkers I was an amateur and a sissy" (Alcoholics Anonymous, 1946, p. 372). To appeal to the members of the generation, AA had to develop a language clearly differentiated from temperance rhetoric in which to talk of drinking and drinking problems. In dealing with the outside world and with potential "pigeons", the term "alcoholic" was a clear choice; its medical provenance underlined the major strategy of argument that the potential recruit had "a sickness, a fatal malady" which set him or her apart from the normal drinker. But in the internal dialogue, much of the language fell back again on temperance terminology, but used now with a double layer of irony, speaking of themselves to each other as "rummies" or "drunks", and talking of "going on" or "falling off the (water) wagon" (see, for example, pp. 118, 181 of Dr. Bob ..., 1980). Since the Victorian middle-class moral system had been heavily entwined with institutional religion, part of the revolt of the wet generations had been against organized religion. While the heart of the Alcoholics Anonymous experience was religious, this aspect was kept non-institutionalized and was soft-pedaled and attenuated as far as possible. In this way an AA recruit could tiptoe through the minefield of the anti-clerical commitments of his or her youth while recapturing a sense of purpose beyond the individual ego. An early AA member, acknowledging that "there are many who feel a strong resentment against such a spiritual approach", found that "in my case I was ripe for such an opportunity, perhaps because of early religious training" (Alcoholics Anonymous, 1946, p. 361). We may suspect that the interpretation offered by Alcoholics Anonymous also became an important way for its members to reconcile or deal with the conflict in norms on gender roles and family and work life between Victorian expectations and 1920s ideals. In their family and work lives, AA's members had gone through severe and often excruciating problems -- job loss, divorce, separation from their children, etc. Caught at the juncture of the Victorian and "modern" worldviews, the founding generation carried a heavy load of guilt, in a culture that emphasized personal responsibility and failure and discounted the effect on individual lives of structural factors such as the Depression. While its members had undoubtedly experienced severe and demoralizing problems with drinking, AA's ideology and practice offered a way of interpreting checkered pasts so as to deal with the burden of guilt. As AA's First Step put it, not only were its members "powerless over alcohol", but also "their lives had become unmanageable". Thus the alcoholism conception offered an account not only of their loss of control over drinking, but also of their failure to live up to expectations at work and at home. LOOKING BACK IN ANGUISH By and large, those who made the movies listed in Table 1 came from the same vanguard wet generation as the founding cohort of Alcoholics Anonymous, or from the immediately succeeding generation. The efflorescence of alcoholism films in the U.S. in the immediate postwar years thus can be seen as in large part a generational phenomenon, reflecting the life experiences of the middle class youth generations of the 1920s and 1930s. In their youth, these generations had reacted decisively against the shibboleths of Victorian morality, taking drinking, and indeed heavy drinking, as a symbol of that revolt. For the youth generation of the 1920s, then, alcohol was an important commodity with tremendous symbolic power, but one which their cultural politics demanded be discussed in terms of private choices and styles rather than public issues and problems. By the time they reached middle age, many members of these generations found themselves in trouble with their drinking, and struggled to control it through various means, including such social innovations as Alcoholics Anonymous. For writers and performers, the medium of struggle was often their art, in semi-autobiographic fiction and portrayals. Given the symbolic power their generations had attributed to alcohol, drinking also often served more general emblematic purposes; alongside the positive symbolization of cosmopolitan affluence and the insouciant good life, negative symbolizations reemerged, drawing on old cultural themes: of inebriety as a symbol of a life out of control, cut off from security and comfort, adrift on the tides of history. The alcoholism movies of the postwar period, and especially those explicitly "about" alcoholism, represent, then, acts of homage to the struggles of these generations to understand and transcend the personal anguish many had experienced by middle age as they lived out the cultural commitments of their youth. The commitment on the part of those who made the movies seems to have been dual: working on the films, or the books and plays that underlay them, was often in itself a medium to come to terms with personal histories; it was also a form of "12th Step" work, documenting the path to recovery and spreading the word to others. The words which were actually spread, however, had been processed through the wringer of commercial film production, and carried many conflicting messages. Acknowledgments Revised from a paper prepared for presentation at an International Group for Comparative Alcohol Studies conference on Cultural Studies on Drinking and Drinking Problems, Helsinki, 24-28 September 1985. Preparation of this paper was supported by a National Alcohol Research Center grant (AA-05595) from the U.S. National Institute on Alcohol Abuse and Alcoholism to the Alcohol Research Group, Institute of Epidemiology and Behavioral Medicine, Medical Research Institute of San Francisco, 1816 Scenic Ave., Berkeley CA 94709. This paper draws on the intellectual and practical contributions of many Alcohol Research Group staff and colleagues to ARG's informal project on alcohol in U.S. films -- and particularly on the contributions of Denise Herd and Carol Seiden. References ABLON, J. The significance of cultural patterning for the "alcoholic family", Family Process 19: 127-144, 1980. ALASUUTARI, P. Alcoholism in its cultural context: The case of blue-collar men. Contemporary Drug Problems 13: 641-686, 1986. Alcoholics Anonymous, New York: Works Publishing Inc., 1st edition, 1939, 9th printing, 1946. Alcoholics Anonymous, New York: Alcoholics Anonymous World Services Inc., 2nd edition, 1955, 14th printing, 1973. ANGER, K. Hollywood Babylon, New York: Bell Publishing Co., 1981. DOLLARD, J. Drinking mores of the social classes (with discussion), pp. 95-104 in: Alcohol, Science and Society, New Haven: Journal of Studies on Alcohol, 1945 DOUGLAS, A. The Feminization of American Culture, New York: Avon Books, 1978. Dr. Bob and the Good Oldtimers: A Biography, with Recollections of Early A.A. in the Midwest, New York: Alcoholics Anonymous World Services, 1980. DYER, R. The role of stereotypes, pp. 15-21 in: COOK, J. AND LEWINGTON, M. (Eds.) Images of Alcoholism, London: British Film Institute, 1979. FALK, P. AND SULKUNEN, P. Drinking on the screen: An analysis of a mythical male fantasy in Finnish films. Social Science Information 22: 387-410, 1983. FASS, P.F. The Damned and the Beautiful: American Youth in the 1920s, New York: Oxford University Press, 1977. GRANT, M. The alcoholic as hero, pp. 30-36 in: COOK, J. AND LEWINGTON, M. (Eds.) Images of Alcoholism, London: British Film Institute, 1979. GRANT, M. Drinking and creativity: A review of the alcoholism literature, British Journal of Alcohol and Alcoholism 16: 88-93, 1981. GUSFIELD, J.R. Social structure and moral reform: A study of the Woman's Christian Temperance Union, American Journal of Sociology 61: 221-232, 1955. GUSFIELD, J.R. Status conflicts and the changing ideologies of the American Temperance Movement, pp. 101-120 in: PITTMAN, J.R. AND SNYDER, C.R. (Eds.) Society, Culture, and Drinking Patterns, New York: Wiley, 1962. GUSFIELD, J.R. The Culture of Public Problems: Drinking-Driving and the Symbolic Order, Chicago: University of Chicago Press, 1981. HARWIN, J. AND OTTO, S. Women, alcohol and the screen, pp. 37-50 in: COOK, J. AND LEWINGTON, M. (Eds.) Images of Alcoholism, London: British Film Institute, 1979. HENDERSON, R.M. AND STRAUS, R. Alcoholism, 1941-1951: A survey of activities in research, education and therapy: VI. Programs on alcoholism in the United States, 1952. Quarterly Journal of Studies on Alcohol 13: 472-495, 1952. HERD, D. Ideology, melodrama and the changing roles of alcohol problems in American films. Contemporary Drug Problems 13: 213-247, 1986. HERD, D. Ideology, history and changing models of liver cirrhosis epidemiology, British Journal of Addiction, 87: 179-192, 1992. HERD, D. and ROOM, R. Alcohol images in American film 1909-1960. Drinking and Drug Practices Surveyor 18: 24-35, 1982. JACKSON, J.K. The adjustment of the family to the crisis of alcoholism, Quarterly Journal of Studies on Alcohol 15: 562-586, 1954. JELLINEK, E.M. Phases in the drinking history of alcoholics: Analysis of a survey conducted by the official organ of Alcoholics Anonymous, Quarterly Journal of Studies on Alcohol 7: 1-88, 1946. JELLINEK, E.M. Phases of Alcohol Addiction, Quarterly Journal of Studies on Alcohol 13: 673-684, 1952. JOHNSON, B.H. The Alcoholism Movement in America: A Study in Cultural Innovation, Urbana: University of Illinois at Urbana/Champaign, Ph.D. dissertation, 1973. KNUPFER, G. AND ROOM, R. Age, sex and social class as factors in amount of drinking in a metropolitan community, Social Problems 12: 224-240, 1964. LAURENCE, F.M. Hemingway and the Movies, Jackson: University of Mississippi Press, 1981. LEACH, B.M. AND NORRIS, J.L. Factors in the development of Alcoholics Anonymous, pp. 441-543 in: KISSIN, B. AND BEGLEITER, H. (Eds.) Treatment and Rehabilitation of the Chronic Alcoholic. The Biology of Alcoholism, Vol. 5, New York & London: Plenum, 1977. LEMERT, E.M. Social Pathology: A Systematic Approach to the Theory of Sociopathic Behavior, New York: McGraw-Hill, 1951. LEVINE, H.G. The discovery of addiction: Changing conceptions of habitual drunkenness in American history, Journal of Studies on Alcohol 39: 143-174, 1978. LIEBLING, A.J. Liebling Abroad, New York: Playboy Press, 1981. The New York Times Film Reviews, Vol. 5, 1959-1968. New York: New York Times, 1970. RITSON, B. Images of treatment, pp. 51-56 in: COOK, J. AND LEWINGTON, M. (Eds.) Images of Alcoholism, London: British Film Institute, 1979. ROIZEN, R. A note on alcoholism treatment goals and paradigms of deviant drinking, Drinking and Drug Practices Surveyor 13: 13-16, 1977. ROIZEN, R. AND MILKES, J. The strange case of the Jellinek Formula's sex ratio, Journal of Studies on Alcohol 41: 682-692, 1980. ROOM, R. Drinking patterns in large U.S. cities: A comparison of San Francisco and national samples in the U.S.A., Quarterly Journal of Studies on Alcohol, Supplement No. 6: 28-57, 1972. ROOM, R. Alcohol, science and social control, pp. 371-384 in: GOMBERG, E., WHITE, H.R. AND CARPENTER, J. (Eds.) Alcohol, Science and Society Revisited, Ann Arbor: University of Michigan Press, 1982. ROOM, R. Sociological aspects of the disease concept of alcoholism, pp. 47-91 in: Research Advances in Alcohol and Drug Problems, Vol. 7, New York & London: Plenum, 1983. ROOM, R. A "reverence for strong drink": The Lost Generation and the elevation of alcohol in American culture, Journal of Studies on Alcohol 45: 540-546, 1984a. ROOM, R. Alcohol and ethnography: A case of problem deflation? (with responses and a rejoinder), Current Anthropology 25: 169-191, 1984b. ROOM, R. Alcohol control and public health, Annual Review of Public Health 5: 293-317, 1984c. RUBIN, L.B. Intimate Strangers: Men and Women Together, New York, etc.: Harper Colophon, 1984. SILVERMAN, J. "I'll Never Touch Another Drop": Images of Alcoholism and Temperance in American Popular Culture 1874-1919, Ph.D. dissertation, New York University, 1979. SINCLAIR, A. Era of Excess: A Social History of the Prohibition Movement, New York: Harper Colophon Books, 1964. SULKUNEN, P. Abstainers in Finland 1946-1976: A Study in Social and Cultural Transition, Helsinki: Reports from the Social Research Institute of Alcohol Studies, No. 133, 1979. WARBURTON, C. The Economic Results of Prohibition, New York: Columbia University Press, 1932. WARNER, W.S. Alcohol trends in college life: Historical perspectives, (originally published 1938), pp. 45-80 in: MADDOX, G.L. (Ed.) The Domesticated Drug: Drinking among Collegians, New Haven: College and University Press, 1970. ZOLOTOW, M. Billy Wilder in Hollywood, New York: G.P. Putnam's Sons, 1977. Table 1. U.S. feature films, 1945-1962, with a major character marked by inebriety 1945 The Lost Weekend* male writer 1946 Notorious* female playgirl/homemaker The Razor's Edge* female homemaker 1947 Smash-Up* female singer Humoresque* female society woman/homemaker 1948 Key Largo* female singer/"moll" 1949 Under Capricorn* female homemaker 1950 Young Man with a Horn male musician Harvey* male "at leisure" (comedy) 1951 Come Fill the Cup* male journalist, male playboy/composer (male AA-like) Night into Morning male college professor 1952 Come Back Little Sheba* male chiropractor (male AA) Something to Live For female actress (male AA) 1954 The Country Girl* male actor 1955 Written on the Wind* male dynasty heir I'll Cry Tomorrow female singer/actress (male AA) Pete Kelly's Blues* female singer/"moll" 1956 The Bottom of the Bottle* male escaped convict 1957 A Star Is Born* male actor The Joker Is Wild male comedian/singer The Sun Also Rises* female & male without occupation The Buster Keaton Story* male actor The Helen Morgan Story female singer 1958 The Voice in the Mirror* male commercial artist, male schoolteacher (male AA-like) Too Much, Too Soon* male actor, female actress/singer Ten North Frederick* male lawyer Cat on a Hot Tin Roof* male sports announcer 1959 Beloved Infidel male writer Rio Bravo male deputy sheriff 1960 From the Terrace* female homemaker 1961 Back Street* female homemaker The Hustler* Female on remittance/student 1962 Sweet Bird of Youth* female actress Days of Wine and Roses* male advertising executive, female secretary/homemaker (male AA) *viewed for this study Note: The gender and occupation of the inebriate character(s) are noted. Characters in parentheses are recovering alcoholics who play an AA sponsor-like role. Table 2. Approximate Birthdates of Those Contributing Life Stories to the First and Second Editions of "Alcoholics Anonymous" First Edition (1939) Second Edition (1955) "Pioneers of AA" Other Stories 1879 x x 1880 x x 1882 x 1888 xx x 1889 x 1890 x 1891 x 1893 x 1895 x x 1896 xxxx x xx 1897 xxx 1898 xx 1899 x 1900 xxxx xxx x 1901 x xx 1902 xx 1903 x 1904 x xx 1906 x 1910 1914 x 1917 x . . . 1928 x with determinable dates: 20 12 16 mean birth year: 1895 1895 1903 indeterminate birthdates: 8 1 8 1. See also: Robin Room, "Shifting Perspectives on Drinking: Alcohol Portrayals in American Films", presented at a colloquium on "Representations de l'alcool et de l'alcoolisme dans le cinema français", June 6-7, 1983, Paris, France; pp. 14-15. On website: http://www.bks.no/alcofilm.htm 2. The results of the 1953 Portal House survey of known alcoholics in the city of Chicago, among other sources, suggest that the ratio of males to females was lower in more middle-class populations; the survey found sex ratios of 3:1 in private physicians' practices, 4:1 in social and family agencies, 6:1 in hospitals, and 11:1 for those with repeated arrests for drunkenness. See "Survey of Alcoholism", Chicago: Portal House of the Chicago Committee on Alcoholism, January 31 1955, pp. 20-34. Reflecting the overwhelmingly male composition of Alcoholics Anonymous in its early years, the 1939 edition of Alcoholics Anonymous included only one life-story of a woman. The 1955 edition moved to a gender balance close to that in Table 1: 26 men and 11 women. 3. See comment on p. 102 following Dollard, 1945. On class differences in drinking, see also Knupfer and Room, 1964; on regional differences in class patterns, see Room, 1972.
7961	dbpedia	3	32	https://www.tvguide.com/movies/intimate-relations/review/2000116864/	en	Intimate Relations	https://www.tvguide.com/…-14261685518.jpg	https://www.tvguide.com/…-14261685518.jpg	[]	[]	[]	[ "" ]	null	[]	null	Check out the exclusive TV Guide movie review and see our movie rating for Intimate Relations	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/movies/intimate-relations/review/2000116864/	Largely unsatisfying remake of Cocteau's LES PARENTS TERRIBLES in an English setting. Enoch is a young boy who falls in love with father Warrender's mistress. The mother (Spencer) fears she'll lose her son as well as her husband, but Warrender sacrifices his own happiness for his son. Dunning is the aunt, secretly in love with Warrender, who settles the peace. The film is too talky and constricted by stage motifs. Enoch and Albiin, the mistress, do have a nice chemistry, though.
7961	dbpedia	0	88	http://vivandlarry.com/classic-film/british-cinema-history-hamlet/	en	British Cinema History: Hamlet	http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2.png	http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2.png	[ "http://vivandlarry.com/wp-content/uploads/2018/12/VLO-Header-2018.png", "http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2.png 640w, http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2-300x225.png 300w, http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2-125x93.png 125w", "http://vivandlarry.com/wp-content/uploads/2011/02/hamletoscarnew.png", "http://vivandlarry.com/wp-content/uploads/2011/02/henry-2.jpg", "http://vivandlarry.com/wp-content/uploads/2011/02/henry.jpg", "http://vivandlarry.com/wp-content/uploads/2011/02/hamlet.png", "http://vivandlarry.com/wp-content/uploads/2011/02/hamlet2.png", "http://vivandlarry.com/wp-content/uploads/2011/02/hamlet3.png", "http://2.gravatar.com/avatar/b91b19397a62746c40b1eee6974fa451?s=100&d=mm&r=pg", "http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-04-at-7.15.07-PM.png 663w, http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-04-at-7.15.07-PM-300x207.png 300w, http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-04-at-7.15.07-PM-125x86.png 125w", "http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-05-at-11.08.31-AM.png 539w, http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-05-at-11.08.31-AM-300x224.png 300w, http://vivandlarry.com/wp-content/uploads/2015/06/Screen-Shot-2015-06-05-at-11.08.31-AM-125x93.png 125w", "http://vivandlarry.com/wp-content/uploads/2014/05/GWTW6-791x533.jpg 791w, http://vivandlarry.com/wp-content/uploads/2014/05/GWTW6-e1545935771625-300x202.jpg 300w", "http://vivandlarry.com/wp-content/uploads/2014/01/gibraltarvivien.jpg 600w, http://vivandlarry.com/wp-content/uploads/2014/01/gibraltarvivien-300x198.jpg 300w, http://vivandlarry.com/wp-content/uploads/2014/01/gibraltarvivien-125x82.jpg 125w", "http://vivandlarry.com/wp-content/uploads/2012/07/vivienjuly7.jpg 600w, http://vivandlarry.com/wp-content/uploads/2012/07/vivienjuly7-300x200.jpg 300w, http://vivandlarry.com/wp-content/uploads/2012/07/vivienjuly7-125x83.jpg 125w, http://vivandlarry.com/wp-content/uploads/2012/07/vivienjuly7-420x280.jpg 420w", "http://1.gravatar.com/avatar/7472008fd32bb59cfaa57f91f72e8a29?s=70&d=mm&r=pg", "http://0.gravatar.com/avatar/cc15ec91c30c8385983dea570b7848ea?s=70&d=mm&r=pg", "http://2.gravatar.com/avatar/b91b19397a62746c40b1eee6974fa451?s=70&d=mm&r=pg", "http://1.gravatar.com/avatar/70f1a52306a862285351c16f572b5097?s=70&d=mm&r=pg", "http://0.gravatar.com/avatar/64529b04e17e70754c7d2739c60d4d5c?s=70&d=mm&r=pg", "http://vivandlarry.com/wp-content/uploads/2017/12/Screen-Shot-2017-12-29-at-21.25.01.png", "http://vivandlarry.com/wp-content/uploads/2018/10/VL-patreon-sidebar-300x200.jpg 300w, http://vivandlarry.com/wp-content/uploads/2018/10/VL-patreon-sidebar-125x83.jpg 125w, http://vivandlarry.com/wp-content/uploads/2018/10/VL-patreon-sidebar-420x280.jpg 420w, http://vivandlarry.com/wp-content/uploads/2018/10/VL-patreon-sidebar.jpg 531w", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/plugins/instagram-feed/img/placeholder.png", "http://vivandlarry.com/wp-content/uploads/2018/12/VLO-Header-2018.png" ]	[]	[]	[ "" ]	null	[ "Kendra", "View all posts" ]	2011-02-20T16:54:44+00:00	This is the second paper I did on a Laurence Olivier film last semester for my course. I was interested in looking at Larry and his important role in the British film industry during the 1940s. His…	en		Vivien Leigh and Laurence Olivier	http://vivandlarry.com/classic-film/british-cinema-history-hamlet/	This is the second paper I did on a Laurence Olivier film last semester for my course. I was interested in looking at Larry and his important role in the British film industry during the 1940s. His Shakespeare films exemplified what critics back then termed “quality” cinema. This paper is an exploration of the muddled definition of the term and how it applied to the 1948 version of Hamlet. ‘A Study in Hamlet‘: Laurence Olivier and the British ‘Quality’ Film © Kendra Bean Written for the Traditions in British Cinema MA course King’s College London January 2011 Prior to WWII, British cinema was not regarded in a very serious light. Though the 1930s was a productive period and many émigré directors and technicians were inflecting a “rich stylistic and thematic corpus of films,”[i] the output of the British film industry at this time was seen by both critics on the home front and cinephiles abroad as being inferior to Hollywood standards and unworthy of praise. It was not until the early 1940s that critics began discerning a wave of films that “seemed to have a positive cultural identity of their own.”[ii] From roughly 1942 to 1948, critics from periodicals such as The Times, Evening Standard, and The Observer used the term “quality” to define certain British films that they believed were artistic, realistic, embedded with deeper meaning, infused with a particular Britishness or national identity, and would hopefully appeal to a wide variety of audiences in Britain and abroad. By imposing such highbrow judgments on films, the “quality” critics “hoped to change the nature of mass cinema in Britain.”[iii] Many “quality” films made during this time—In Which We Serve (David Lean and Noel Coward, 1942), The Way to the Stars (Anthony Asquith, 1945), and Brief Encounter (David Lean, 1945), to name a few—also fell under the category of the “prestige” film. This term was coined by producers such as J. Arthur Rank and other industry officials, and applied to films that were made on a larger budget, had “predictable box-office components such as stars and a source of the original story (play or film),” and could financially compete with the American market.[iv] At times the two terms went hand in hand and even delineated the same meaning, but on occasion they were at odds with each other. The films of Michael Powell and Emeric Pressburger, for example, were “prestige” pictures. They were financed by mogul J. Arthur Rank, starred a troupe of seasoned actors including Roger Livesey and Anton Walbrook, and had enough spectacle and creativity to entertain cinemagoers. Their 1948 film The Red Shoes was even nominated for the Best Picture Academy Award. However, Powell and Pressburger pictures did not impress the “quality” critics who brushed them aside due to their reliance on fantasy and “extravagance” rather than a sense of “documentary” realism.[v] One film that managed to bridge the gap between “quality” and “prestige” was Laurence Olivier’s Hamlet (1948). Released at the end of what John Ellis has dubbed “the quality film adventure,” Hamlet was a high-budget Shakespearean art film funded by the Rank Organization and, in some ways, British cinema’s crowning achievement up to that point. It solidified Laurence Olivier’s stature as an actor-director, and it became the first non-American film to win Hollywood’s top prize: the Academy Award for Best Picture of 1948 (this on top of Olivier directing himself to a Best Actor Oscar). Yet despite its accolades, Hamlet has, over time, come under much scrutiny. New York Times critic Terrence Rafferty wrote in his From the Current essay for the Criterion Collection DVD edition of the film: The consensus nowadays is that Hamlet is the most problematic of Olivier’s three self-directed Shakespeare movies—that Henry V (1944) is a more vibrant and imaginative piece of filmmaking, and that Richard III (1954) records a more memorable performance. By comparison to those clear triumphs, this Hamlet, once so celebrated, has taken on the quality of a forlorn and nearly forgotten thing, like Yorick’s skull.[vi] In this essay, I would like to steer the discourse away from contemporary criticism and re-examine the film through a historical lens by looking at the ways in which Hamlet conforms to the notions of “quality” cinema laid out by critics in the 1940s, as well as how it was critically received upon its initial release. It should be acknowledged from the beginning that Hamlet was made possible by the success of Olivier’s previous Shakespeare film Henry V. Many scholars such as Charles Barr cite Henry V as setting the standard for quality British cinema during the war years.[vii] Olivier had been commissioned by producer Filippo del Giudice and discharged from the Navy to make the film about England’s patriotic king as a wartime morale-booster. His involvement in previous British propaganda films including Lady Hamilton (Alexander Korda, 1941), Words for Battle (Humphrey Jennings, 1941), The 49th Parallel (Michael Powell, 1941), and the pro-Russian film The Demi-Paradise (Anthony Asquith, 1943), as well as his popularity as a classical theatre actor who had done some of the famous speeches from Henry V for radio, influenced this decision.[viii] Before Henry V, Olivier was of the opinion that Shakespeare was not suitable for the screen. It was too theatrical.[ix] Previous film adaptations including Max Reinhardt’s star-studded and shimmering A Midsummer Night’s Dream (1935),George Cukor’s Romeo and Juliet (1936) with Leslie Howard and Norma Shearer, and Paul Czinner’s As You Like It (1936)–a vehicle for the director’s wife, Elizabeth Bergner–in which Olivier starred as Orlando, had all been relative failures. If Olivier was going to take part in Henry V, “he wanted to have the final say in the way it was produced and cast.”[x] Del Giudice gave Olivier this freedom (as he would do again for Hamlet), which in turn gave Olivier a boost of confidence as a first-time film director.[xi] Realism was the key to making Henry V a successful Shakespearean film adaptation. To make the dated Elizabethan language seem more plausible to cinemagoers, Olivier framed the story with the Chorus acting out his role in a 17th Century performance at Shakespeare’s Globe Theatre in London. Beginning and ending the film on the stage “solved the wider, even more worrying problem of how to blend the artificiality of Shakespearian verse with the modulated sincerity to which audiences are accustomed in the cinema…if in this Bankside prologue the performance had all the bombast of Elizabethan acting, then, by contrast, the verse and prose dialogue of the film proper, which would be spoken quietly and sincerely, would seem natural.”[xii] In contrast with the deliberate theatricality of the opening and closing scenes, the “film proper” was shot outdoors using multitudes of extras and horses. The combination of historical theatrical setting and location shooting melded seamlessly into an authentic backdrop against which Henry (and Olivier) could deliver his rabble-rousing soliloquies to audiences both within and outside of the film. On top of this, the use of Technicolor gave an added boost to its rich, patriotic tone. Henry V also had what Ellis calls “the spirit of reality.” According to “quality” critics of the time, the “creative, expressive level” of a film “is that of emotional truth: it is not just providing a convincing representation, but of giving the total emotional experience of people and events so that their truth shines from the screen, ‘expressing the spirit of a country’ or of an individual.”[xiii] The most famous example of this is probably the “St Crispin’s Day” speech given before Henry’s army fight the French at Agincourt. Henry’s faithful soldiers crowd around them as he steps up onto a platform and declares every man who fights with him to be his brother no matter what his class or rank. Sentiments such as these reflected the unified spirit of Britain during the war. Olivier’s creativity as a director helped Henry V break from the standards of the Shakespeare films that came before it, and its “unforced exploitation of parallels” between Shakespeare’s time and modern day Britain helped it earn critics’ praise.[xiv] The film’s popularity in London spread by word of mouth, and in the US, J. Arthur Rank distributed the film by roadshowing it, releasing it in select theatres in major cities to appeal to a high-brow audience, letting the profits trickle in slowly.[xv] It was a financial success as well as an artistic one, garnering Olivier with a special Academy Award for his achievements. Hamlet, released four years later, was made under a different context. The war was no longer an influence and patriotism no longer needed, which meant that Olivier could exercise more creative freedom when it came to his personal interpretation of the play than he had been able to do with various ministry officials looking over his shoulder during Henry V. The most apparent measure Olivier took when preparing Hamlet’s screenplay was cutting a large part of Shakespeare’s original text, most notably omitting the characters Rosencrantz and Guildenstern as well as some of the play’s famous soliloquies. Knowing that this would be a bone of contention for critics and audience members who knew their Shakespeare, Olivier and his screenwriter Alan Dent made it clear from the beginning that the textual omissions were made for specific reasons. Much like big-budget films made today, a supplemental behind-the-scenes book was published as a marketing ploy that talked about how the film was made. In it, Olivier referred to the film as a “study in Hamlet,” a chiaroscuro engraving rather than a painting. Not only would the cuts allow for the 4 ½ hour play to be condensed into 2 ½ hours for the screen, they also simplified the narrative so the filmmakers could concentrate on a particular aspect of Hamlet’s personality.[xvi] Rather than “expressing the spirit of a country” as Henry V did, Hamlet is “stripped of all but bear essentials” and belongs to “no particular country or period.”[xvii] This film focuses solely on the individual, conveying its “authenticity” through an exploration of the Prince of Denmark’s psyche. Much like Henry V, Hamlet embodies a sense of realism and unity. For “quality” critics, unity involved “the perfect weaving of sound, movement and texture into a story” that works to “create an effect, through mind and heart, that no other medium could so quickly or so generally achieve.”[xviii] Because Hamlet was written for the stage, Olivier was given the task of using stylistic techniques to distinguish this production between a film and a filmed record of a stage performance. One of the ways this unity and distinction is achieved is through the use of voice-over narration. The film opens at the end with a dead Hamlet being laid out at the top of Elsinore Castle and a voice over (Olivier as narrator) telling us the central theme of the story: “This is the story of a man who could not make up his mind.” It foreshadows the events that unfold in the narrative, and serves as “a neat metaphor for the uncertainty of the immediate postwar years.”[xix] By vocalizing the main point at the beginning of the film, Hamlet is straightforward in presenting the “dramatic link between real-life people and their problems.”[xx] In addition, some of Hamlet’s soliloquies are recited in voice-over rather than spoken aloud, and emotions are played out through physical movements and subtle facial gestures. For example, the “To be or not to be” scene alternates between being spoken aloud and using voice-over. Hamlet begs the question of whether life is worth living, and then, as he forlornly peers over a cliff to the sea below, he draws his knife and holds it to his throat while he thinks the line, “or to take arms against a sea of troubles, and by opposing end them.” This method of performance would not have been possible on stage, but Olivier’suse of voice-over here adds to the psychological depth of the scene. Critics of the time were most likely accustomed to Olivier’s fascination with psychoanalyzing Shakespearean roles. When he had performed in Hamlet on stage for Tyrone Guthrie at the Old Vic in 1937, he had been inspired by a 1923 study in applied psychoanalysis written by Dr. Ernest Jones. Jones “was concerned with…Hamlet’s hesitancy in avenging his father’s murder,” and cited the reason for this as Hamlet suffering from Oedipus Complex; Hamlet is “in love” with his mother and therefore identifies with his step-father Claudius, whom he despises.[xxi] This idea was carried over into the film version, where Hamlet’s interactions with Gertrude are sensual and erotic. Two scenes are worth mentioning here. The first is the scene in which Hamlet accidentally kills Polonius. He corners his mother in her bedroom and accuses her of being ignorant to the obvious fact that she married the man that killed her first husband (Hamlet’s father). In a rage, he throws Gertrude onto the bed where she is sprawled out in an erotic position, as if waiting for him to join her. Her expression goes from one of terror to one of eroticism as she softly smiles at him. The camera then goes in and out of focus on Gertrude’s face before turning on Hamlet, staring wide-eyed at his mother. This is accompanied by a non-diagetic heartbeat to represent temporary madness (we also witness the heartbeat in the scene when Hamlet encounters the ghost of his dead father). Hamlet then kisses Gertrude on the mouth and asks her not to sleep with her husband. At the end of the film during the famous duel scene between Hamlet and Laertes, Gertrude, knowing that Hamlet will die if he drinks from the cup being offered to him by Claudius, and not being able to bear the thought of being parted from her son, willingly drinks the poison-laced wine herself. Compare these scenes to Hamlet’s chilly interactions with his love interest, Ophelia, and it is easy to see the extent of Jones’ influence. Thematic elements are closely tied with stylistic components, which play another large part in the film’s unity. Hamlet is a highly stylized film. Much of this can be attributed to set and costume designer Roger Furse, whose designs are minimalist but not unrealistic. The rooms and mise-en-scene are bare, placing the story outside of any one historical period. The unobtrusive sets allow the performances to come to the fore. The only scene that stands out as lavish in its stylization is Ophelia’s suicide, which invokes the poetic, ethereal and tragic romanticism of John Everett Millais’ 1851 Pre-Raphaelite painting Ophelia, which hangs in the Tate and was a direct inspiration to Furse. This scene is not played out in the theatrical version, but rather described by Gertrude, “in the most beautiful language. The scene had to conform to her description. It had, if possible, to be as beautiful to look on as the verse was to hear.”[xxii] In the film, the scene relies solely on visuals. We see Ophelia dressed in white, floating serenely in a river, surrounded by reeds and water lilies, while Gertrude’s voice narrates in a poetic tone. By incorporating the descriptive lines from the play into the mise-en-scene, Furse and Olivier are able to further distance the film from a stage production. Critics had trouble agreeing on the individuals responsible for “bringing together all of the necessary elements into a unified, inspiring rendering of reality” in “quality” films.[xxiii] Although Roger Furse and other technicians such as art director Carmen Dillon and camera operator Desmond Dickinson all played an equally important part in creating Hamlet, it was Olivier as producer-director-star who was given most of the credit for inventing a cohesive production. Several critics of the time labeled Olivier as an auteur. Richard L. Coe of the Washington Post wrote in his review, “So entwined are Olivier the actor and Olivier the director that it is impossible to separate his performance as the Prince from the general whole he has spun.”[xxiv] The Times critic Leonard Mosley echoed this sentiment: “Over all this film the influence of Olivier broods majestically.”[xxv] “Brooding” is the ideal word to describe the mood of the film. Everything from William Walton’s score with its heavy emphasis on strings, to the use of high-contrast black and white cinematography, to the dark and empty mise-en-scene imbue the narrative with the voice of tragedy and pathos, recalling film noir. Hamlet is also permeated with movement. The waves of the North Sea violently crash against the cliffs below the castle during the “to be or not to be” scene. Heavy mists creep about the towers and shroud some of the scenes in nightmarish mystery. The camera literally flows through the narrative space like an unseen character, tracking through the barren halls and floating up the winding stone staircases of Elsinore, as if it has a life of its own: The restless but oddly serene camera movement is unnerving because it feels subjective yet we can’t quite identify the subject. Something—as implacable as a monster in a horror movie—is stalking these people, observing them from impossible heights and across great distances, while itself remaining out of sight. In Olivier’s Hamlet, we seem to be watching human behavior, in all its awful futility, through the cold, unblinking eyes of God.[xxvi] When Hamlet encounters the ghost of his father, the camera goes in and out of focus, visualizing the pulsing, non-diagetic sound of a heartbeat that accompanies it. As Hamlet watches Ophelia walking outside the castle in the beginning of the film, the deep-focus photography visualizes his internal trouble and isolation. These combined elements give the film a poetic quality, “profound” pleasure and the “cinematic sense”[xxvii] of visual artistry that is “intrinsic” but not “pretentious.”[xxviii] “Quality films” were differentiated from “art” films because critics hoped the films they were touting would attract wide audiences with good taste, but many of the “quality” films that were released after the war, including Hamlet, were also “art.” Angela Ndalianis defines art cinema as “a niche within an international market whose major selling point is its status as ‘art’, quality and culture—underwritten by the figure of the director as auteur who functions as a ‘brand name,’ a means of labeling and selling a film.” Art films are also exhibited differently than mainstream films, often being screened in smaller theatres in “urban cities throughout the US.” Hamlet was made at a time when art cinema was beginning to attract considerable attention around the world. In the 1940s and 50s, “the exclusivity fostered by the” demand for and construction of “art-house spaces, the ethos of ‘quality’, intellectual stimulations and ‘high art’ was generated by other social factors” such as film festivals. [xxix] Olivier spent less time behind the camera than other art directors of his generation like Alfred Hitchcock, Vittorio DeSica and Michael Powell, yet he was a brand name due to his stature as an actor, and his success with Henry V was, as mentioned above, a major selling point for Hamlet. Hamlet was also a winner on the film festival and awards show circuits, picking up honors at the Venice Film Festival, Golden Globes, BAFTAs and New York Film Critics Circle, among others. It is also interesting to note that the film awarded the Oscar for Best Foreign Film of 1948 (the same year Hamlet won) was Ladri di Biciclette (Vittorio DeSica, 1948), clearly signaling Hollywood’s recognition and appreciation of the artistic talent coming out of Europe. By the time Hamlet premiered in London in May 1948, “quality” critics were becoming disillusioned with both British films and their audiences. “Everywhere,” observes Ellis, “British society was proving rather more impervious to good sense, good taste and good values than had been hoped for.”[xxx] It seemed like the “quality” film movement had been but a passing phase. Thus, Hamlet proved a breath of fresh air for many reviewers who saw it as at least a temporary and welcome restoration of cultural prestige to the indigenous industry. Historical reviews from the BFI clippings archive reveal the stature placed upon Olivier’s film. Hamlet was, according to Stephen Watts of The Picturegoer magazine, “intelligent,” “real,” and “exciting.” It had “plenty of action,” as well as “great emotional drama…It restores the prestige of British films, which has been slipping lately”[xxxi] Milton Shulman echoed these sentiments in his review for the Evening Standard: “Since it normally requires a great effort of concentration to remember the names of most pictures one sees these days—let alone what they are all about—it is exciting to realize that here at last is a film that yields vivid moments of emotion many days after leaving the seductive seclusion of the darkened cinema.”[xxxii] This was a film that would be accessible and entertaining to both Shakespeare purists and the masses. “The greatness of the Olivier ‘Hamlet’,” wrote Richard L. Coe, “is that he has made it a movie for everybody.”[xxxiii] This is evidenced by the Daily Mirror’s Reg Whitley, who professed to never having read Hamlet, and admitted that Shakespeare was not his “cup of tea.” Yet the film managed to stir his interests: “So when I went to Laurence Olivier’s film of the play yesterday I was what some people might call an ignoramus…All I can say is that this film is a British movie masterpiece artistically ahead of any Continental or American production I can recall.”[xxxiv] Even the Queen had good things to say about it, praising the “brilliant acting, beautiful diction, and wonderful photography.”[xxxv] Members of the critical faculty rejoiced in the film’s return to British culture: “To interpret faithfully and maturely our great literary heritage to the cinema-going millions,” again quoting Shulman, “is not only a unique opportunity that the British industry should grasp firmly with both hands—but it is their duty as well…What we need on the screen are more like Henry V, Pygmalion, Kipps and Great Expectations—and less orchids, good-time girls, and wicked ladies.”[xxxvi] Many pointed out the textual cuts in the play, but emphasizing that the film was still “quality” even if it was missing a fair amount of the original play almost always followed this. Dylis Powell’s review in the Sunday Times embodied this train of thought: Since we are dealing with a film of two and a-half hours drawn from a play of four and a-half hours, let me forestall the purists who will complain of the shock to their nerves produced by the manipulation of the text…Very well, then, so we lose some of the poetry and some of the people, and I shall not be the only one compelled to return to the original. Compelled is the word; I do not remember feeling a sharper desire to enrich one experience by another than the longing which sent me home from the film last week to read and re-read the play.[xxxvii] A major point of agreement among critics was the power of the actors’ performances. “For once it is to the acting that one returns and returns,” wrote Powell.[xxxviii] Felix Aylmer and Stanley Holloway particularly impressed Reg Whitley in their roles as Polonius and the Gravedigger.[xxxix] Richard Winnington said of Jean Simmons’ Ophelia, “She is all light and youth, tender, sensitive and heartrending,”[xl] while Leonard Mosley thought Eileen Herlie’s Gertrude “a brilliant performance.”[xli] Not surprisingly, the most flattering comments went to Olivier. “Sir Laurence’s own performance—a relatively quiet and subdued one—is faultlessly articulated,” wrote Paul Dehn of the Sunday Chronicle on May 9, 1948. The London critic of the Manchester Guardian said, “The greatest compliment that one can pay to this Prince of Denmark is to say that it is difficult to consider him without, in the same breath, talking about Sir Laurence,”[xlii] Olivier’s performance was “altogether one of the finest pieces of acting that either the cinema or the theatre has seen in a long time.”[xliii] Although praise for Hamlet was nearly universal, critics did manage to find some faults. Campbell Dixon of the Daily Telegraph declared the film a triumph but criticized Olivier for his over-reliance on the roaming camera: “Textual cutting was unavoidable,” and “even on the stage helps enormously to tighten up the action…I only wish the brilliant producer-director and star had been as strict with his camera.”[xliv] Dixon was also of the opinion that, despite his efforts to make a purely cinematic Shakespearean adaptation, “Olivier still uses the camera to achieve effects that a stage producer might aspire to if his stage were big enough and money no object.” The Observer’s C. A. Lejeune found the ghost of Hamlet’s father to be a major detractor from the realism of the film as a whole. The ghost manages “to be both unrecognizable and inaudible…His account of the murder is illustrated by a flashback, perhaps wisely, since we can scarcely make out a word of it; his delivery being a mixture of a station announcer on the Metropolitan and a series of hearty Zulu clicks.”[xlv] Leonard Moseley thought the ghost called to mind “a loudspeaker at Wembley, heard from the distance,” rather than a specter lurking in the shadows.[xlvi] Still others complained about Hamlet’s age compared to his mother (Eileen Herlie was 13 years Olivier’s junior), that Olivier’s Nordic bleached hair was unnecessary,[xlvii] and that the film could have been just successful if made on a smaller budget.[xlviii] One critic echoed Olivier’s earlier sentiments that Shakespeare, or, at least Hamlet, was still not suited for the screen, despite Olivier’s attempts to prove otherwise. Jack Davies of the Sunday Graphic, who thought Olivier’s performance so outstanding, said the film as a film did not quite work: It is not great cinema. The film is an art designed for action, not for speech…for a film and I write this as a filmgoer, there is a great deal of talking and thinking aloud. And although the words are the most beautiful (and best known) ever written, from a cinematic point of view they inevitably make the film move slowly.[xlix] But, such disparaging comments paled in comparison to the overall laurels Hamlet received. As Leonard Mosleystated, “The criticism which any bold and imaginative experiment must provoke should not obscure gratitude. Sir Laurence Olivier and a distinguished cast of actors have created a memorable film…”[l] Having learned from the success of Henry V in the USA, J. Arthur Rank promoted Olivier’s second venture in much the same fashion. It was distributed by Universal, exhibited in select cities in bigger theatres than its predecessor, and marketed as a prestige picture toward educational groups such as libraries, schools, literary societies, and women’s clubs.[li] Much like Henry V, Hamlet was also a box office success domestically and abroad; it ran for over a year at the Park Avenue Theatre in New York.[lii] Together with other Rank-produced films including Caesar and Cleopatra (Gabriel Pascal, 1945), starring Olivier’s then-wife Vivien Leigh, Great Expectations (David Lean, 1946), and of course Henry V, Hamlet helped pull in roughly $2 million for Britain.[liii] In this way Hamlet achieved what quality critics hoped all British films would: it brought the critics’ selective notions of good taste to millions and still managed to be financially triumphant. Shakespeare turned out to be Laurence Olivier’s signature as an actor-director. Following Hamlet, he continued to explore the different ways in which the Bard’s plays could be presented both on stage and screen. Richard III (1955) and his filmed National Theatre performances of Othello (1965) and The Merchant of Venice (1973), along with his turn as King Lear for Granada Television in 1983 were all critical successes that showed different facets of Olivier’s acting and directorial skills. Yet it is his two self-directed films from the 40s that stand out today as embodying an era of artistry and sophistication in British cinema. Henry V proved Shakespeare’s work could make successful cinema, and it rallied a nation in its finest hour, while Hamlet displayed the creativity of a master craftsman and helped restore stature when “quality” critics began to lose faith in the industry and audiences. Hamlet may have taken its fair share of criticisms in the years since its initial release, but it remains a quality piece of British filmmaking from the post-war era. Perhaps Terrence Rafferty best articulates Olivier’s achievement when he says, “Hamlet may actually be his greatest achievement as a filmmaker. In Olivier’s hands, Shakespeare’s elusive, haunted, infinitely suggestive tragedy becomes unusually vivid and compelling, and yet remains, as it must, wondrous strange.”[liv] [i] Sarah Street, “British Cinema: Introduction,” in Pam Cook, ed., The Cinema Book Third Edition (London: British Film Institute, 2007), 175. [ii] John Ellis, “The Quality Film Adventure: British Critics and the Cinema 1942-1948,” in Andrew Higson, ed., Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996), 66. [iii] Ellis, “Quality,” 69. [iv] Ellis, “Quality,” 67. [v] Ellis, “Quality,” 71. [vi] Terrence Rafferty, “From the Current: Hamlet, The Criterion Collection,” http://www.criterion.com/current/posts/85-hamlet (Sept. 18, 2000). [vii] Chares Barr, ed., All Our Yesterdays: 90 Years of British Cinema (London: British Film Institute, 1985), 10. [viii] Felix Barker, The Oliviers: A biography (London: Hamish Hamilton, 1953), 199. [ix] Barker, Oliviers, 200. [x] Barker, Oliviers, 199. [xi] Geoffrey Macnab, J. Arthur Rank and the British Film Industry (London and New York: Routledge, 1994), 88. 12 Barker, Oliviers, 200. [xiii] Ellis, “Quality,” 84. [xiv] Barr, All Our Yesterdays, 12. [xv] Sarah Street, Transatlantic Crossings: British Feature Films in the USA (New York: The Contimuum International Publishing Group Inc, 2002), 98. [xvi] Laurence Olivier, “Introduction,” in Alan Dent, ed., Hamlet: The Film and the Play (London: World Film Publications Limited, 1948), 2. [xvii] Barker, Oliviers, 255. [xviii] Ellis, “Quality,” 76. [xix] Michael Brooke, “Hamlet (1948)” BFI Screenonline, accessed January 5, 2011, http://www.screenonline.org.uk/film/id/440240/. [xx] Ellis, “Quality,” 75. [xxi] Barker, Oliviers, 118. [xxii] Roger Furse, “Designing the Film of Hamlet,” in Alan Dent, ed., Hamlet: The Film and the Play (London: World Film Publications Limited, 1948), 29. [xxiii] Ellis, “Quality,” 86. [xxiv] Richard L. Coe, “Hamlet is Given Back to the Masses,” Washington Post, October 21, 1948. [xxv] Leonard Mosley, “Olivier’s Hamlet is brutal, savage—and new,” The Times Educational Supplement, May 15, 1948. [xxvi] Rafferty, “From the Current”. [xxvii] Ellis, “Quality,” 76. [xxviii] Stephen Watts, “’Hamlet’ restores our film prestige,” The Picturegoer, May 1948. [xxix] Angela Ndalianis, “Art Cinema,” in Pam Cook, ed., The Cinema Book Third Edition (London: British Film Institute, 2007), 86. [xxx] Ellis, “Quality,” 88. [xxxi] Watts, “Hamlet.” [xxxii] Milton Schulman, “Olivier Wins the Debate,” Evening Standard, May 7, 1948. [xxxiii] Coe, “Hamlet.” [xxxiv] Reg Whitley, “This film ‘Hamlet’: I’m telling you…,” The Daily Mirror, May 1948. [xxxv] Reg Whitley, “Royal family See Hamlet: 200 police hold crowd,” The Daily Mirror, May 1948. [xxxvi] Schulman, “Olivier Wins.” [xxxvii] Dylis Powell, “The Olivier ‘Hamlet’,” The Sunday Times, May 1948. [xxxviii] Powell, “Olivier ‘Hamlet’”. [xxxix] Whitley, “This film.” [xl] Richard Winnington, “Olivier is Magnificent,” The Daily Herald, May 1948. [xli] Mosley, “Olivier’s Hamlet”. [xlii] “The Film of Hamlet,” Manchester Guardian, May 6, 1948. [xliii] Jack Davies, “Jack Davies talking about the new films,” Sunday Graphic, May 1948. [xliv] Campbell Dixon, “Olivier’s Hamlet Triumph with Minor Flaws,” Daily Telegraph, May 10, 1948. [xlv] C. A. Lejeune, “Hamlet the Dane,” The Observer, May 1948. [xlvi] Mosley, “Olivier’s Hamlet”. [xlvii] Davies, “Jack Davies”. [xlviii] Winnington, “Olivier is Magnificent”. [xlix] Davies, “Jack Davies”. [l] Mosley, “Olivier’s Hamlet”. [li] “Hamlet (1948),” Boxoffice Magazine, accessed on January 5, 2011, http://www.boxofficemagazine.com/reviews/2008-08-hamlet-1948-1. [lii] “Year’s Run: Hamlet in US Film Sets Record,” Daily Telegraph, September 30, 1949. [liii] “The post-war domestic marketplace,” accessed on January 5, 2011, http://encyclopedia.jrank.org/articles/pages/2938/The-Postwar-Domestic-Marketplace.html
7961	dbpedia	0	26	https://www.oxfordbibliographies.com/abstract/document/obo-9780199791286/obo-9780199791286-0052.xml	en	Psychoanalytic Film Theory	https://www.oxfordbibliographies.com/cover/default	https://www.oxfordbibliographies.com/cover/default	[ "https://www.oxfordbibliographies.com/assets/images/cfbb42d/logo_obo.gif", "https://www.oxfordbibliographies.com/obo/moduleimage/cinema-and-media-studies", "https://ouptag.scholarlyiq.com/ntpagetag.gif?js=0" ]	[]	[]	[ "" ]	null	[ "Todd McGowan" ]	null	"Psychoanalytic Film Theory" published on by null.	en	/skin/392b937afcf1fb1aa9df125635c9eaede6d88e2f/favicon.ico	obo	https://www.oxfordbibliographies.com/display/document/obo-9780199791286/obo-9780199791286-0052.xml	Introduction Psychoanalytic film theory occurred in two distinct waves. The first, beginning in the late 1960s and early 1970s, focused on a formal critique of cinema’s dissemination of ideology, and especially on the role of the cinematic apparatus in this process. The main figures of this first wave were Christian Metz, Jean-Louis Baudry, and Laura Mulvey. They took their primary inspiration from the French psychoanalyst Jacques Lacan, and they most often read Lacan through the Marxist philosopher Louis Althusser’s account of subject formation. The second wave of psychoanalytic film theory has also had its basis in Lacan’s thought, though with a significantly different emphasis. Beginning in the late 1980s and early 1990s, this manifestation of psychoanalytic film theory, which continues to remain productive even today, shifted the focus from cinema’s ideological work to the relationship between cinema and a trauma that disrupts the functioning of ideology. In Lacan’s terms, the terrain of psychoanalytic film theory shifted from the axis of the symbolic order and the imaginary to that of the symbolic order and the real. Although psychoanalytic film theorists continue to discuss cinema’s relationship to ideology, they have ceased looking for ideology in the cinematic apparatus itself and begun to look for it in filmic structure. Cinema remains a site for the dissemination of ideology, but it has also become a potential site of political and psychic disruption. The main proponents of this second wave of psychoanalytic film theory are Joan Copjec and Slavoj Žižek. Though the latter has received much more recognition and has produced far more work, one could contend that Copjec’s early work was more revolutionary, as it was her reading of Laura Mulvey’s critique of the male gaze as a Foucaultian critique rather than as a Lacanian one that genuinely commenced the new epoch of psychoanalytic film theory. According to the main figures of the second wave, the initial wave of psychoanalytic film theory failed to be psychoanalytic enough, and the result was a hodgepodge of Marxism and psychoanalysis that produced a straw position that anti-theorists such as David Bordwell could easily attack. The initial aim of the second wave was to create an authentic Lacanian film theory that would approach the cinema with the complexity that it merited. Though there have been isolated works of film theory and criticism dealing with other psychoanalytic thinkers (such Carl Jung, Melanie Klein, or D. W. Winnicott), the primary source for both waves of psychoanalytic film theory has remained Jacques Lacan and, to a lesser extent, Sigmund Freud.
7961	dbpedia	0	71	https://www.theguardian.com/film/2009/nov/05/british-hoodie-films	en	Hoodies strike fear in British cinema	https://i.guim.co.uk/img…0bba053b7dd1b062	https://i.guim.co.uk/img…0bba053b7dd1b062	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CHorror+films%2CCulture", "https://i.guim.co.uk/img/static/sys-images/Film/Pix/pictures/2009/11/5/1257419310617/Harry-Brown---2009-001.jpg?width=465&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Jane Graham", "www.theguardian.com" ]	2009-11-05T00:00:00	<p>If you want to scare a British moviegoer, you don't make a film about zombies – you cast a kid in flammable sportswear and a hoodie, writes <strong>Jane Graham</strong></p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/film/2009/nov/05/british-hoodie-films	Who's afraid of the big bad hoodie? Enough of us, certainly, that the smart money in British cinema is going on those films that prey on our fear of urban youths and show that fear back to us. These days, the scariest Britflick villain isn't a flesh-eating zombie, or an East End Mr Big with a sawn-off shooter and a tattooed sidekick. It is a teenage boy with a penchant for flammable casualwear. What separates hoodies from the youth cults of previous moral panics – the teddy boys, the mods and rockers, the punks, the ravers have all had their day at the cinema – is that they don't have the pop-cultural weight of the other subcultures, whose members bonded through music, art and customised fashion. Instead, they're defined by their class (perceived as being bottom of the heap) and their social standing (their relationship to society is always seen as being oppositional). Hoodies aren't "kids" or "youngsters" or even "rebels" – in fact, recent research by Women in Journalism on regional and national newspaper reporting of hoodies shows that the word is most commonly interchanged with (in order of popularity) "yob", "thug", "lout" and "scum". Greg Philo, research director of Glasgow University Media Group and professor of sociology at the university, traces our attitudes to hoodies back to the middle classes' long-held fear of those who might undermine their security. That is what they see in what Philo describes as "a longterm excluded class, simply not needed, who often take control of their communities through aggression or running their alternative economy, based on things like drug-dealing or protection rackets". "If you go to these places, it's very grim," says Philo. "The culture of violence is real. But for the British media, it's simple – bad upbringing or just evil children. Their accounts of what happens are very partial and distorted, which pushes people towards much more rightwing positions. There's no proper social debate about what we can do about it. Obviously, not all young people in hoods are dangerous – most aren't – but the ones who are can be very dangerous, and writing about them sells papers because people are innately attracted to what's scary. That's how we survive as a species – our body and brain is attuned to focus on what is likely to kill us, because we're traditionally hunters and hunted." Once the images of the feral hoodie was implanted in the public imagination, it was a short journey to script and then to screen – it's no surprise that hoodies are increasingly populating British horrors and thrillers, generating a presence so malevolent and chilling that there are often hints of the supernatural or the subhuman about their form. Daniel Barber's debut feature film, the much touted Harry Brown, is the latest and possibly the grisliest movie to exploit our fear of the young, but it follows a steady stream of British terror-thrillers including Eden Lake, The Disappeared and Summer Scars, as well as a seedier breed of ultraviolent modern nasties such as Outlaw and The Great Ecstasy of Robert Carmichael. Soon we'll get Philip Ridley's Heartless, a visceral supernatural horror in which the howling, snarling hoodies who terrorise the estate turn out to be genuine demons dealing not in crack cocaine but in diabolical Faustian bargains. Harry Brown's hoodies, however, are still very much human, and like most cinema hoodies, the ones who circle the eponymous vigilante hero (played by Michael Caine) hunt in packs and move in unison, commandeering the gloomy underpasses and stairwells of the concrete and steel London estate they inhabit. To Barber, the threat they present is very real and was, he believes, the motivating factor for Caine to make the film. "I'm scared of these kids in gangs," says Barber. "They have no respect for any other part of society. It's all about me, me, me. Life is becoming cheaper and cheaper in this country." And from a director's point of view, hoodies are gold dust. "We're afraid of what we don't understand or know, and there's so much about these kids we just don't understand," he says. "That's a good starting point for any film baddie." When we first see the bad guys in Harry Brown, they are an amorphous mob of hooded creatures cast in shadow, smoking crack in an under-lit tunnel. They shoot at a young mother pushing a buggy in a park, then batter an old man to death. They show all the hallmarks of the stereotypical youth of "Broken Britain" – the tracksuits, guns and dead eyes – and Barber's overhead framing and murky lighting of them as they swarm over a vandalised car or close in on a passing couple invite comparison with those other cinema villains who gather strength in the dark – vampires and zombies. The hoodies of the celebrated British horror Eden Lake have a similarly vampiric quality, though we quickly understand – through the deployment of the Rottweiler, the white van dad, the tracksuits and the Adidas gear – that these are the great British underclass. We know the territory we're in when a mass of disembodied bodies and grabbing hands surround a holidaying young couple's car. "The film isn't an attack on a particular social group," says Eden Lake's director, James Watkins. "But if you had a bunch of public school kids in blazers, it just wouldn't be that scary. There's an element of, 'these are feral kids let off the leash.' The films that stay with you exploit the fears closest to you – like Jaws, the sense that there might be something underneath the water. It's a very primal fear, the fear of the dark or a fear of violence, fear of children – these are very real fears which go very deep in today's society." Johnny Kevorkian, the 33-year-old director of last year's The Disappeared, an atmospheric supernatural thriller about a young boy who vanishes on an estate populated by prowling hoodies, agrees. "Although it's a ghost story, much of the fear in The Disappeared is real," says Kevorkian. "These threatening nasty gangs run these estates. The film is exploiting the fact that things like gangs killing little kids really happens. So of course, in the film, you wonder if these guys are the cause of the boy going missing, and that is really scary." The Disappeared, like Harry Brown, is set on an estate in south London. In both films hoodies set up camp on a favoured spot and punish trespassers – in Harry Brown they seize the underpass, in The Disappeared it's the children's playground. The noises that echo around the estates – car alarms, barking dogs, gunshots and loud, taunting shouts – are crucial elements in the films' relentlessly forbidding atmosphere. "That's the reality of living on these estates," Daniel Barber says. "There are hundreds of homes all on top of each other, all with paper-thin walls. There is no way of escaping the noises other people make around you. You get this terrible claustrophobia. The architecture itself has gone some way to creating the attitudes among the kids who live there. It helps create their personalities – it's not just lack of family involvement or lack of education. They're like prison cells. But whole families live in them in squalor." Barber is also aware of the visual power of the hood itself, an icon that has long had sinister connotations, most with the Ku Klux Klan and the Grim Reaper. "You have gangs of hooded kids roaming around and it is precisely the way they dress – disguising themselves, they cover their faces, mask who they are – which scares us," he says. "But of course behind this mass of awfulness there are real people, real individuals." To be honest, there's not a great deal of interest in these real people in most of the hoodie-horror genre. As Watkins says, baddies are more effective if they're "withheld" – getting to know them means empathising with them and losing our fear, and that's not how scary films work. It's interesting that when British cinema has made a genuine attempt to engage with hoodies on a one-to-one basis, the result is rarely a thriller. Within the last year we have had Penny Woolcock's sensitive and funny 1 Day; Andrea Arnold's Loach-inspired and deeply moving Fish Tank; Duane Hopkins's debut, Better Things; or Wasted, which was nominated for a Scottish Bafta. In those films, the audience's empathy depends on the authenticity and vulnerability of the young actors' performances and the camera closes in on their faces with a curiosity and open-mindedness that the hoodie-horror doesn't share. Each makes a convincing argument that behind the hoodie is a person with the capacity for love, whether it's Fish Tank's hard-drinking Mia or Wasted's surprisingly tender-eyed rent boy, Connor. "The more I know, the less fearful I am," says Caroline Paterson, director of Wasted, a love story centred around two homeless drug addict teenagers in Scotland. "When we were filming in Glasgow, the actors actually got regularly picked up by the police and told to move on. These kids looked like the people we cross the street to avoid and I know that most people make snap decisions – you're a thug, you're a junkie, you're a lager lout. I wanted to make a film that said these people are human beings, they count, there is love and human connections in these people's desperate lives. I wanted to make people take a second look." For Woolcock, whose 1 Day focuses on gun-toting, rap-slamming gangster boys in Birmingham, the urge to "dig behind the headlines" was pressing. "These stories about gang crime and these faceless thugs, scum who are ripping us all off – I thought, that can't be true. I knew if you look a bit harder, you'll find the funny one, the baby, the bully, the sensible one, the one who loves someone who doesn't love them. These are the things that humanise these excluded kids. It's very rare to find genuinely evil or psychotic people – most people are doing the best they can under the circumstances. "People have families and relationships and deal in silly mundane things all the time – they're real people. I wanted to show the fun of these people, too. These are the things that humanise these excluded kids." From bong-smoking delinquents to renegade skaters: Xan Brooks charts the history of the teen menace film Way back in the 1930s, a US church group released a film called Tell Your Children, depicting the corrosive, devastating effects of marijuana on the nation's young. Tell Your Children was a cry from the heart, a clarion call. How tragic, then, that this movie was later recut and retitled for the exploitation circuit. In its new guise, the film now known as Reefer Madness would become a favourite of the very bong-smoking, trash-talking delinquents it meant to condemn. In its unwitting fashion, Reefer Madness set the template for all the teen menace films that followed. Shrewd producers discovered they could have it both ways: decrying each fresh wave of youthful transgressors while simultaneously pandering to the fanbase. What message do we take from The Wild One (1953)? That biker gangs are bad, or that Marlon Brando looks cool in his leathers? If Blackboard Jungle (1955) was such a harsh expose of high-school delinquency, how come its arrival in the UK sparked exultant riots among its teddy boy audience? A similar tension can be found in the moral panic movies of the late 1960s. The Happening (1967) is about a band of hippies who kidnap a mob boss; Wild in the Streets (1968) the tale of a pop singer who force-feeds LSD to the general public. Both appear at least halfway in love with the culture they purport to detest. The same goes for those scare-mongering 1970s gang movies such as The Warriors and Over the Edge, the latter cited as an inspiration by Kurt Cobain ("It pretty much defined my whole personality"). These days, perhaps, there is no director who represents the genre so well as Larry Clark, a sixtysomething film-maker gone native in a perilous world of renegade skaters and oversexed adolescents. Clark, if nothing else, seems passionately, intensely interested in his subject matter – and maybe that's the problem.
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The awards were first presented in 1929, and winners receive a gold-plated statuette commonly called Oscar. Learn more about the award, its categories, and history.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/art/Academy-Award	Categories and rules Winners are chosen from the following 24 categories: best picture, actor, actress, supporting actor, supporting actress, directing, original screenplay, adapted screenplay, cinematography, production design, editing, original score, original song, costume design, makeup and hairstyling, sound mixing, sound editing, visual effects, foreign-language film, animated feature film, animated short, live-action short, documentary feature, and documentary short. The academy also presents scientific and technical awards, special achievement awards, honorary awards, the Jean Hersholt Humanitarian Award, the Irving G. Thalberg Memorial Award (for excellence in producing), and the Gordon E. Sawyer Award (for technological contributions), although these are not necessarily awarded annually. In August 2018 the academy announced that it was adding an annual category for “outstanding achievement in popular film,” to debut at the 2019 ceremony. However, following criticism and confusion, the academy decided to postpone the introduction of the new category. Britannica Quiz The Dating Game: Which Came First? To be eligible for an award in a given year, a film must be publicly exhibited for paid admission for at least one week at a commercial theatre in Los Angeles county between January 1 and midnight of December 31 of that year. Exceptions to this rule include foreign-language films, which are submitted by their country of origin and need not have been shown in the United States. Documentaries and short films have different eligibility requirements and are officially submitted by their producers, whereas music awards require the musical artist to file a submission form. (Read Martin Scorsese’s Britannica essay on film preservation.) Only members of the Academy of Motion Picture Arts and Sciences may nominate and vote for candidates for the Oscars. The academy is divided into various branches of film production, and the nominees in each award category are chosen by the members of the corresponding branch; thus, writers nominate writers, directors nominate directors, and so forth. The entire academy membership nominates the candidates for best picture and votes to determine the winners in most of the categories. Aside from bestowing international recognition and prestige, an Academy Award can play a crucial role in the success of the major winners. The best picture award, for example, can significantly increase the box office earnings of the winning film. For actors and directors, the award often results in higher salaries, increased media attention, and better film offers. History Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now When the academy was founded in 1927, the awards committee was only one of several that had been formed by the new organization. The idea of presenting awards was considered but not immediately pursued, because the academy was preoccupied with its role in labour problems, its efforts to improve the tarnished image of the film industry, and its function as a clearinghouse for the exchange of ideas about production procedures and new technologies. It was not until May 1928 that the academy approved the committee’s suggestions to present Academy Awards of Merit in 12 categories—most outstanding production, most artistic or unique production, and achievement by an actor, by an actress, in dramatic directing, in comedy directing, in cinematography, in art directing, in engineering effects, in original story writing, in adaptation writing, and in title writing. The first awards covered films that had been released between August 1, 1927, and July 31, 1928. The awards were presented on May 16, 1929, in a ceremony at the Hollywood Roosevelt Hotel. The entire membership of the academy had nominated candidates in all categories. Five boards of judges (one from each of the academy’s original branches—actors, writers, directors, producers, and technicians) then determined the 10 candidates with the most votes in each category and narrowed those 10 down to 3 recommendations. A central board of judges, which consisted of one member from each branch, selected the final winners. By the time of the second annual awards ceremony, on April 3, 1930 (honouring films from the second half of 1928 and from 1929), the number of categories was reduced to seven, and the two major film awards were collapsed into one, called best picture. The academy has since continued to make frequent alterations in rules, procedures, and categories. Indeed, so many changes have been made through the years that the only constant seems to be the academy’s desire to remain flexible and to keep abreast of the industry’s evolution. Among the most significant changes have been the decision in 1933 to alter the eligibility period for award consideration to the calendar year and the addition of the supporting actor and actress categories in 1936. Originally the names of the award winners had been given to the press in advance with the stipulation that the information not be revealed until after the awards presentation. However, the Los Angeles Times printed the names of the 1939 winners in an early evening edition before the ceremony, draining the event of all its suspense during one of the industry’s biggest years. Thus, since then, the winners’ names have been a closely guarded secret until the official announcement at the awards ceremony. The Academy Awards were first televised in the United States in 1953, and since 1969 they have been broadcast internationally. By the late 20th century, the ceremony had become a major happening, viewed by millions. Notable hosts over the years included Bob Hope, Johnny Carson, and Billy Crystal. Red-carpet interviews also became an integral part of the event, with much attention focused on the attendees’ ensembles. Steeply declining viewership in the late 2010s, however, led the academy to announce several changes to the ceremony’s broadcast, which included a limit of three hours, beginning in 2019, and an earlier air date, beginning in 2020. Oscar statuette The design for the award statuette—a knight standing on a reel of film and holding a sword—is credited to Metro-Goldwyn-Mayer (MGM) art director Cedric Gibbons. Sculptor George Stanley was commissioned to create the original statuette based on Gibbons’s design. For many years the statuettes were cast in bronze, with 24-karat gold plating. During World War II the statuettes were made of plaster because of metal shortages. They are now made of gold-plated britannium. The design, however, has remained unchanged, with the exception of the pedestal base, the height of which was increased in 1945. The statuette stands 13.5 inches (34.3 cm) tall and weighs 8.5 pounds (3.8 kg). The origins of the statuette’s nickname, Oscar, have been traced to three sources. Actress Bette Davis claimed that the name derived from her observation that the backside of the statuette looked like that of her husband Harmon Oscar Nelson. Columnist Sidney Skolsky maintained that he gave the award its nickname to negate pretension. The name has also been attributed to academy librarian Margaret Herrick, who declared that the statuette looked like her Uncle Oscar. The true origin of the nickname has never been determined. The Editors of Encyclopaedia Britannica
7961	dbpedia	0	1	https://en.wikipedia.org/wiki/List_of_British_films_of_1953	en	List of British films of 1953	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/United_Kingdom_film_clapperboard.svg/100px-United_Kingdom_film_clapperboard.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/w/resources/assets/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-12-08T21:27:27+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/List_of_British_films_of_1953	British films released in 1953 A list of films produced in the United Kingdom in 1953 (see 1953 in film): Title Director Cast Genre Notes 1953 36 Hours Montgomery Tully Dan Duryea, Elsie Albiin, Eric Pohlmann Crime Albert R.N. Lewis Gilbert Anthony Steel, Jack Warner, Robert Beatty War Alf's Baby Maclean Rogers Jerry Desmonde, Pauline Stroud, Sandra Dorne Comedy Always a Bride Ralph Smart Peggy Cummins, Terence Morgan, Ronald Squire Comedy Appointment in London Philip Leacock Dirk Bogarde, Ian Hunter, Dinah Sheridan War Background Daniel Birt Valerie Hobson, Philip Friend, Norman Woodland Drama Beat the Devil John Huston Humphrey Bogart, Jennifer Jones, Gina Lollobrigida Comedy thriller Co-production with Italy The Beggar's Opera Peter Brook Laurence Olivier, Dorothy Tutin, Hugh Griffith Musical Behind the Headlines Maclean Rogers Gilbert Harding, Vi Kaley, Jack May Crime Black 13 Ken Hughes Peter Reynolds, Rona Anderson, Lana Morris Crime Black Orchid Charles Saunders Ronald Howard, Olga Edwardes, John Bentley Crime Blood Orange Terence Fisher Tom Conway, Mila Parély, Naomi Chance Crime The Blue Parrot John Harlow Dermot Walsh, Jacqueline Hill, Ballard Berkeley Crime The Broken Horseshoe Martyn C. Webster Robert Beatty, Elizabeth Sellars, Peter Coke Crime The Captain's Paradise Anthony Kimmins Alec Guinness, Celia Johnson, Yvonne De Carlo Romantic comedy Cosh Boy Lewis Gilbert Joan Collins, Betty Ann Davies, Hermione Baddeley Crime drama Counterspy Vernon Sewell Dermot Walsh, Hazel Court, Hermione Baddeley Thriller The Cruel Sea Charles Frend Jack Hawkins, Donald Sinden, Virginia McKenna War A Day to Remember Ralph Thomas Stanley Holloway, Donald Sinden, Odile Versois Comedy drama Deadly Nightshade John Gilling Emrys Jones, Zena Marshall, John Horsley Crime Death Goes to School Stephen Clarkson Barbara Murray, Gordon Jackson, Beatrice Varley Mystery Decameron Nights Hugo Fregonese Joan Fontaine, Louis Jourdan, Joan Collins Drama Desperate Moment Compton Bennett Dirk Bogarde, Mai Zetterling, Albert Lieven Thriller The Dog and the Diamonds Ralph Thomas Kathleen Harrison, George Coulouris, Geoffrey Sumner Family Escape by Night John Gilling Sid James, Bonar Colleano, Simone Silva Crime The Fake Godfrey Grayson Dennis O'Keefe, Coleen Gray, Hugh Williams Crime The Final Test Anthony Asquith Jack Warner, Robert Morley, Adrianne Allen Sports The Flanagan Boy Reginald Le Borg Barbara Payton, Frederick Valk, Tony Wright Drama Flannelfoot Maclean Rogers Ronald Howard, Mary Germaine, Jack Watling Crime Forces' Sweetheart Maclean Rogers Hy Hazell, Harry Secombe, Freddie Frinton Comedy Four Sided Triangle Terence Fisher Barbara Payton, Stephen Murray, James Hayter Sci-fi The Gambler and the Lady Patrick Jenkins Dane Clark, Kathleen Byron, Naomi Chance Crime Genevieve Henry Cornelius Dinah Sheridan, John Gregson, Kay Kendall Comedy Number 86 in the list of BFI Top 100 British films The Girl on the Pier Lance Comfort Veronica Hurst, Ron Randell, Charles Victor Crime Glad Tidings Wolf Rilla Barbara Kelly, Raymond Huntley, Ronald Howard Comedy drama The Good Beginning Gilbert Gunn John Fraser, Eileen Moore, Peter Reynolds Drama Grand National Night Bob McNaught Nigel Patrick, Moira Lister, Beatrice Campbell Thriller The Great Game Maurice Elvey James Hayter, Thora Hird, Diana Dors Sports The Heart of the Matter George More O'Ferrall Trevor Howard, Elizabeth Allan, Maria Schell Drama The House of the Arrow Michael Anderson Oskar Homolka, Yvonne Furneaux, Robert Urquhart Mystery House of Blackmail Maurice Elvey Mary Germaine, William Sylvester, Alexander Gauge Drama Innocents in Paris Gordon Parry Alastair Sim, Jimmy Edwards, Claire Bloom Comedy Intimate Relations Charles Frank Harold Warrender, William Russell, Elsie Albiin Drama Entered into the 1953 Cannes Film Festival The Intruder Guy Hamilton Jack Hawkins, Michael Medwin, George Cole Drama Is Your Honeymoon Really Necessary? Maurice Elvey Diana Dors, Bonar Colleano, David Tomlinson Comedy Isn't Life Wonderful! Harold French Cecil Parker, Eileen Herlie, Donald Wolfit Comedy It's a Grand Life John E. Blakeley Frank Randle, Diana Dors, Jennifer Jayne Comedy Johnny on the Run Lewis Gilbert Sydney Tafler, Michael Balfour, Jean Anderson Drama The Kidnappers Philip Leacock Duncan Macrae, Theodore Bikel, Adrienne Corri Drama The Large Rope Wolf Rilla Donald Houston, Susan Shaw, Vanda Godsell Crime Laughing Anne Herbert Wilcox Wendell Corey, Margaret Lockwood, Forrest Tucker Adventure Laxdale Hall John Eldridge Kathleen Ryan, Raymond Huntley, Ronald Squire Comedy The Limping Man Cy Endfield Lloyd Bridges, Moira Lister, Alan Wheatley Thriller The Long Memory Robert Hamer John Mills, John McCallum, Elizabeth Sellars Drama Love in Pawn Charles Saunders Bernard Braden, Barbara Kelly, Jeannie Carson Comedy Malta Story Brian Desmond Hurst Alec Guinness, Jack Hawkins, Muriel Pavlow War The Man Between Carol Reed James Mason, Claire Bloom, Hildegard Knef Thriller The Man from Cairo Ray Enright George Raft, Gianna Maria Canale, Irene Papas Crime Co-production with Italy Mantrap Terence Fisher Paul Henreid, Lois Maxwell, Kieron Moore Crime Marilyn Wolf Rilla Sandra Dorne, Maxwell Reed, Leslie Dwyer Crime The Master of Ballantrae William Keighley Errol Flynn, Anthony Steel, Beatrice Campbell Adventure Meet Mr. Lucifer Anthony Pelissier Stanley Holloway, Peggy Cummins, Barbara Murray Comedy Melba Lewis Milestone Patrice Munsel, Robert Morley, John McCallum Biopic Murder at 3am Francis Searle Dennis Price, Peggy Evans, Arnold Bell Crime Murder at Scotland Yard Victor M. Gover Tod Slaughter, Patrick Barr, Tucker McGuire Thriller The Net Anthony Asquith James Donald, Phyllis Calvert, Herbert Lom Thriller Never Let Me Go Delmer Daves Clark Gable, Gene Tierney, Bernard Miles Adventure Noose for a Lady Wolf Rilla Dennis Price, Rona Anderson, Ronald Howard Crime Operation Diplomat John Guillermin Guy Rolfe, Lisa Daniely, Patricia Dainton Drama The Oracle C. M. Pennington-Richards Robert Beatty, Michael Medwin, Virginia McKenna Comedy Our Girl Friday Noel Langley Joan Collins, Kenneth More George Cole Comedy Park Plaza 605 Bernard Knowles Tom Conway, Eva Bartok, Joy Shelton Crime Personal Affair Anthony Pelissier Gene Tierney, Leo Genn, Glynis Johns Drama Recoil John Gilling Kieron Moore, Elizabeth Sellars, Edward Underdown Crime The Red Beret Terence Young Alan Ladd, Leo Genn, Susan Stephen War Rob Roy: The Highland Rogue Harold French Richard Todd, Glynis Johns, James Robertson Justice Historical adventure Rough Shoot Robert Parrish Joel McCrea, Evelyn Keyes, Herbert Lom Thriller Sailor of the King Roy Boulting Jeffrey Hunter, Michael Rennie, Wendy Hiller War The Saint's Return Seymour Friedman Louis Hayward, Naomi Chance, Sydney Tafler Thriller Sea Devils Raoul Walsh Yvonne De Carlo, Rock Hudson, Maxwell Reed Adventure Co-production with the United States Small Town Story Montgomery Tully Donald Houston, Susan Shaw, Alan Wheatley Thriller South of Algiers Jack Lee Van Heflin, Eric Portman, Wanda Hendrix Adventure Spaceways Terence Fisher Howard Duff, Eva Bartok, Alan Wheatley Sci-fi The Square Ring Basil Dearden Sid James, Jack Warner, Joan Collins Drama The Steel Key Robert S. Baker Terence Morgan, Joan Rice, Raymond Lovell Thriller The Story of Gilbert and Sullivan Sidney Gilliat Robert Morley, Maurice Evans, Eileen Herlie Musical Strange Stories Don Chaffey, John Guillermin Peter Bull, Naomi Chance, Valentine Dyall Drama The Straw Man Donald Taylor Dermot Walsh, Lana Morris, Clifford Evans Crime Street Corner Muriel Box Peggy Cummins, Terence Morgan, Anne Crawford Drama Street of Shadows Richard Vernon Cesar Romero, Kay Kendall, Simone Silva Crime Stryker of the Yard Arthur Crabtree Clifford Evans, Susan Stephen, Jack Watling Crime The Sword and the Rose Ken Annakin Glynis Johns, Richard Todd, James Robertson Justice Adventure Co-production with the United States Take a Powder Lionel Tomlinson Julian Vedey, Max Bacon, Maudie Edwards Comedy There Was a Young Lady Lawrence Huntington Michael Denison, Dulcie Gray, Sydney Tafler Comedy Those People Next Door John Harlow Jack Warner, Charles Victor, Garry Marsh Comedy Three Steps in the Dark Daniel Birt Greta Gynt, Hugh Sinclair, Sarah Lawson Crime Three Steps to the Gallows John Gilling Scott Brady, Mary Castle, Gabrielle Brune Crime Time Bomb Ted Tetzlaff Glenn Ford, Anne Vernon, Maurice Denham Thriller The Titfield Thunderbolt Charles Crichton Stanley Holloway, Naunton Wayne, John Gregson Comedy Top of the Form John Paddy Carstairs Ronald Shiner, Harry Fowler, Jacqueline Pierreux Comedy Trouble in Store John Paddy Carstairs Norman Wisdom, Moira Lister, Lana Morris Comedy Turn the Key Softly Jack Lee Yvonne Mitchell, Joan Collins, Kathleen Harrison Drama Twice Upon a Time Emeric Pressburger Hugh Williams, Elizabeth Allan, Jack Hawkins Comedy Valley of Song Gilbert Gunn Mervyn Johns, Clifford Evans, Maureen Swanson Comedy The Wedding of Lilli Marlene Arthur Crabtree Lisa Daniely, Hugh McDermott, Sid James Drama Wheel of Fate Francis Searle Patric Doonan, Sandra Dorne, Bryan Forbes Drama Will Any Gentleman...? Michael Anderson George Cole, Veronica Hurst, Heather Thatcher Comedy The Yellow Balloon J. Lee Thompson Andrew Ray, Kathleen Ryan, Kenneth More Drama Title Director Cast Genre Notes The Conquest of Everest George Lowe Meredith Edwards (narrator) Documentary Man of Africa Cyril Frankel Frederick Bijuerenda, Gordon Heath Entered into the 1954 Cannes Film Festival O Dreamland Lindsay Anderson Documentary short subject A Queen Is Crowned Narrated by Laurence Olivier Documentary 1953 in British music 1953 in British television 1953 in the United Kingdom
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Become an Insider and start reading now. Have an account? . British cinema has really flourished in the last decade. Directors like Andrea Arnold and Steve McQueen have made incredible stories for the big screen. Here are 25 of the best British movies of the last 10 years. Sign up to get the inside scoop on today’s biggest stories in markets, tech, and business — delivered daily. Read preview Thanks for signing up! Go to newsletter preferences Thanks for signing up! Access your favorite topics in a personalized feed while you're on the go. Email address By clicking “Sign Up”, you accept our Terms of Service and Privacy Policy. You can opt-out at any time by visiting our Preferences page or by clicking "unsubscribe" at the bottom of the email. Advertisement British filmmakers have spent the last decade providing the world of cinema with the most interesting and inventing stories one can find anywhere in the world. Working across a diverse range of genres at an increasingly mercurial rate, the British film industry is currently enjoying an acclaimed period of creativity. Long gone are the days of cliched period dramas or ill-conceived remakes of comedy classics. British filmmakers are offering fresh takes that are leading the industry and pushing the film form forward. This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? . So, keep reading below to see a list of the 25 best British films of the last decade, listed in no particular order. Advertisement "Attack the Block" (2011) Effortlessly weaving together scary jumps and biting social commentary, Joe Cornish's 2011 cult classic "Attack the Block" is a fast-paced sci-fi comedy that follows an unlucky young nurse (Jodie Whittaker) who is forced to create an unlikely alliance with a group of mischievous local teenagers (John Boyega, Alex Esmail, Leeon Jones) to fight off an invasion from a rabid species of Aliens. Advertisement "Wuthering Heights" (2011) Andrea Arnold's unconventional re-imagining of Emily Brontë's classic novel strips away all the period-drama clichés we are accustomed to seeing when any Brontë is hauled over to the big-screen to create an immersive and incredibly daring drama that pushes beyond the well-known love story of Catherine Earnshaw and Heathcliffe. Instead, Arnold uses the love between the two young northerners who are split by rank; and, most prominently in Arnold's adaptation, race to create a movie that offers up all the gothic spirit of the novel alongside the even darker history of British imperialism. Advertisement "We Need to Talk About Kevin" (2011) Lynne Ramsay's acclaimed adaptation of Lionel Shriver's award-winning novel follows Kevin (Ezra Miller), a wild teenager who is in prison after committing a mass murder at his high school. His mother, Eva (Tilda Swinton), a once-successful travel writer struggles to deal with the pain her son has inflicted and we follow her as she descends further into her memories recounting every moment of her life that led up to Kevin's violent crime. Advertisement "Shame" (2011) Oscar-winning artist and director Steve McQueen's "Shame" is a compelling and provocative psychological thriller. McQueen's frequent collaborator Michael Fassbender stars as a 30-something businessman who manages to balance his high-powered work life with a secret and unflinching addiction to sex. But when his free-spirited sister Sissy (Carey Mulligan) arrives for an unexpected visit, Brandon's secret slowly starts to unravel. Advertisement "Skyfall" (2012) "Skyfall" is the first James Bond film by British theater and film director Sam Mendes. The dark and stylish edition opens with James Bond (Daniel Craig) on a dangerous assignment that takes a wrong, almost fatal turn. As a result, all the personal details of MI6's undercover agents are released. With MI6 now compromised from within, M (Judi Dench), the agency's head, creates an undercover cell with Bond to track down Silva (Javier Bardem), a dangerous villain from her past. "Skyfall" is widely considered as the film that shot the storied James Bond franchise into the modern blockbuster business. The film also features Adele's "Skyfall," the best Bond theme since Paul McCartney's 1973 "Live and Let Die." Advertisement "Under the Skin" (2013) Writer-director Jonathan Glazer's third movie "Under the Skin" is a complicated and sparse sci-fi drama that is loosely based on Dutch author Michel Faber's acclaimed book of the same name. The movie follows an unnamed alien mutant (Scarlett Johansson) who inhabits the body of a young woman who trails the streets of Scotland in a van in search of unsuspecting prey. Much of "Under the Skin" is shot objectively using small hidden cameras and unconventional, almost documentary-style techniques. There is also an equally harsh and contemporary score by Mica Levi. Advertisement "Paddington" (2014) After a deadly earthquake destroys his home in the South American rainforest, a young bear named Paddington (Ben Whishaw) makes his way to England in search of a new home. And soon he finds shelter in the family home of Henry (Hugh Bonneville) and Mary Brown (Sally Hawkins). But while Paddington's charm seems to rub off on his new family and their friends, he has also caught the attention of an evil museum taxidermist Millicent Clyde (Nicole Kidman) who captures, kills, and stuffs exotic animals to house in the Natural History Museum. And when Clyde becomes aware of Paddington, she sets out to hunt him down. Advertisement "Ex Machina" (2014) British writer Alex Garland is responsible for numerous acclaimed screenplays including "23 Days Later" and "Never Let Me God." And his directorial debut "Ex Machina" follows similar dark and metaphysical themes. The movie follows Caleb, a 26-year-old computer programmer at a large internet company who wins a competition to spend a week at a private mountain retreat belonging to Nathan, the reclusive CEO of the company. And when Caleb arrives, he finds that he will have to participate in a strange experiment in which he must interact with the world's first most advanced AI computer, which is housed in the body of a beautiful girl. Advertisement "The Imitation Game" (2014) With an outstanding leading performance from Benedict Cumberbatch who illuminates on-screen, "The Imitation Game" serves as a perfect entry into the life of the mathematical genius and father of the modern computer, Alan Turing. During World War 2, Turing, along with four other Cambridge mathematicians, was recruited by the newly created British intelligence outfit MI6 to crack the Nazi's unbreakable Enigma code. And in 1942 Turing his team succeed. But 10 years later his life ends abruptly after he is arrested and convicted when it is revealed that Turing is gay. Advertisement "'71" (2014) "'71." is a powerfully directed and acted thriller about a young recruit to the British army named Gary Hook (Jack O'Connell) who is sent to Belfast in 1971 during the early stages of the Troubles. And under the poor guidance of an inexperienced Lieutenant, Hook and his regiment are sent into a volatile area where a violent riot breaks out and Hook is accidentally abandoned. Left without the ability to contact his base, Hook is forced to survive the night and find his way to safety. The movie manages to stay extremely close to historical facts while reveling in all the beats of the classic Hollywood genre in a way that is sure to take your break away. Advertisement "Amy" (2015) Acclaimed filmmaker Asif Kapadia uses archival footage and new personal testimonies to present a powerfully honest look at the twisted and dangerous relationship between artists, celebrities, and the media through the life and career of the immensely talented British singer-songwriter Amy Winehouse. Advertisement "I, Daniel Blake" (2016) "I, Daniel Blake" is classic Ken Loach. The movie follows Daniel Blake (Dave Johns) a 59-year-old widowed carpenter who is forced to rely on welfare after a recent heart attack leaves him unable to work. But despite his doctor's diagnosis, Blake is denied benefits and is told to return to his job. We follow Daniel as he attempts to navigate his way through an agonizing and dehumanizing appeals process in which he begins to develop a strong bond with a single mother (Hayley Squires) who's struggling to take care of her two children. Advertisement "Dunkirk" (2017) Christopher Nolan is best known for his raucous "Batman" thrillers but his greatest achievement thus far is the much quieter, but no less groundbreaking WW2 drama "Dunkirk." Once again feeding his trademark obsession with time, Nolan crafts three interweaving stories to provide an emotionally engaging recreation of the evacuation of Dunkirk, which saw some 340,000 allied troops rescued from the beaches of Dunkirk after the German invasion. "Dunkirk" is an emotionally satisfying spectacle delivered by a writer-director who is in total command of his craft with a richly talented ensemble cast to match. Advertisement "Disobedience" (2017) Based on British author Naomi Alderman's novel of the same name, "Disobedience" follows Ronit, a young photographer who returns home to her Orthodox Jewish community in North London after her father, a well-respect Rabbi, unexpectedly dies. But many years earlier, she was shunned both by her father and the community for developing feelings for Esti, a childhood friend. And once back, the pair reignite that same intense passion, but this time Esti is married to Dovid, a rising Rabbi in their community. Advertisement "The Death of Stalin" (2017) Armando Iannucci cemented his place within the pantheon of classic, British satirists with his work in TV. And thankfully, none of his recent big-screen work has lost any of his trademark bite. Set in 1953 during the Great Terror of Joseph Stalin's reign, Iannucci's second directorial effort "The Death of Stalin" opens, as advertised, with the sudden death of the tyrannical dictator. And when his corrupt, psychopathic councilors are notified, they descend on Moscow one-by-one, and a hilarious fight to install the next head of state begins. Advertisement "God's Own Country" (2017) British writer-director Francis quite literally burst onto the scene after the debut of his quiet, confident, and moving drama "God's Own Country." Josh O'Connor, who is best known as Prince Charles in Netflix's "The Crown," stars as a young Yorkshire farmer who battles addiction until the arrival of a worker from Romania who ignites an intense relationship that changes Johnny's life forever. Advertisement "Matangi/Maya/M.I.A." (2018) Director Stephen Loveridge has known the British rapper M.I.A. for over 20 years. The pair have been friends since they were film students at Central Saint Martins in London. And as a result, "Matangi/Maya/M.I.A." — the documentary Loveridge made about M.I.A.'s life, her rise to fame, and the myriad of controversies that have followed — manages to mix a uniquely critical lens with intimate access to the subject. The documentary is woven together using a vault of never-before-seen footage spanning decades and provides an expansive look into the life of one of Britain's most inventive and controversial artists. Advertisement "McQueen" (2018) "McQueen" is a moving documentary that charts the legacy of Lee Alexander McQueen, the boisterous, anti-establishment fashion designer best known as Alexander McQueen. Co-directed by Ian Bonhôte and Peter Ettedgui, the movie divides the designer's life in to distinct chapters that are named after some of his most famed collections. Archival footage and interviews with McQueen's closest friends and family offer insight into his extraordinary life and offer new context to some of his more controversial shows such as Jack the Ripper Stalks His Victims and Highland Rape. "McQueen" is a fitting tribute to a complicated artist of mesmerizing and profound genius. Advertisement "The Favorite" (2018) Yorgos Lanthimos brought his trademark dark, absurdist humor to the mainstream with his 2018 Oscar-winner "The Favourite." The movie follows a frail Queen Anne (Olivia Colman) during the early part of the 18th century as England is about to wage war with the French. And for the most part, Lady Sarah (Rachel Weisz), the Queen's lover and closest confident governs the country while tending to Anne's ill health. But when a new servant named Abigail (Emma Stones) arrives at court a battle for the Queen's attention begins. Advertisement "The Souvenir" (2019) Over the last decade, British writer-director Joanna Hogg has released three movies, all of them masterpieces, and "The Souvenir" is the first of two to make this list. Slightly pushing past her trademark small-scale yet managing to keep the deeply intimate nature of her previous work, Hogg charts a stunning semi-autobiographical film about youth, love, and, cinema. There is also a stunning, career-making performance from Honor Swinton Byrne daughter of Tilda Swinton — who is a lifelong friend of Hogg's — and also stars. The movie was executive-produced by Martin Scorsese. Advertisement "Lynn + Lucy" (2019) "Lynn + Lucy" is illuminated by a pair of masterful performances by Roxanne Scrimshaw (Lucy) and Nichola Burley (Lynn), two lifelong friends who have never ventured far from their childhood homes. But when Lucy gives birth to her first child, she doesn't react well to being a mother. Soon, the pair's friendship is tested by the most extreme criminal circumstances. Writer-director Fyzal Boulifa's debut movie is a contemporary social realist drama with the morality of a classic Greek tragedy. Advertisement Advertisement "Small Axe" (2020) Steve McQueen's "Small Axe" — a name borrowed from a 1973 single by the Wailers ("If you are the big tree, we are the small axe") — is not a singular work but instead a collection of five separate films that explore the lives of people living in London's West Indian community between the early 1960s and the late 1980s. The "Small Axe" collection is on this list not only because all five films are so good that they could all be cited individually, but because the collection together is an exceptionally acted and nuanced portrait of an underrepresented culture during a transitional time in history. John Boyega, Letitia Wright, and Malachi Kirby star. Advertisement "Belfast" (2021) Actor and director Kenneth Branagh drew from his own experiences growing up during The Troubles in Northern Ireland for 2021's "Belfast." The semi-autobiographical drama tells the coming-of-age story of 9-year-old Buddy (Jude Hill), who is growing up in a Protestant family in the titular city as riots erupt in 1969. "Belfast" was nominated for seven Oscars at the 2021 Academy Awards, with Branagh taking home best screenplay. It also won the BAFTA award for outstanding British film and the Golden Globe for best screenplay. Advertisement "Aftersun" (2022) Charlotte Wells' debut film, "Aftersun," looks at the complicated relationship between 11-year-old Sophie (Frankie Corio) and her father, Calum (Paul Mescal) while they're on holiday together in Turkey. In this emotional character study, the vacation is a pivotal point in Sophie's coming of age. It's also a heartbreaking portait of a father trying to hide his own struggles from his daughter. Mescal was nominated for best actor at the 2023 Oscars for playing Calum, and Wells won outstanding debut at the 2023 BAFTAS. Read next Film Advertisement
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"https://www.filmsite.org/titles/waroftheworlds-title.jpg", "https://www.filmsite.org/images/sci-fifilms.gif", "https://www.filmsite.org/images/disasterfilms.gif", "https://www.filmsite.org/images/actionfilms.gif", "https://www.filmsite.org/titles/wildone-title.jpg", "https://www.filmsite.org/images/dramafilms.gif", "https://www.filmsite.org/images/prevpage.gif", "https://www.filmsite.org/images/spacer.gif", "https://www.filmsite.org/images/nextpage.gif" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.filmsite.org/1953.html	Angel Face (1953), 91 minutes, D: Otto Preminger Director Otto Preminger's dark noir of murder involved a love/hate relationship and betrayal (similar to The Postman Always Rings Twice (1946)) by a scheming, psychotic 'angel of death' femme fatale. In the plot, an ambulance was called to the hillside Tremayne estate, driven by working class Beverly Hills resident Frank Jessup (Robert Mitchum) and his partner Billy (Kenneth Tobey), to treat the 'accidental' mysterious gas inhalation-poisoning of Catherine Tremayne (Barbara O'Neil), the American stepmother of 20 year-old English stepdaughter Diane (Jean Simmons). The question was - was it a suicide attempt or attempted murder? The disturbed and spoiled heiress Diane immediately became infatuated with Frank when she met him during the distress call. A fter following Frank's ambulance in her own sports car and meeting up with him in Harry's diner, Diane came onto him, and he postponed his dinner plans with his steady blonde girlfriend, hospital receptionist Mary Wilton (Mona Freeman), to go out to dinner with Diane instead. Diane became even more determined to sabotage Frank's relationship with Mary and shake her faith in him. She hired Frank as their family's chauffeur, and arranged for him to live in a small apartment over the garage, while encouraging him to attain his future plans to invest in his own car repair shop - with co-owner financial help from Catherine. As a result, Frank began to fall in love with Diane. She had been thoroughly spoiled by her father, well-respected, henpecked novelist Charles (Herbert Marshall), and she wanted to have him all to herself. The deceitful Diane proceeded to tell a series of lies to Frank and began to drive a wedge between Frank and Catherine. Frank began to suspect that Diane was an outright liar about the gas-poisoning incident. When Frank threatened to desert Diane and return to Mary, she piteously begged for him to stay and promised to pack up and run off with him and sacrifice everything to keep him. Diane also confirmed her intense hatred for Catherine - arguing that the "rich widow" had poisoned her father's ability to write. Frank was temporarily convinced to remain romantically entangled with Diane, although he knew her main secretive objective was to murder her wealthy and controlling step-mother, in order to acquire Catherine's inheritance for herself. A plan to eliminate Catherine (devised by both Diane and Frank) by tampering with the Tremayne car went terribly wrong when Catherine and Charles both drove off - and the two died when the car went over a cliff. Delirious and devastated by her father's unexpected death, Diane was imprisoned in a prison hospital-infirmary where she kept insisting that she had planned and executed the car accident-murder by herself, although Frank was also implicated. Charged with murder, Diane's defense lawyer Fred Barrett (Leon Ames) urged Frank and Diane to marry, so that they couldn't testify against each other. The strategy worked and the newly-married couple was ultimately acquitted. But Frank was ready to give up on Diane and divorce her, and become reconciled with Mary. Shortly later, Diane confessed to her lawyer that she alone had killed her stepmother, without Frank's help. The lawyer tore up her written confession of guilt, stressing that the double jeopardy rule prohibited a re-trial. Fatefully in the surprise, ironic bleak ending, as Frank was packing to permanently leave for Mexico by bus, Diane begged him to take her too but he adamantly refused ("It's all over. It's finished"). She offered to drive him to the bus station rather than take the taxi he had ordered, and he reluctantly agreed. As they sat in the car in the driveway ready to drive off, she produced a bottle of alcohol and two glasses. Just when he poured them drinks, Diane - in retaliation - gunned her car in reverse over the embankment and killed them both - the same cliff where the Tremaynes were killed. The Band Wagon (1953), 111 minutes, D: Vincente Minnelli Director Vincente Minnelli's and MGM's great movie musical (with Michael Kidd as choreographer) under the guidance of MGM producer Freed, was an extravagant, big-scale classic romantic comedy that marked a pinnacle for backstage musicals. With a witty screenplay by Betty Comden and Adolph Green, it has often been thought of as Fred Astaire's best MGM musical, but did poorly at the box-office. The musical featured the well-recognized anthem song - a hymn to show business - "That's Entertainment" that was sung and danced by the ensemble, and also reprised at the end of the film. In the story, Tony Hunter (Fred Astaire), a fading Hollywood movie star and a song-and-dance man (known for his top-hat, cane and tails acts and as "the grand old man of the dance") was interested in a Broadway comeback in NYC. In the film's opening sequence upon his arrival in NYC, Tony Hunter performed the solo song "By Myself" as he strolled down Grand Central Station's railroad platform when a mob of photographers and reporters ignored him and instead favored the arrival of Ava Gardner (as Herself). Tony was chosen to perform in a new light-hearted stage musical (known as 'The Band Wagon') scripted by his friends Lily Marton (Nanette Fabray) and Lester Marton (Oscar Levant), a show-writing couple who would also perform in their own play. The Martons promoted acclaimed actor-director Jeffery Cordova (Jack Buchanan) to be the director of 'The Band Wagon', although he had never directed a musical comedy; Hunter chose Broadway novice and rising, long-legged, classically-trained ballerina Gabrielle "Gaby" Gerard (Cyd Charisse) as his co-star. To convince her to join the show, Cordova offered Gaby's mentor and possessive boyfriend Paul Byrd (James Mitchell) the position of choreographer. A clash of egos and changes in the playwrights' original intentions occurred when the rising, pretentious theater star/actor Jeffrey Cordova became the "artistic" director and insisted on a rewrite - to make it a modernistic, dark Faustian tale. To test their dancing compatibility, the duo of white-suited Hunter and white-dressed ballerina Gabrielle went for a carriage ride in Central Park, and then performed the sublime, classic, graceful, and elegant 'getting to know you' love duet and production number "Dancing in the Dark." Although the premiere of Cordova's modified show failed miserably in its debut in New Haven, Connecticut, it eventually succeeded when it was revamped, rewritten and returned to the Martons' original script and songs; the show became a huge success as it traveled to Philadelphia, Boston, Washington, D.C., and Baltimore, before returning to Broadway. In the film's dance finale, Tony and Gabrielle appeared in the film's jazzy balletic 8-minute dreamy, pulp B-movie production number: the "Girl-Hunt Ballet" (memorably choreographed by Michael Kidd) - it was a film-noirish take-off or satire of Mickey Spillane's hard-boiled pulp detective novels; in the number, Hunter and "Gaby" portrayed the characters of private eye Rod Riley and two dangerous, sinister femme fatales, including a blonde and a brunette siren in a slinky, sparkling red dress ("She came at me in sections...more curves than the scenic railway.... She was bad! She was dangerous. I wouldn't trust her any farther than I could throw her. But, she was my kind of woman"). The show was an immediate hit, and Gabrielle (who had broken up with Paul) confessed her love for Tony, and praised him for managing and saving the show: "We've come to love you, Tony. We belong together. The show's going to run a long time. As far as I'm concerned, it's going to run forever." Beat the Devil (1953, US/UK/It.), 89 minutes, D: John Huston Director John Huston's off-beat, campy adventure comedy and crime film was a major box-office failure - and misunderstood by film audiences at the time, mostly for its witty and sardonic script by co-scripter Truman Capote. The film opened in the small Italian port town of Porto Verto (filmed on location possibly at Ravello on the Amalfi coast) where "four brilliant criminals" were introduced (they were later dubbed as "The Committee"): the fraudulent leader Peterson (Robert Morley), German-accented Julius O'Hara (Peter Lorre), professional killer "Major" Jack Ross (Ivor Barnard) and Ravello (Marco Tulli). The foursome was arrested, handcuffed and hauled off to jail by the police. The story of what had led to their incarceration was narrated by a formerly wealthy, middle-aged "roustabout" American named Billy Dannreuther (Humphrey Bogart), the 5th member of the disreputable group who had been hired to assist them. In a flashback to six months earlier in the town, the group of partnered "associates" was about to board a tramp steamer (the SS Nyanga) bound for British East Africa "in a quest for uranium" - part of a complex scheme to acquire uranium-rich land in Africa via a land auction. Two other couples joined the foursome group of "desperadoes": Billy with his voluptuous Italian wife Maria (Gina Lollobrigida), and an upper-crust British married couple - prim and proper Harry Chelm (Edward Underdown) with his flighty, inquisitive and narcissistic wife Gwendolen Chelm (Jennifer Jones in a blonde-wig) who was prone to exaggeration. While unexpectedly stranded and delayed, Billy met with his associates, and hinted with his suspicion that Major Ross (who had just arrived late from London) had murdered Paul Vanmeer, a British Colonial officer who needed to be silenced before exposing their plan. Gwendolen began a romantic affair with Billy, while Maria reciprocated by sleeping with her husband Harry. Meanwhile, Gwendolen bragged to Billy about dubious claims that her husband had inherited an African coffee plantation (with uranium deposits). The group began to suspect that Billy was secretly holding out on them, and was trying to double-cross them and work with the Chelms separately. Once the ship was repaired and departed, it wasn't long before intrigue, betrayals and double-crosses became rampant amongst the characters. When the ship's engine malfunctioned and exploded, Harry jumped ship, and the rest of the passengers boarded lifeboats. Soon, the group came ashore on an African beach, where they were immediately arrested by Arab soldiers. The group was interrogated by a suspicious Arab official named Ahmed (Manuel Serrano), but eventually was released after bribes, and they returned to the Italian port town in a sailboat. After arriving back, the entire party was questioned by Jack Clayton (Bernard Lee), a detective from Scotland Yard regarding the earlier murder of colonial officer Paul Vanmeer in London (ordered by Peterson to silence him and committed by Major Ross). Gwendolen openly revealed everyone's guilt (except Billy's), including Peterson's entire crooked scheme with his compatriots to exploit uranium deposits in Africa, and Major Ross' deadly intentions with a dagger toward her husband. The flashback abruptly ended - the foursome of crooks was arrested, handcuffed, and led away. The film concluded with the arrival of a wired telegram for Gwendolen, with news from Harry that he was alive in British East Africa and had indeed acquired the land rich with uranium, and had become a wealthy land-owner ("Uranium King"). He was even willing to "overlook" Gwendolen's infidelity. Maria fainted while Billy heartily laughed at the outcome: "Oh, this is the end, the end!" The Bigamist (1953), 80 minutes, D: Ida Lupino Ida Lupino's unusual, sympathetic, and even-handed film noirish melodrama was about the controversial topic of bigamy. With her film, she became the first woman to both act in and direct a Hollywood film. 38 year-old Harry (Edmond O'Brien) and 32 year-old Eve Graham (Joan Fontaine) (a "perfect wife") were in a Child Adoption Center office in San Francisco signing papers in the film's opening. The fastidious head of the agency Mr. Jordan (Edmund Gwenn) noticed Harry strangely paused when asked to sign a paper to allow a thorough investigation into every detail of his private life within the next few months. In a co-owned business the couple had established four years before, Harry served as a traveling salesman for the Sutter Sales Corporation dealing in electrical appliances (e.g., deep freezers), often traveling to the Los Angeles area for business for long periods of time. The two were hoping to adopt a four or five-year old child, after Eve's diagnosis four years earlier that she was infertile. Jordan traveled by train to Los Angeles to look into Harry's references in his current office there. He traced Harry to a single-family home and was alerted by a baby's crying to the fact that Harry had another wife and a baby. In a flashback (partially told in voice-over) for much of the remainder of the film, Harry explained how everything had evolved. Feeling that his wife Eve was estranged, emotionally disconnected, and "bitter and restless," the lonely Harry sought companionship with an equally-lonely Phyllis Martin (Ida Lupino) during a bus tour of Hollywood star's homes. They struck up a platonic friendship, but then on Harry's next trip to Los Angeles after becoming disillusioned with Eve, he looked up Phyllis again in the Chinese restaurant where she was a waitress, and their relationship began to slowly heat up during many evenings together. On the night of his birthday celebration, they slept together (off-screen). After returning home, Harry found Eve packing to travel to Florida to attend to her father after a heart attack. He decided to rededicate himself to their marriage, and they agreed to adopt a child together. Three months later, however, Harry returned to LA and again met up with Phyllis, who confirmed that she had quit her job and then told him that she was pregnant ("It's yours"). Feeling responsible, Harry decided that he couldn't desert Phyllis even though she told him that he was free to leave. Harry felt compelled to propose to Phyllis ("Will you marry me?") and she accepted. When Eve returned home from Florida, Harry remained reluctant to divulge his difficult situation. During a brief pause in the flashback, Jordan asked: "How did you expect to get away with it?...Did you think you could live this lie for a lifetime?" Harry's 'gallant and foolish scheme' was to maintain a secret double marital life until the adoption was finalized and legal, and then he would divorce Eve. He rationalized that she would be happy as a single mother with an adopted child. A baby boy was prematurely born to Phyllis, named Danny. When the flashback ended, Jordan at first considered calling the police, but then left in a taxi after telling Harry: "I despise you and I pity you." Harry composed a farewell note to Phyllis before returning to San Francisco, where he also said goodbye to Eve and then turned himself over to the awaiting authorities. Eve was informed on the phone by Harry's defense attorney Tom Morgan (Kenneth Tobey) that Harry had been charged with bigamy. In the film's concluding courtroom scene, both wives attended the trial. Harry's defense attorney deemed that Harry's actions needed to be punished, but should be "tempered with mercy." The Judge (John Maxwell) summarized: "When a man even with the best intentions breaks the moral laws we live by, we really don't need man-made laws to punish him. He'll find out that the penalty of the court is always the smallest punishment." The court was adjourned until the following week, when Harry would be sentenced. He was led away as the two wives glanced at each other and at Harry. The Big Heat (1953), 89 minutes, D: Fritz Lang Fritz Lang's dark, very brutal and violent, classic, expressionistic film noir/melodrama and gangster film explored the seamy underworld of American organized crime. The film opened with the unusual suicide of guilt-stricken, supposedly-honest, 41 year-old veteran fellow Kenport Police Dept. cop Tom Duncan. His evil, conniving and greedy widow Bertha (Jeanette Nolan) absconded with his handwritten case notes (with damning evidence) that were to be mailed in an envelope addressed to the local DA in the Hall of Justice, and locked them up in her own safe-deposit box. The widowed Bertha was in cahoots with big-time, ruthless, meglomaniacal kingpin and local mob boss Mike Lagana (Alexander Scourby). His brutal, sadistic, reflexive, cold-blooded henchman Vince Stone (Lee Marvin) was keeping company with his vainly narcissistic, brassy, free-spirited femme fatale girlfriend/moll Debby Marsh (Gloria Grahame) - a sado-masochistic, abusive relationship. Homicide Sgt. Dave Bannion (Glenn Ford) was determined to relentlessly discover the truth, when there were contradictory reports that Tom wasn't in ill-health or suicidal, and was in the midst of divorcing Bertha. Tom Duncan's barfly mistress Lucy Chapman (Dorothy Green) at the Retreat Bar completely refuted Bertha's version of events about Tom. Shortly later, Lucy was found thrown from a moving car on the parkway (off-screen) - she had been brutally beaten and tortured (with cigarette burns) and murdered (by strangulation). Bannion became more suspicious when other compromised individuals in the police department wanted no more questions about Duncan's sudden suicide or Chapman's murder, including Department Head Lt. Ted Wilks (Willis Bouchey) and Police Commissioner Higgins (Howard Wendell). The Syndicate also decided to intimidate Bannion by retaliating against him. There was a shocking scene of a car bombing (with a blinding explosion outside Bannion's house) that accidentally killed his beloved young wife Katherine or 'Katie' (Jocelyn Brando). The frustrated Bannion was essentially suspended and then resigned from his position at the police department to tenaciously pursue justice on his own, and avenge the mob's murder of his wife. One of the film's most celebrated scenes was the coffee-scalding scene - an enraged, jealously-vindictive Stone hurled his boiling coffee into the face of girlfriend Debby Marsh, when he suspected her of speaking with Bannion (and more) and divulging information. Realizing that her days were numbered, Debby courageously joined forces with the homicide detective for revenge on the culprits. Lagana's thugs were implicated in the car-bombing, and it was revealed that Tom Duncan was on Laguna's payroll for years. It was also suggested that Bertha Duncan was blackmailing both Laguna and Stone with Tom's papers in her safe deposit-box (for $500/week). Bannion confronted the obviously-guilty Bertha Duncan in her home and was tempted to strangle her for her collusion with the Syndicate. Separately, Debby went further - the scarred femme fatale cold-bloodedly murdered Bertha with three gun shots (after calling them both "sisters under the mink" for wearing fur coats - symbols of corruption), as she was phoning Lagana. In retribution, she also returned the coffee-scalding favor to Vince. But then, as she walked away, he fatally shot her twice in the back. Dave burst in, arrested Stone and took him into custody for her attempted murder, and learned that Debby had admitted to killing Bertha. During Debby's moving death scene, the sympathetic Sgt. Bannion cradled her head with her mink coat. The film ended with Bannion's return to his duties in his homicide department job after indictments were brought against Lagana and his corrupt Syndicate, and the Police Commissioner Higgins. From Here to Eternity (1953), 118 minutes, D: Fred Zinnemann Fred Zinnemann's provocative, Best Picture-winner (with seven other Oscars) was an adaptation of James Jones' 1951 best-selling, hard-hitting novel of on-duty/off-duty military life among recruits in the pre-Pearl Harbor era of 1941 - on the eve of WWII. It was a combination romance, combat and melodramatic film set (on-location) on Oahu during peacetime just before the Pearl Harbor attack. The ground-breaking film's subjects (ill-suited for television) included prostitution, adultery, military injustice, corruption and violence, alcohol abuse, and murder. Sensitive loner bugler and career soldier Pvt. Robert E. Lee "Prew" Prewitt (Montgomery Clift) was recently demoted and transferred from the Bugle Corps at Fort Shafter to the Army's Schofield Barracks on Oahu; due to his skill as a talented boxer, he was dealt harsh "treatment" and hazing persecution when he stubbornly refused to fight for Company G's regimental boxing team. He was chastised by the company commander Captain Dana "Dynamite" Holmes (Philip Ober) and other officers for going his "own way." Meanwhile, the bored and frustrated base commander's neglected, promiscuous wife Karen Holmes (Deborah Kerr) became engaged in a torrid and forbidden love affair with the good-guy career soldier First Sgt. Milton Warden (Burt Lancaster). The film's most famous scene was their nighttime erotic lovemaking scene - their embrace in the pounding Hawaiian surf. Meanwhile, Prewitt often frequented a private downtown Honolulu 'social club' known as the New Congress Club, stocked with hostesses (another term for prostitutes or call girls) - he became close and eventually fell in love the club's employee Alma Burke, or "Lorene" (wholesome actress Donna Reed in an 'against-type role). After a month of torment, abuse and repeated vicious beatings in the stockade at the hands of sadistic, villainous, bullying, racist, cruel stockade captain of the guard - Staff Sergeant James "Fatso" Judson (Ernest Borgnine), Prew's good-natured Italian friend Pvt. Angelo Maggio (Academy Award-winning Frank Sinatra) was ultimately beaten to death (and died in Prewitt's arms). Prewitt retaliated with the vengeful manslaughter (stabbing) murder of "Fatso" by knifing Judson to death in a back alley. He suffered injuries himself with a stomach wound, and then went AWOL by hiding at Lorene's apartment while she treated his wounds. When the surprise attack on Pearl Harbor was announced on the early morning of December 7, 1941, Sergeant Warden took charge and rallied his enlisted men to prepare to fight. The obstinate Prewitt left his sympathetic hostess/hooker-girlfriend Alma (Lorene) and made an ill-advised attempt to return to the barracks in the dark. He was accidentally and tragically killed by sentinel guards who reacted nervously to him (thinking that he was a Japanese ground-based saboteur) when he failed to halt and identify himself on the golf course. Sgt. Warden reacted to the "good soldier's" demise with praise and a glorifying, lamenting epitaph. In the film's final scene, Karen and Alma leaned on the railing of a Matson ocean liner while departing wartime Hawaii for the mainland to find new lives - after lost and failed loves. Gentlemen Prefer Blondes (1953), 91 minutes, D: Howard Hawks Director Howard Hawks' musical was advertised as having "The Two M-M-Marvels Of Our Age In The Wonder Musical Of The World!" After the introductory 20th Century Fox logo, but before the title credits, the opening rendition featured the nightclub entrance of two bombshells -- dumb blue-eyed blonde and veteran gold-digger Lorelei Lee (Marilyn Monroe) and cynical, wise-cracking brunette Dorothy Shaw (Jane Russell) who burst onto the screen through black curtains, wearing dazzling, glittering, sparkly red and white costumes while singing and dancing "Two Little Girls From Little Rock." Afterwards, in their nightclub dressing room, Lorelei (with a distinct passion for diamonds) received an engagement ring from her admiring, extremely rich boyfriend Gus Esmond, Jr. (Tommy Noonan). Gus' strict father Mr. Esmond Sr. (Taylor Holmes) had always been adamantly opposed to the idea of their marriage. The two performers were sent ahead to Europe on an ocean cruise ship (the Isle de Paris) bound for Paris before a planned wedding, with Dorothy serving as Lorelei's "chaperone." Before the ship departed, Dorothy had already invited handsome members of the Olympic relay team on the cruise to her shared room for champagne and a 'bon voyage' party. Gus gave Lorelei a letter of credit ("like money") to cover her expenses upon her arrival, and promised to later rendezvous with her in France. Gus' resistant father prohibited Lorelei and Gus from traveling together, so Lorelei was traveling to Paris without him. It was also revealed that Gus' father had hired a private detective Ernie Malone (Elliott Reid) to spy on Lorelei during the trip. Lorelei was warned by Gus that their marriage would be called off by his father if there was "even the slightest hint of any scandal." In a notorious choreographed song/dance scene, the sexy Dorothy Shaw was in an athletic gym on the cruise ship filled with disinterested male body-builders and gymnasts from the Olympic team, as she sang "Anyone Here For Love." During the cruise across the Atlantic, private detective Malone had quickly fallen in love (at first sight) with Dorothy. Lorelei also became intrigued by a rich, geriatric, married South African diamond mine owner (the second largest mine) named Sir Francis "Piggy" Beekman (Charles Coburn). Piggy's jealous wife Lady Beekman (Norma Varden) was introduced to Lorelei and immediately showed off her diamond tiara. The next day, Dorothy became suspicious when she caught Malone surreptitiously taking snapshots through Lorelei's room porthole to incriminate her and ruin her reputation - she was caught innocently being hugged by Piggy. The two schemed to retrieve the film from Malone, and Lorelei was able to convince Piggy to reward her with Mrs. Beekman's tiara as a sign of his gratitude. However, Dorothy then caught Malone retrieving his hidden planted reel-to-reel tape recorder in their cabin - it had recorded Piggy's and Lorelei's damning conversation. Once they arrived in France, they learned that Mrs. Beekman had filed an insurance claim regarding the theft of her tiara, but Lorelei refused to relinquish it. The two discovered that their "letter of credit" and hotel reservation had been cancelled due to Malone's damaging report to Mr. Esmond, Sr., who regarded Lorelei as a "blonde man-trap." The two showgirls resorted to finding work in a lavish song/dance revue nightclub show at Chez Louis. Lorelei went on stage to dazzle everyone with her pink-dress show-stopping performance of "Diamonds Are A Girl's Best Friend" (Monroe's most famous musical number) - a declaration of her true beliefs. When Lorelei was about to be apprehended and arrested by gendarmes for taking Lady Beekman's tiara, she decided to give it back but realized that it had been stolen from her dressing room's jewelry box. In a subsequent night-court hearing on grand larceny charges, Dorothy donned a blonde wig (to impersonate Lorelei and play dumb), to ultimately convince Malone to not hurt her best friend Lorelei. Malone, now fully in love with Dorothy, responded by exonerating Lorelei - he took two gendarmes to the airport to apprehend Piggy, bring him back to the court, and reveal that he possessed the tiara. The case against Lorelei was promptly dismissed. In the film's conclusion back at the nightclub, Lorelei (who truly loved Gus) delivered a speech to convince Gus' father that he should give his consent to marriage. The film ended with a double marriage ceremony on the cruise ship back to the US - Lorelei with Gus, and Dorothy with Malone. House of Wax (1953), 90 minutes, D: Andre de Toth Andre de Toth's highly-successful, classic Technicolored horror film was created in "Natural Vision" 3-D (it was the first 3-D film produced by a major studio, Warner Bros' first 3-D film, and the first 3-D film released with a stereophonic soundtrack). In the film's opening set in the 1890s in NYC, Matthew Burke (Roy Roberts) was in a business partnership with eccentric wax sculptor Professor Henry Jarrod (Vincent Price) - they co-owned a wax museum. It was deliberately set on fire by the impatient Burke who had suggested it would be the fastest way to collect on the insurance (a total of $25,000). All of the historical figures (considered "friends" and living and breathing creatures by Jarrod) inside the museum melted, and it was presumed that Jarrod died in the burning building. Later, a cloaked black-garbed disfigured individual went on a rampage of murder. Burke was confronted by the murderer in his office and killed, and his body was hung by a rope in an elevator shaft. And then Burke's promiscuous, gold-digging ex-fiancee Cathy Gray (Carolyn Jones) living in a boarding house was drugged and strangled by a cord. Later n the morgue body storage room, the black-garbed killer emerged from under a sheet to steal Cathy's corpse. It was then revealed that Jarrod had survived the fiery blaze and appeared about 18 months later, with scarred and useless hands - and wheelchair-bound. After receiving financing, he rebuilt a new House of Wax exhibition museum that would showcase a "Chamber of Horrors." Cathy's friend - leading lady Sue Allen (Phyllis Kirk), also found herself pursued by the killer. During the museum's debut, as Sue wandered around the museum's exhibits, she was suspiciously amazed by the likeness of the figure of Joan of Arc to Cathy. The film's obvious twist was that the vengeful Jarrod (in the disguise of the cloaked, face-disfigured killer and later wearing a facial mask to hide his melted face) had been committing the many murders. He then stole their corpses from the New York City Morgue and coated them with molten wax using wax body dip machinery to produce very life-like statues for his waxworks exhibits. During Sue's scary 3rd visit to the museum after-hours while she was being watched, she made the shocking discovery that her friend Cathy's corpse had been dipped in wax to create the Joan of Arc wax figure. When she confronted Jarrod, he admitted his hideous plan - Sue was to be his next "leading lady" for immortality - Marie Antoinette. In the film's most shocking moment, the Phantom-of-the-Opera-like Jarrod had his face beaten by Sue and his wax mask was broken off to reveal his hideously-burned and disfigured face below. She fainted and awoke in the museum's cellar laboratory, where she was strapped and naked under a boiling vat of wax as Jarrod prepared her to be his next exhibit victim. During a struggle with authorities who arrived at the scene just in time to rescue Sue, Jarrod wound up falling into his own burning cauldron of tallow (at over 450 degrees F.) from an upper bridge - it was his apt and richly-deserved fate. I Confess (1953), 95 minutes, D: Alfred Hitchcock In this film-noirish crime thriller/drama, humble Canadian (Quebec) priest Father Michael William Logan (Montgomery Clift), an ex-war hero, listened in the church booth to the confidential confessions of his church's live-in handyman/caretaker Otto Keller (O.E. Hasse), a German refugee. Keller admitted that he had disguised himself as a priest, and in a failed robbery attempt, he had killed lawyer Villette (Ovila Légaré), where he served as a part-time gardener. Keller also told his wife Alma (Dolly Haas), the church's housekeeper about his crime. Innocent, martyr-like Father Logan was implicated and became a prime suspect, after two schoolgirls testified that they saw a priestly figure leaving Villette's home at the time of the crime. Father Logan was unwilling to reveal his knowledge or his whereabouts (at the time of the murder) to anyone, claiming rigid sanctity known as 'priest-penitent privilege.' He also refused to tell anything to Police Inspector Larrue (Karl Malden). During the investigation, Logan's pre-priesthood lover Ruth Grandfort (Anne Baxter), married to respected Parliament member Pierre Grandfort (Roger Dann), attempted to help by providing Logan with an alibi. She stated that she was meeting with Logan just before the time of Villette's murder. They were discussing Villette's blackmailing attempt. [Note: About five years earlier, seen in flashback, Villette scandalously saw the married Ruth and Logan spend the night together during a storm - although they were chaste - and now threatened to divulge this information.] Police turned around her testimony, concluding that Logan had a clear motive to kill Villette. They also discovered (planted) bloody priest's robes in the bottom of Logan's chest, with a blood type that matched Villette's. Father Logan was accused of the murder and went to trial, denying any involvement in the murder, while not revealing anything about Keller's confession. Prosecutor Willie Robertson (Brian Aherne) insinuated (unfairly) that Logan and Ruth were having an ongoing affair. The jury ruled that Logan was not guilty, because of insufficient evidence. As Logan left the courtroom, the angry, suspicious and hostile crowd believed he was guilty. Knowing the truth of the murderer's identity, Keller's wife Alma attempted to tell a policeman that her husband was the real killer - she was silenced by a bullet from the panic-stricken Keller. The police went to arrest Keller, cornered in a hotel ballroom. The killer incriminated himself when he accused Logan of hypocrisy - by telling the police about his confession. When Father Logan approached Keller to plead with him to surrender, Keller attempted to shoot Logan, but was killed by a police sniper. It Came From Outer Space (1953), 81 minutes, D: Jack Arnold Director Jack Arnold's and Universal-International's 3-D widescreen sci-fi horror thriller with stereo sound was the director's first sci-fi work, adapted by Harry J. Essex from an original Ray Bradbury fantasy and film treatment known as The Meteors. The deliberately slow-paced film, a variant of film noir within the sci-fi genre, featured suspenseful and atmospheric cinematography and a memorable, massive, one-eyed Cyclopian monster. This unique early 1950s tale of benign, non-harmful aliens that crash-landed on Earth in the Arizona desert near a typical small American town remained a Cold War-era cautionary tale, with an anti-conformist, anti-McCarthy message. By the technique of shape-shifting, morphing or cloning, the 'invading' aliens absorbed and duplicated the outward appearances (but not the personalities) of some of the nearby townspeople in order to help disguise their efforts to repair their damaged, buried spaceship within a crater. The peace-loving aliens' only crimes were theft (of items in a local hardware store!!) and kidnapping. In the film's opening, amateur astronomer John Putnam (Richard Carlson) with his supportive and sweet-natured fiancee Ellen Fields (Barbara Rush), a local schoolteacher, were stargazing. They witnessed the crash-landing of a 'meteor' - actually, a circular saucer or spacecraft, creating a massive crater nearby. By himself, Putnam climbed down a steep incline into the crater's rocky pit, and as the smoke cleared, he could see an open hexagonal window, hatch or porthole in the side of a partially-buried gigantic space object or vehicle. A diaphanous, shivering iris of a cosmic creature (seen from its eerie fish-eye POV) appeared in the window and then abruptly shut in front of him. Behind him, he heard the rumblings of a massive rock slide avalanche that soon completely buried the mysterious object in the pit. After he reported his findings, Sand Rock's local Sheriff Matt Warren (Charles Drake), the local newspaper editor Dave Loring (Alan Dexter), university scientist-friend Dr. Snell (George Eldredge), and even Ellen had trouble believing him and thought he was crazy or might be imagining something as outrageous as the arrival of an extra-terrestrial Martian spacecraft. As Ellen and John drove back to town, the "It" from outer space, a one-eyed, squid-like alien monster, appeared directly in front of their car, and then apparently shimmered as it spied on them through its iris from its fish-eyed iris POV. Soon after, two young county telephone linemen friends: the younger George (Russell Johnson) and his boss Frank Daylon (Joe Sawyer), also encountered and were attacked by the one-eyed creature, but this time, the two engineers were absorbed (or "globbed" up) by a bubble created by the one-eyed cyclops alien monster. When John encountered the two changed or strangely-behaving men in town, the cloned, "duplicated" or "shape-shifted" individuals (the aliens had taken taken on their likenesses), claimed that the 'visitors' from space meant no permanent harm. Shortly later, three miners at the site of the mostly-abandoned open mine shaft of the Excelsior Mine (close to the newly-created crater) were also absorbed or duplicated. Putnam claimed to the skeptical Sheriff that the alien duplicates told him that they were benign, and that the humans must not intervene. Other events signaled strange happenings, and further kidnappings: George and Frank's stolen phone truck loaded with electrical equipment, and further similar items (copper wire and some metal parts) had been stolen from the local hardware store. Two more individuals disappeared - Dr. Snell and his assistant. Ellen was next to be intercepted and cloned. Putnam searched for her and found her wandering in the desert. He pursued her into the opening of the Excelsior Mine shaft, where she vanished and a booming alien voice explained how the aliens wanted to work undisturbed (with the help of cloned humans) to repair their spacecraft with complete privacy before leaving soon and continuing on their long voyage home. The alien also told how it would be premature for the Earthlings to see their frightening, repulsive and scary appearance. After continual begging and negotiation, Putnam was finally granted his request to see the alien creature, and he was horrified by its massive, unwieldy, one-eyed Cyclops-like bulbous, gelatinous, non-human shape (resembling a large soft-surfaced crustacean). The Sheriff was unwilling to trust or believe that the aliens wouldn't harm Ellen, and was inclined to intervene, against the aliens' wishes, and destroy them. He quickly assembled a posse of rifle-toting townsfolk as John raced to the mine to warn the aliens to quickly finish their repairs and get out. In the mine shaft, the 'cloned' Ellen (who knew of the mob's approach) attempted to kill him with a laser beam, and he responded by shooting her dead - her body dissolved in a lake. Further inside the mine, a 'duplicated' version of John threatened to destroy Earth. John was able to rationally bargain for a peaceful resolution with two strategies: (1) the aliens would be allowed to complete their repairs if all the unharmed hostage-humans were released from the mine shaft, and (2) to protect the aliens working inside the mine, dynamite was detonated at the mouth of the mine to seal and block it off so that the repairs could proceed without interruption. The film concluded peacefully as everyone watched as the alien space travelers blasted off in their glowing, repaired spacecraft from the interior of the crater. Putnam predicted that hopefully one day, the alien visitors would return on more cordial terms when Earthlings were ready to accept them. Julius Caesar (1953), 120 minutes, D: Joseph L. Mankiewicz Director/writer Joseph Mankiewicz's and MGM's black and white epic historical drama was an adaptation of William Shakespeare's historical play 'The Tragedy of Julius Caesar' about political intrigue, power and betrayal in ancient Rome. Much of the focus within the film was on the character of high-ranking Roman Senator Brutus rather than Julius Caesar. It illustrated a specific period in Roman history when the republic came to an end and transitioned to imperial dictatorship. An arrogant Caesar (Louis Calhern) returned to Rome in 44 BC, victorious after defeating Pompey. He was greeted by his faithful wife Calpurnia (Greer Garson), and the citizenry celebrated with rejoicing and revelry and placed garlands on Caesar's statues. However, Caesar was warned that his life was in danger by a blind soothsayer ("Beware the Ideas of March"). With other elites and politicians, an introspective, troubled, and indecisive Brutus (James Mason) conferred with his brother-in-law - ambitious and crafty Roman Senator Cassius (John Gielgud), who urged and pressured him to join with a group of schemers who had formed a conspiracy of Liberators to free Rome of the autocratic Caesar; Cassius spoke the famous line: "The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings." Casca (Edmond O'Brien) reported to them that Caesar's loyal protege and right-hand man Mark Antony (aka Antonius) (Marlon Brando) had offered Caesar a crown three times during the victory ceremonies at the arena; Caesar made a big show of refusing the crown, possibly hoping that the crowd would convince him to accept; Casca regarded Caesar's rejections as a cheap theatrical trick ("it was mere foolery"); afterwards, Caesar swooned and passed out and looked weak as he left the arena ("he fell down and foamed at the mouth and was speechless"). The conspiratorial plan was to assassinate the tyrannical, ambitious, popular and triumphant military leader Caesar after his rising popularity and increased hero status following his defeat of his military rival Pompey. The elimination of Caesar, a potential self-appointed dictator if crowned king, was intended to prevent him from abusing the Roman citizenry if he ever became Emperor. Brutus rejected the excessive idea of murdering Mark Antony along with Caesar: "For Antony is but a limb of Caesar. Let us be sacrificers, but not butchers, Caius." Caesar was warned a second time that his life was in danger, this time by his wife Calpurnia who told him of her nightmarish, fearful bloody omens of his death (including his statue with 100 spouts of pure blood). She urged him to remain home, but he decided to not yield to her fears. In 44 BC on the Ides of March (March 15th), as Caesar approached the Senate to be crowned, he was brutally stabbed to death, including by the hand of Brutus who delivered the last fatal blow to his stomach (with Caesar's famous line: "Et tu, Brute?"). Caesar's vengeful supporter Mark Antony was allowed to approach without harm and view Caesar's body; with tremendous self-control, he made peace and shook hands with each of the conspirators. He was also reluctantly given permission to speak after Brutus at Caesar's 'funeral' memorial, but then in private over Caesar's corpse, Antony apologized and angrily vowed revenge for the 'foul deed': "Woe to the hand that shed this costly blood." The betrayer Brutus defended his actions with a well-accepted winning speech to the hysterical masses, about his patriotic and dedicated love for Rome and his fear of Caesar's dangerous and threatening ambitions. He vowed that he was protecting Rome, and asked the audience if he had offended anyone, but no one replied that he had. The end of Brutus' speech was interrupted by Mark Antony who appeared behind him carrying Caesar's corpse; he began his eloquent oration with: "Friends, Romans, countrymen, lend me your ears!"; he first told the crowd that he came to bury Caesar, not to praise him. Antony's manipulative speech convinced the commoners that Caesar had been good for Rome, and that the people should sympathize with the fallen hero who had been butchered after refusing the crown three times. He inflamed the crowd when he showed them Caesar's ripped robe where Brutus had stabbed him ("This was the most unkindest cut of all"). He also read to them Caesar's will that included payments of 75 drachmas to all citizens. The mob was persuaded to drive the traitorous, self-serving conspirators out of Rome. Two opposing armies were formed: the conspirators vs. the superior forces of Mark Antony, who had formed a triumvirate with Lepidus (Douglass Dumbrille) and Caesar's adoptive son Octavius (Douglass Watson) to rule over Rome. During a battle between the two factions, the forces of Brutus and Cassius were overpowered at the Battle of Philippi in 42 BC, and the two committed suicide separately to avoid capture. Cassius ordered his bondman Pindarus (Michael Ansara) to thrust into his chest using the same dagger that ran through Caesar, while Brutus impaled himself on his own sword, held by Strato (Edmund Purdom), after seeing Cassius' corpse. The film concluded with Mark Antony standing over Brutus' body with praise for him, even though he was one of the assassins, as "the noblest Roman of them all." The Earrings of Madame De... (1953, Fr./It.) (aka Madame De...), 105 minutes, D: Max Ophuls Director Max Ophul's period romantic melodrama was about deception and tragic romance as a pair of earrings was passed amongst wealthy aristocrats. The film was remarkable for the director's sweeping and moving camera and B/W cinematography. In the film's opening scenes, the pretty, spoiled Countess Madame Louise de... (Danielle Darrieux) was forced to discreetly sell her pair of heart-shaped diamond earrings, an expensive wedding gift from her cool-headed, stiff, determined and aristocratic high-ranking military officer husband General André (Charles Boyer), to pay her debts due to her lavish spending. She sold them back to the original jeweler Monsieur Rémy (Jean Debucourt), who had sold them to her husband. The Countess and André were in a love-less marriage - she often entertained suitors. When she suspiciously and falsely claimed that the earrings were lost at the Opera, it was publicized in the newspaper ("THEFT AT THE THEATRE"). Mr. Rémy became worried that he might be responsible, and awkwardly sold them back to André, without Madame's knowledge. The miffed husband transferred them to his secret, heartbroken mistress Lola (Lia Di Leo), who was permanently leaving him and departing from the train station for a holiday vacation to Constantinople. Once she arrived at her destination, Lola traded in the "souvenir" earrings to make up for her casino gambling losses. Italian Baron Fabrizio Donati (Vittorio de Sica) purchased them in a Constantinople pawn shop three months before traveling to Paris, France to serve in a high diplomatic position. Coincidentally, the infatuated Baron soon became acquainted with the Countess and pursued her until she reciprocated to begin a romantic affair - the beginnings of a love triangle. He told her that they were destined to meet. André was already aware of the Baron and had earlier met him at several embassy functions. Over time, he became fully knowledgeable about the flirtatious Countess's dalliances with the Baron, when she announced that she would take a long restful holiday by herself to the Italian Lakes region. To the Countess's complete surprise, Donati presented her with a going-away gift of roses and her own earrings before her departure. Once she returned to Paris, she experienced a passionate rendezvous with the Baron, and attempted to prevent André from seeing that she had her earrings back since they were symbolic of her affair with her lover. Louise pretended that she had found them in her long gloves stashed in her dresser drawer - to explain their disappearance on the night of the opera. André feigned surprise ("Incredible indeed"), but knew that she was obviously lying. The telltale earrings continued on their transactional journey at another formal ball, where Louise had been openly wearing them during a waltz-dance with Donati; after ordering Louise to remove the earrings, General André confronted the womanizing Donati in the smoking room about the earrings given by him to his wife - he explained how they were previously a wedding present - but now they provided evidence of Louise's promiscuous relationship and her constant deceptions and lies. The General pressured Donati to sell them back to his jeweler, to facilitate his re-purchase of the earrings for her. Louise fainted knowing about the confrontation due to utter humiliation, and also became extremely despondent and depressed when she was forced to end her affair with Donati. Louise was overwhelmed with joy when the earrings were given back to her, but then was dismayed when André compelled the Countess to give her returned earrings to his young niece Elizabeth who had just given birth to a child. To save her husband from bankruptcy, the niece sold the earrings back to Monsieur Rémy who again offered to sell them back to André (for the fourth time), but he angrily refused. Desiring the earrings herself, the Countess decided to buy them back from Mr. Rémy (after selling her precious furs and other jewelry), and she told her husband what she had done - to spite him. André jealously confronted Donati at a gentlemen's club, and challenged him to a pistol duel. The General prepared himself with target practice, putting three shots in the heart on the target (echoing the heart-shaped earrings). The Countess feared that if Donati accepted, he would be shot dead; she begged that he not go through with it, and even stressed that the two of them hadn't even had sex, and their love was dead. She visited the church to pray at St. Geneviève's shrine to save Donati's life. She placed her beloved earrings onto the altar - gifting, donating, and bequeathing them to the Saint. As she approached the dueling field, she heard only one shot (presumably from André who fired first as the "offending party," with the implication that Donati was shot dead) - the outcome remained ambiguous. Due to racing up a steep hill (with a weak heart), she fainted and fell against a tree - and died of a heart attack. The film came full circle in the conclusion - the Countess' earrings were viewed on the church's altar as a "Gift of Madame De..." Mogambo (1953), 115 minutes, D: John Ford Director John Ford's and MGM's Technicolored remake romance/adventure film (twenty-one years after Red Dust (1932) upon which it was based, that coincidentally also starred Clark Gable as the hero) was shot mostly on location in Africa. The film opened as African big-game animal trapper and weatherbeaten safari leader Victor Marswell (Clark Gable) for a safari company returned to his African ranch; upon his arrival, he was angered to encounter stranded ex-showgirl Eloise "Honey Bear" Kelly (Ava Gardner) taking a sexy outdoor shower. She was marooned and would have to wait a week in order to take a boat to leave Africa. Eloise became better acquainted with Marswell after they shared a drink during their first night, and an attraction (and beginnings of an affair) developed between them. After a week passed, however, Victor coldly ordered Eloise to pack and leave on an arriving steamboat. As Eloise was leaving, Marswell also greeted a newly-arrived couple: clueless British anthropologist Donald Nordley (Donald Sinden) and his cool, prim, and sheltered blonde wife Mrs. Linda Nordley (Grace Kelly). That same evening, Eloise arrived back at the camp with the drunken Skipper (Laurence Naismith), due to problems three miles down river with the steamer boat's engine - she would now be stranded for another four weeks until repairs were made. A love triangle began to form when a strong romantic relationship developed between Victor and the married, vulnerable, and secretly-lustful 27 year-old Linda Nordley; Honey Bear watched from the side and spouted cynical jokes ("dumb cracks") about everything. Marswell was increasingly drawn to Mrs. Nordley and was trying to keep his love for her a secret from her husband, as their sexual attraction intensified. During an expedition into gorilla country designed to have Donald study the creatures, Marswell connived to spend more time with Mrs. Nordley in private. The safari afforded time for their romance to blossom - the two illicit lovers kissed before a waterfall and then during a dusk walk while Donald was completely ignorant of their affair. Linda had to face the decision to break up with Donald when Marswell proposed to openly inform Donald of their affair the next day. Ultimately, Marswell realized Donald's true and steadfast love for Linda (Donald: "Forgive me if I tell you how much I'm in love with her"), and that she was completely unsuited for life in Africa. Marswell changed his mind about divulging the affair to Donald ("I went yellow"). To help facilitate the complete sabotage of their forbidden affair, Eloise (who now felt Marswell was within her own reach when he told her: "Yes, you're all right Kelly!"), they deliberately staged being caught hugging and carousing in his tent. The enraged and hysterical Mrs. Nordley wounded him in the arm with a gunshot from his own pistol; when Donald arrived, Eloise cleverly and quickly explained and invented an alternative version of what had happened to conceal the affair, that the drunken Victor had been making another pass at the very "decent" Linda when she defensively shot him. After the Nordleys left the camp, the melodrama ended when Marswell realized that Honey Bear was his true romantic partner. Victor proposed to her, but she rebuffed him, but then looked back and realized he cared for her. She decided to leave her departing canoe, jumped in the shallow water, ran up to him, and enjoyed a closing embrace with Marswell on the river's edge. Monsieur Hulot's Holiday (1953, Fr.) (aka Les Vacances De Monsieur Hulot), 114 minutes, D: Jacques Tati Writer/director Jacques Tati's satirical, episodic French comedy was filled with many visual gags and slapstick and a minimalist plot - it was the first of a number of original films that introduced and portrayed the bumbling, tall character of Monsieur Hulot (Tati himself as his alter ego); it was followed by Mon Oncle (1958), Playtime (1967), and Trafic (1971). The nostalgic, observational film composed of short vignettes (or set pieces) was always shot from mid-distance and devoid of close-ups. Although mostly silent in terms of dialogue, the film (with a jazzy score) included background sounds (both natural and created sound effects). In 1950s France, leisure-seeking vacationers were met with hustle-and-bustle, stressful situations, hassles and lots of disorder, in their efforts to get to the beach for a summer holiday. The main character: self-absorbed, likable, courteous, pipe-smoking, gawky and long-legged Monsieur Hulot (Jacques Tati) was driving to the same destination as the other bourgeois travelers - for a vacation-holiday by the sea in the coastal village of Brittany at a small, sleepy seaside hotel (Hotel de la Plage). He was driving in his battered, small, jerky, backfiring 1924 Salmson AL-3 jalopy. Hulot was inadvertently the cause of many disruptions occurring around him as a result of his awkwardness, clumsiness, absent-mindedness and accident-prone nature. At the hotel, he accidentally left the front lobby door open, and a fierce wind blew in and created chaos. In another minor disaster, Hulot unlocked a winch crank that released a small boat back into the ocean, as the owner was painting the boat's name on its hull - the painter's brush remained stationary as the boat went into reverse, causing a long brushstroke along the length of the vessel. While Hulot was seated inside his tiny kayak by the shore and painting it, in a perfectly-timed sight gag, every time he dipped his brush, his paint can floating on the water (and carried back and forth by the tide) was in just the perfect position next to him. When Hulot stepped on his kayak, it split in two and then folded up or collapsed upon itself, looking like the two jaws of a shark. The panicky beachgoers who saw the monster-shaped creature fled from the shore. Another time, Hulot left a trail of muddy footprints into the hotel. In the countryside at a cemetery, he was mistaken for a mourner, and his spare tire (covered with mud and leaves) was misinterpreted as a memorial wreath. He also bought a tennis racket and with an ususual serve was able to defeat several other players. In the hotel, his vigorous ping-pong ball game disturbed card-game players in an adjoining room. At the hotel's Masque Ball costume party, the only ones to really dress up (other than wearing party hats) to participate were Hulot (as a one-eyed pirate), a pretty blonde named Martine (Nathalie Pascaud) (as a harlequin with a bare back), and some children. While in disguise and dancing with Martine, he timidly made romantic advances toward her. Then, at a planned outdoor picnic by the resort, Hulot found himself chasing after his runaway car. Later, Hulot was chased by dogs and hid in a shed, where he accidentally set off fireworks, creating an impromptu fireworks show on the beach at night. In the film's nostalgic conclusion, the guests were packing up and preparing to return home at the end of their vacations. Hulot joined the retreat by driving off from the beach in his sputtering old car - the image was freeze-framed. The entire B/W film was envisioned as a series of black and white images - actually film postcards (with a stamp affixed in the last frame) [Note: in some versions, the stamp was red and the only colorful element in the entire film.] The Naked Spur (1953), 93 minutes, D: Anthony Mann Director Anthony Mann's Technicolored, vengeful bounty-hunter had only five acting-speaking roles. The beautifully-filmed, stylistic, and moralistic 'adult' western was the third of James Stewart's five western collaborations with director Mann (also Winchester ’73 (1950), Bend of the River (1952), The Far Country (1954) and The Man From Laramie (1955)). In the untamed Colorado Rockies in 1868, Howard Kemp (James Stewart), a tormented, brooding and manic anti-hero, was intent on tracking and capturing a wanted murderer and bringing him back to Abilene, Kansas for the advertised bounty. [Note: Kemp had a mysterious past that was uncovered later during a delirious state of fever when he was suffering from a leg wound. Earlier, when he went off to fight for the Union in the Civil War, he trusted his faithless fiancee Mary with the title to his ranch and farmland, but then while he was away fighting in the war, she sold his property and ran off with another fellow.] Therefore, Kemp sought to apprehend cunning outlaw Ben Vandergroat (Robert Ryan) with a $5,000 bounty on his head (dead or alive), in order to repurchase his land in Abilene and settle down. Ben was found to be accompanied by blonde, short-haired, tomboyish 'traveling companion' Lina Patch (Janet Leigh). Lina was the daughter of one of Ben's deceased friends, Frank Patch, who was killed while robbing a bank in Abilene. Accused killer Vandergroat had murdered a marshal in Abilene, Kansas, and Kemp had been on his trail for a long time. The fearless Kemp first enlisted the aid of grizzled, luckless prospector Jesse Tate (Millard Mitchell) by claiming he was an official lawman, and would pay Jesse $20 for his time and trouble. The two were soon joined by dishonorably-discharged, amoral, playboyish and disreputable Union cavalry rider Lt. Roy Anderson (Ralph Meeker) (who it was revealed later was being pursued by a Blackfoot Indian war party, for defiling one of the chief's daughters). Things became more complicated when Ben was apprehended with Jesse and Roy's help, and Kemp was revealed as a mercenary bounty-hunter. Then, the two others wanted to split the reward three ways with him. During their trek back to Abilene, scoundrel Ben used persuasive tactics of psychological warfare (greed, discord, suspicion, mistrust, and jealousy within a love triangle) to create conflict among his three captors. Ben convinced Lina (with unpredictable shifting loyalties) to distract Kemp so he could escape from the back of a cave during one night, and he also unbuckled Kemp's saddle-strap so that he might topple the bounty-hunter off a steep ridge - but neither ploy fully worked. One bluff that did work was to convince Jesse to desert the group at night to visit a nearby goldmine. Besides a violent Blackfoot native Indian attack from twelve riders that ended up in a massacre (only Kemp was wounded in the leg), the exciting climax came at a raging riverside after Ben had ruthlessly killed Jesse. Ben was positioned high up on a rock face, poised as a sniper with a rifle to ambush Kemp and Roy. As he fired at Kemp, Lina pushed Ben's rifle up, preventing him from firing accurately. Kemp climbed the face of the rocky cliff behind Ben and flung his "naked spur" (used to scale the cliff-face as a axe/piton) into his lower cheek or neck - after which he reeled around and Roy shot him from a distance and finished him off. Ben's corpse fell into the roaring river below. Roy was able to string a line across the rough water and retrieve the body - so that they could claim the reward. However, while swimming in the rapidly-flowing river, Roy was lethally struck by a gigantic log stump, drowned and was carried downstream. Kemp hauled Ben's body back to the shore by a rope, and became insanely single-minded and heartless - determined to claim the reward all for himself as he strapped the corpse on his horse. After Lina's pleadings to leave the ordeal behind them (and a proposal of marriage), Kemp gave up his potential blood-money bounty, buried Vandergroat's body in the ground, and then rode off with her to start a new life in California together. Niagara (1953), 89 minutes, D: Henry Hathaway Director Henry Hathaway's Techni-colored melodramatic noir was a thriller about the destructive nature of a femme fatale's alluring, out of control sensuality and lust as she plotted to kill her husband. One of the film's taglines compared star Marilyn Monroe to the metaphoric ever-present roar of the famous Niagara Falls: "A raging torrent of emotion that even nature can't control!" At the Rainbow Cabins (modern housekeeping units) within sight of the landmark, famed Niagara Falls vacation spot, tension quickly developed between a married couple who were vacationing together (on the Canadian side): Rose Loomis (26 year-old Marilyn Monroe), a beautiful, voluptuous and young sexy blonde woman who was a sinfully-wayward, unhappily married woman and trashy femme fatale, with her husband George Loomis (Joseph Cotten), a depressed and emotionally-unstable shell-shocked Korean War veteran. Two others (on a 'delayed' honeymoon after two years of marriage) who arrived at the Cabins from Toledo, Ohio were pretty Polly (Jean Peters) and clean-cut Ray Cutler (Casey Adams). They became friends with the Loomis couple, but soon suspected something was wrong with the troubled pair. During a trip to the scenic tourist tunnel under Horseshoe Falls, Polly spotted Rose kissing a man not her husband. The trashy Rose was cheating on her husband, and engaged in an affair with Ted Patrick (Richard Allan), her secret young lover. Together, Rose and Ted were arranging to murder George and make his death look like a suicide, to collect on George's life insurance policy. Rose's most flaunting appearance was in a tight-fitting, low-cut pinkish-red dress at an outdoor teenaged dance party at the Cabins, where she asked that the DJ play the record, "Kiss" (the illicit lovers' theme song). Rose's angry and crazed husband interrupted the romantic musical interlude by racing from their cabin and destroying the LP with his bare hands (and cutting himself in the process). Rose and Ted's dastardly plan was for Ted to kill George, and then signal her that George was dead with Rose's special song ("Kiss") from the Rainbow Tower Carillon. After the Carillon played the son and George's shoes were unclaimed from the tourist area, Rose assumed that George was dead until she visited the city morgue, where she was called upon to identify a retrieved body from the Falls. She was shocked that the dead man was Ted, not George - she fainted and collapsed. George had killed Patrick in self-defense and thrown his body into the Falls, and then decided to "stay dead" to start his life over. George conducted a revenge killing in the film's most suspenseful sequence. Rose's jealous and incensed husband stalked and pursued his scheming and trampish wife who was trying to flee from Canada. He followed her up the shadowy, Carillon clock-bell tower before murdering her by strangulation (in a striking overhead shot). Then he told her corpse: "I loved you, Rose. You know that." In the exciting and climactic finale, George hijacked the boat that Polly was on. Their boat went adrift when it ran out of gas, and it was headed toward the waterfall precipice. A desperate George (now after having deliberately murdered Rose) tried to submerge and scuttle the boat, but went over the falls to his death, while Polly was rescued by helicopter from a rock outcropping. Pickup on South Street (1953), 80 minutes, D: Samuel Fuller Director Sam Fuller's action-packed film was a raw, hard-boiled, Cold War-era, crime-noir thriller. Due to a chance encounter, the plot became embroiled involving distrust, violence, and a fateful criminal and sexual attraction between the two lead characters. The film's 'MacGuffin' was a valuable, highly sought-after roll of microfilm containing top-secret government information wanted by Communist spies. The film became known for its savage brutality against the femme fatale - from both her snarling future lover and ex-lover. In the opening scene set on a crowded New York subway during rush-hour, recently-released ex-con and tough-minded pickpocket Skip McCoy (Richard Widmark) edged flirtatiously close to ex-prostitute femme fatale Candy (Jean Peters) to make her his latest petty-theft robbery victim. He stole/fingered sensitive government/military microfilm contained in an envelope (bound for Communist spies with her as the unsuspecting courier) from her opened purse as two other FBI agents were conducting surveillance. McCoy didn't realize he had inadvertently obtained stolen US microfilm to be smuggled out of the country by Communist spies. Candy met with her shady ex-boyfriend/loverJoey (Richard Kiley) and told him about the theft. He falsely told her he was selling classified business secrets to a rival firm: ("a new patent for a chemical formula"). Unbeknownst to the mistreated Candy, Joey was actually an exploitative courier-contact working for the Communists. He had asked her for a final favor to deliver an envelope with the microfilm. He was upset about the loss and convinced her to use her seedy connections to locate the pickpocket and retrieve the microfilm. In the police station, Skip was identified as a possible suspect by stool-pigeon police informant Moe Williams (Oscar-nominated Thelma Ritter). McCoy was called in to be questioned by Police Captain Dan Tiger (Murvyn Vye). He professed his innocence to the authorities and denied stealing the microfilm. McCoy realized he had stolen a strip of valuable microfilm after viewing it in the NY Public Library. He hid it (knowing it would be worth alot in exchange). Candy was directed by "stoolie" Moe to the location of Skip's hideout. Skip found Candy with a flashlight searching through his possessions. He punched Candy unconscious and then searched her purse before reviving her. He lovingly rubbed her sore jaw for a few moments and then after a few kisses, Skip remarked: "You look for oil, sometimes you hit a gusher." Candy reported back to Joey that she had no success with Skip. He demanded that she continue to press McCoy to acquire the film, and gave her $500 bucks to use as bribe money. During her second visit to Skip's place, the two developed a sweaty, rough and tumble, sado-masochistic love relationship. Skip stole the bribe money from her purse, pushed her away and riskily demanded a huge payment of $25,000 in exchange for the prized microfilm from the "Commie" syndicate. She became puzzled when accused of being involved with the Communists. To stall for time and save McCoy's life, Candy riskily gave Joey a fake address for McCoy. Shortly later, Moe also notified Skip to stay away from his shack to avoid someone gunning for him. The film's most downbeat scene was Moe's death, after she refused to reveal the pickpocket's whereabouts to Commie hitman-killer Joey, even though he bribed her with $500. McCoy stealthily returned to his shack-hideout and found Candy there (who was blaming herself for Moe's death). He told her that he was willing to deal with Joey and return the strip of microfilm in exchange for the 25 grand. She gave him Joey's address, but then thinking that she could clear Skip's name and involvement on her own, Candy knocked him unconscious with a bottle, and took the marked microfilm strip to FBI agents Zara and Tiger ("the pickpocket squad"). They directed her to go back to Joey (a "Communist agent") in order to apprehend him and detect the king-pin of the organization. Joey entered Candy's apartment, and was astonished to see that she had the microfilm - but noticed a frame missing (Skip had taken one of the frames for himself). He brutally knocked her around for not divulging Skip's address a second time, but then found the address in her purse. Skip paid a hospital visit to see the bruised Candy, and finally realized that she really loved him because she wouldn't tell Joey where he lived. Back at his shack, Skip ripped up his single stolen frame of microfilm, and then evaded capture by Joey and his partner Fenton, and overheard that there was only 30 minutes until the microfilm that they had would be delivered to "Mr. Big" - first in a subway restroom, and then the remaining film frame (if obtained) at the airport. Skip followed Joey to a subway station and observed the microfilm being delivered to a Communist agent in a restroom. He beat up the agent, and also retaliated against Joey - he brutalized him mercilessly on the subway platform and then next to the tracks, before turning him over to authorities. In the film's ending set back in the police station, Skip was released - and vowed to resume his relationship with Candy. The Robe (1953), 135 minutes, D: Henry Koster Director Henry Koster's exceptional Biblical epic, with spectacular pageantry, was notable as the first film released in the widescreen process CinemaScope from 20th Century Fox. Its sequel in the next year was Demetrius and the Gladiators (1954). The film's setting was during the might and glory of the Roman Empire in 32 AD when Emperor Tiberius reigned. Three of the film's main characters were introduced in the opening scene set in a slave market: (1) Roman military tribune and cynical womanizer Marcellus Gallio (Richard Burton), (2) his grown-up childhood sweetheart Diana (Jean Simmons) who was the ward of Emperor Tiberius (Ernest Thesiger) in Capri and was unofficially pledged to marry Tiberius' nephew and heir Caligula (Jay Robinson) - his corrupt Prince Regent in Rome, and (3) defiant Greek slave Demetrius (Victor Mature) - an educated Greek and an excellent candidate for a servant or gladiator. Marcellus wagered 3,000 pieces of gold - and successfully acquired Demetrius, but also personally offended Caligula. Demetrius was unchained and ordered to voluntarily report to the house of Marcellus' father Senator Gallio (Torin Thatcher). The angered, tyrannical Caligula, in an immediately-spiteful and vengeful decision that evening (and to remove Marcellus from romantic competition), reassigned Marcellus with a military transfer to Jerusalem (in Palestine). Throughout the film, a romantic relationship was blossoming between Marcellus and Diana, although they had to remain discreet. After their banishment, when Marcellus (with Demetrius) arrived into Jerusalem, it was the Jewish feast time of Passover when soothsayers spoke of a coming Messiah. It happened to be the same day as Jesus' triumphant Palm Sunday entry riding on a white donkey while surrounded by devotees, who believed he was the Messiah. With one glance at Jesus, Demetrius was converted and became a follower. Marcellus played a role in the betrayal by Judas (with a payoff of pieces of silver), arrest (by the Roman governor Pontius Pilate (Richard Boone)), trial, and execution (crucifixion) of the Messianic Jesus. He was assigned the position of supervising the punishment of "three criminals." After the crucifixion (witnessed by both Demetrius and Marcellus), Marcellus won Jesus' discarded home-spun cloth dark red Robe (at the foot of the cross), causing him great agony and guilt, before Demetrius ran away with the robe. Due to her influence, Diana helped to bring Marcellus back to Rome, and although he appeared bewitched by the robe-garment, Tiberius reluctantly granted Diana's wish to marry Marcellus. First however, Marcellus was assigned to return to Palestine (in the land of Galilee) to investigate a religious sect (of Christians); in his quest, he was compelled to search out the robe (in the hands of his runaway slave Demetrius) and destroy it. He disguised himself as a Roman homespun cloth merchant, traveling through country villages. In Cana, he spoke to an honorable and quiet village elder Justus (Dean Jagger), a weaver, who also led the close-knit Christian community there. He shockingly confessed that he was a first-hand witness to Jesus' death and burial, but the loving people forgave him. With Demetrius, he also realized that it was his guilty-conscience and not the robe that was driving him mad. Marcellus decided to pledge his life to serve Jesus and become a missionary. A year later, Caligula was now reigning as Emperor of Rome. Marcellus, who had been secretly hiding in Rome, had become a member of the Christian "sect" of fanatics ("one of the ringleaders") - and therefore was a "traitor and a conspirator against the state." Demetrius had been taken captive and was being tortured in the dungeon to divulge Marcellus' (and other Christians') whereabouts. Diana secretly met up with Marcellus, and although she pledged her love for him, she was skeptical about his "story" and his risky plan to rescue Demetrius, but she still supported him. A successful nighttime rescue of the almost-dead Demetrius culminated in the Gallio home where he was miraculously revived by Jesus' disciple Simon the Galilean (Michael Rennie) (called Peter, and known as "The Big Fisherman"). Marcellus' father Senator Gallio (Torin Thatcher) was relieved that his son Marcellus was alive, but renounced and disowned Marcellus due to his religious conversion. Marcellus voluntarily surrendered in a gesture of self-sacrifice so that Demetrius could escape from guards, but was imprisoned and went on trial before the crazed emperor Caligula. After Marcellus determinedly refused to renounce his faith and beliefs, Caligula sentenced and condemned Marcellus to death for "high treason." Diana chose to accept his faith and die with him as her "chosen husband," while also powerfully denouncing the jealously-mad Caligula as a tyrant. The film concluded as the two exited the trial hall and climbed a staircase together - walking hand in hand to their execution and ascending into Heaven. Roman Holiday (1953), 118 minutes, D: William Wyler Director William Wyler's Oscar-winning story was written by Hollywood Ten blacklisted screenwriter Dalton Trumbo, who was fronted by Ian McLellan Hunter. The delightful, old-fashioned, dramatic, fairy-tale courtship and romance film (with some elements of comedy), a variation of Capra's It Happened One Night (1934), was shot on location and contained the first major starring role of the much-beloved Audrey Hepburn. In the bittersweet Cinderella storybook tale in reverse (with an April-October romance), a modern-day royal princess, Princess Ann (Audrey Hepburn) from an unnamed European country, took an official royal state visit to Rome, Italy. Quickly bored with ceremonial protocol, she made a daring runaway venture and slipped out of the palatial Embassy that night, to escape the endless tedium of the many official occasions and her expected roles to play - to experience life beyond the claustrophobic and imprisoning confines of her royal position - without royal control, duties, escorts and chaperones. "Incognito," she encountered street-smart, undercover American newspaperman Joe Bradley (Gregory Peck), one of the many reporters who was planning to interview the Princess the next day. He protectively took her to his apartment in a taxi, and then early the next morning, realized her true identity. He promised his boss to get an exclusive story on the Princess that would help him with his career advancement. For his scoop, Joe coordinated with his carefree, bearded photographer friend Irving Radovich (Eddie Albert) to pursue them and take candid pictures. During the Princess' entertaining 24 hour tour and 'common people' adventures around Rome, they visited a hair salon, a street vendor, lunch at a sidewalk cafe, riding on Joe's Vespa scooter, seeing the famous monuments and sights, and in the evening, dancing on a riverboat barge down by Sant' Angelo on the Tiber River. They successfully evaded royal "black hat" agents who recognized her on the barge, and swam for shore to escape. They both found themselves desperately falling in love, and although they dreamt of becoming closer to each other, Ann also knew she would inevitably have to part from him and return to her other life and duties. By this time, Joe had already changed his intentions and decided to give up his 'exclusive' story-scoop about the Princess and not violate her privacy or exploit her. During their tear-jerking, sentimental night-time parting scene, Joe drove her back to a street corner within sight of the imposing, imprisoning gates of the Embassy, to say goodbye. In the final bittersweet, moving ending during the next day's press corps interview, the Princess could only be polite and impersonal to Joe: "So happy, Mr. Bradley" - she could not reveal the secret of her day with him, and they had to pretend that they didn't know each other. Afterwards, she slowly turned toward the audience, gave a wide smile toward everyone (and then directly towards Joe), held a tear-inducing gaze, and then departed. Shane (1953), 117 minutes, D: George Stevens Director George Stevens' mythic, highly-praised and classic adult western, based on the 1949 novel by Jack Schaefer, told about a range war conflict between frontier homesteaders and cattle ranchers in the post-Civil War period. The film's opening exhibited beautiful, Oscar-winning Technicolor cinematography as it showed the approach of a lone, handsome ex-gunfighter - simply named Shane (Alan Ladd), who descended into a beautiful Wyoming valley. He rode up to the farm of the Starrett family, headed by determined, hard-working homesteader Joe (Van Heflin), his wife Marion (Jean Arthur), and their young son Joey (Brandon de Wilde). Shane was at the homestead when he witnessed a conflict between them and hired cowhands attempting to move the sod-busting "squatters" off the land to keep them from their claims. Aging land and cattle baron Rufus Ryker (Emile Meyer) rode up with his cowhand ranchers, including his brother/foreman Morgan Ryker (John Dierkes) and cowboy Chris Calloway (Ben Johnson). They were intent on intimidating and provoking a range war, but the presence of Shane (and his reputation) helped to fend off the open-range land cow ranchers, at least for the time being. Shane agreed to temporarily become Joe's hired hand, and ostensibly to help confront the open-range land cow ranchers. Although ex-gunslinger Shane was trying to reform his life and make a break from his violent past, he was drawn into numerous conflicts (intimidations, tauntings, fist-fights and brawls, etc.) in his defense of the mostly cowardly farmers against the ranchers. Shane helped turn the tide against Ryker's men, but this only prompted Ryker to send for his own gunslinger - a cold-blooded, hired gun from Cheyenne to bait and kill the helpless homesteaders. On Independence Day, Wilson (Jack Palance) arrived in town as a black-clothed evil gunman. One of the homesteaders who didn't want to appear weak, the proud and hot-headed ex-Confederate Frank "Stonewall" Torrey (Elisha Cook, Jr.), was tricked and taunted into drawing his gun by Wilson in town. Torrey was brutally shot dead in the showdown against Wilson and was hurtled backwards onto a muddy street. One of the most moving scenes in the film was Torrey's hill-top funeral. The normally-pacifistic Joe was persuaded to put on his guns and go to town to kill Ryker, and Marion was unable to dissuade him. Meanwhile, Shane - without Joe's knowledge - had learned of a double-cross from Calloway (who had quit Ryker's group) that would pit Starrett against a "stacked deck." Knowing that Starrett didn't stand a chance against the seasoned killer Wilson, Shane changed back into his buck-skinned clothing - with his gun strapped on his waist. Shane and Joe fought in a monumental and violent fist-fight to determine who would go to town to face Wilson. The victorious Shane departed for town after a simple, but long farewell handshake with Marion. During a final shootout in the saloon (with Joey's aid when he yelled out to prevent an ambush: "Look out!"), Shane outdrew and killed the evil and dark Wilson, as well as the Rykers, but was wounded himself. He rode back to the Starrett farm, where he spoke briefly with Joey, telling him that he had to move on - he indicated to Joey that he would never return. The film ended with a classic, poignant goodbye and farewell sequence. As the nomadic loner Shane rode off slumped in his saddle, the young, anguished, distraught, and heartbroken Joey gave a poignant cry after his mythic hero ("...Come back...Bye, Shane!") with echoing words, as Shane steered toward the mountains. Stalag 17 (1953), 120 minutes, D: Billy Wilder Writer/director Billy Wilder's entertaining black comedy and dramatic war film chronicled the imprisonment of Americans in a large German POW camp. The setting was known as Stalag 17 "somewhere on the Danube" in late December 1944 during WWII; there were about 40,000 POWs there, including a group of captured US Sergeants (630 US airmen) who were incarcerated. One of the characters served as the narrator to provide the story as a flashback - Clarence Harvey "Cookie" Cook (Gil Stratton, Jr.). Inside Barracks # 4 where 75 men were cooped up; everyone helped to coordinate the attempted escape of two US airmen: Manfredi (Michael Moore) and Johnson (Peter Baldwin), who were being supported by Barracks Chief "Hoffy" Hoffman (Richard Erdman), and Security Chief Frank Price (Peter Graves). Cynical wise-guy POW Sergeant J.J. Sefton (Best Actor-winning William Holden) watched as the two escapees were given supplies and information. While the others wished for their success, the enterprising Sefton callously forecast: "I bet they don't even get out of the forest" - and even dared to wager about their success or failure with cigarette-bets. Sefton predicted correctly - Manfredi and Johnson were mowed down almost immediately. One of the prisoners voiced what everyone was thinking: "Maybe the Krauts knew about that tunnel all the time!" - and Sefton was suspected to be the most-likely Nazi informant. The next morning with his buffonish NCO supervisor Sgt. Johann Sebastian Schulz (Sig Ruman), the camp's Commandant Oberst von Schernbach (Otto Preminger) crudely displayed the bodies and warned of any future escape attempts. Resourceful black marketeer Sefton delivered a precise explanation of his motivations to try to remain as smart and 'comfortable' as possible during his imprisonment, and not foolishly try to escape, although he often exploited the other prisoners. It was revealed over time that Schulz was receiving hidden messages from an informant in a hollow black chesspiece, using a signaling system (either a looped or straight cord on a naked lightbulb hanging above a chessboard). Captured Lieutenant Dunbar (Don Taylor) and Sgt. Bagradian (Jay Lawrence) were temporarily assigned to Barracks 4, and foolishly bragged about blowing up a German ammunition supply train (with 26 cars) by rigging a time bomb in the Frankfurt train station. Naturally, a message about Dunbar's destructive train-bombing act was transferred by the internal informant to Schulz and then to the Commandant. After Dunbar was arrested and interrogated, Sefton was falsely accused of being guilty for squealing, and was beaten by his own barracks-mates in his bunk. With a bruised face, Sefton became determined to find out the identity of the spy. During Christmas festivities, Sefton noticed unusual changes in the light cord, and from the shadows, he witnessed Price conversing in German with Schulz about the details of Dunbar's time bomb. An escape attempt was made to rescue Dunbar from two SS officers who were preparing to drive him to Berlin. The lieutenant was successfully released and hid in the water tower until nighttime. Price eagerly volunteered to help escort Dunbar out of the camp - but as the internal spy, he was actually planning to turn him in. Sefton exposed Price in their midst as a German-born spy: ("You're kaput, Price!...He's a Nazi, Price is....He spoke our lingo so they sent him to spy school, and fixed him up with phony dogtags"). He snatched the black queen chesspiece ("the mail box") from Price's pocket, and then demonstrated the signal-message system to everyone. Price was restrained, as Sefton volunteered to help Dunbar escape. Price served as a "decoy" (rigged with clattering tin cans) and was shot down in the middle of the compound by guards, while during the chaos, Sefton crawled to Lt. Dunbar before escorting him out of the camp through the outer barbed wire fence to safety. Summer With Monika (1953, Swe.) (aka Sommaren Med Monika), (repackaged as Monika: The Story of a Bad Girl (1955)), 96 minutes, D: Ingmar Bergman Writer/director Ingrid Bergman's controversial romance film about lovers on the run (similar to Lewis Gilbert's Friends (1971) and Terence Malick's Badlands (1973)) was based on the novel by Per Anders Fogelström and the director's adaptation, and became one of Bergman's most influential early films. It was one of the first foreign-language films that made its brief nudity a major selling point for US audiences, and helped create the stereotype that Swedish women were sexually liberated and enjoyed swimming in the nude. However, there was only one controversial scene of nudity (skinny-dipping) and love-making in the beautiful, sunny outdoors. A few years later, legendary exploitation distributor, producer and showman Kroger Babb bought the film rights, then cut out approximately 33 minutes of the film, dubbed it into English, replaced the musical score with a jazzy one by Les Baxter, and renamed it to ready the film for the drive-in circuit - it was now known as Monika: The Story of a Bad Girl (1955). In the story, a young couple (two disaffected rebel teens), both from working class families in the industrial port city of Stockholm, became romantically-attached to each other: boyish-looking 19 year-old Harry Lund (Lars Ekborg) and almost 18 year-old Monika Eriksson (Harriet Andersson), a grocery store worker who was viewed as very adventurous, flighty, aggressive and earthy. The defiant Monika's first words were to reject their work responsibilities, and she was eventually able to encourage Harry to join her to escape their dull, tawdry family lives and horrible jobs and run away. They took Harry's father's boat out of Stockholm before experiencing a brief idyllic and euphoric romance at the beach on Orno Island in an archipelago throughout the coming summer; as they hugged, they congratulated themselves for rebelling: "We've rebelled, Monika, against all of them." In the film's only scene of very brief semi-nudity, she stripped off her clothes to sunbathe, then let Harry touch her breasts before she impulsively jumped up stark naked and ran to the water; their time of freedom was filled with sun-drenched cavorting and singing in the outdoors, love-making and romancing, until Monika noticed one day: "Oh dear, I've grown tubby" - a sign of her impending pregnancy. Harry realistically insisted that they had to return home, due to their lack of nutritious food and money, and worsening weather: "We have to go back so I can start working. You need proper food," but Monika disagreed. Eventually, Harry was convincingly optimistic about them settling down in their future: "We can't go on like this. We have to get married, and I need a job to support us." Upon their return, they were forced to have a quiet shotgun marriage and live in a very claustrophobic rented apartment with their new infant daughter "Little Monika" (or June as Monika preferred). Harry struggled to make a living for them and attended night school to become an engineer; shortly later, the resentful and frustrated 'bad-girl floozie' Monika, who was lacking any maternal instincts, became impatient and dissatisfied with her domesticated, monogamous role as a homemaker-mother with family responsibilities. The unsettled and promiscuous Monika would soon fall from grace; she was caught cheating by Harry in their own bed (off-screen) during an affair with her ex-boyfriend Lelle (John Harryson). Afterwards during a fierce argument and fight about her unfaithfulness and the fear of eviction due to Monika's overspending, Harry asked for a divorce; Monika blamed him and worried more about her looks: "You got me pregnant! Things wouldn't be like this!...And I'm all ugly now!"; she added: "I want to have fun while I'm still young." He repeatedly struck her, and she abruptly left him. It was the end of their marriage. Harry responsibly retained custody of their child as a single father. The film concluded with a close-up of the grown-up Harry (who had come of age) wistfully recalling and reprising the best memories of their time together in the sun-kissed outdoors (seen in a flashback as he gazed into a mirror while holding his baby daughter 'Monika'). Tokyo Story (1953, Jp.) (aka Tokyo Monogatari), 136 minutes, D: Yasujiro Ozu Yasujiro Ozu's acclaimed, deliberately-paced melodramatic masterpiece (the best film of his entire career) was a classic family drama that illustrated how changing industrialized times in post-war Japan of the 1950s had severed the virtue of children and society honoring one's parents, and created tensions between generations. An elderly, unassuming middle-class couple from the provincial western seaport coastal town of Onomichi: Shukishi (Chishu Ryu) and 68 year-old Tomi Hirayama (Chieko Higashiyama) had raised five adult children (one was deceased); their youngest daughter Kyōko (Kyōko Kagawa) lived with them and was a primary school teacher. The two parents planned on a two-week journey to travel to Tokyo by train to visit all of their extended family members, including two of their very career-minded, grown children: they first arrived at the home of Dr. Koichi Hirayama (Sô Yamamura), their eldest son - a pediatrician and doctor of internal medicine, and his wife (their daughter-in-law) Fumiko (Kuniko Miyake) and their two children (the grandchildren). Also there to greet them was their visiting eldest daughter Shige Harayama Kaneko (Haruko Sugimura), Koichi's sister. At the Hirayamas, the older couple also met with their kind-hearted, sincere and humble widowed daughter-in-law Noriko (Setsuko Hara), a trading company office worker, whose husband (their second son Shōji) had been MIA during the war eight years earlier and was presumed dead. The two adult children, Kiochi and Shige were both polite to their undemanding parents, but both privately felt interrupted, detached, and imposed upon in space, resources, and time, etc. Since their arrival, the elderly parents remained upstairs in Kiochi's home, because there was nobody to take them out - everyone was too busy to entertain them. The parents moved on to the home of Shige Kaneko, their selfish eldest daughter who was the owner of the Ooh La La Beauty Shop, a hair-dressing salon, and married to her equally-selfish husband Kurazō Kaneko (Nobuo Nakamura). Shige called Noriko to urge her to take a day off from her work to usher the in-laws around to see the city's sights on a tour bus. Noriko willingly and happily accepted the task to entertain the in-laws, and the older couple was graciously thankful and grateful that Noriko had spent time with them. Shige and her husband plotted to send the parents away to the Atami Hot Springs Resort to keep them occupied while spending as little money as possible on them. The older couple had a lonely, miserable time at the resort and hotel due to the noisy nightlife of the other younger guests and they decided to return to Tokyo after one night. They were also determined to return home as soon as possible. During the parents' early return to their home, Tomi became seriously ill. She recovered at the Osaka home of her younger son Keizō Hirayama (Shirō Ōsaka), a rail company employee, but once they arrived in their hometown of Onomichi, she fell into a coma and soon died. All of the next generation's children and Noriko traveled to Onomichi, except for Keizō who arrived late, to attend the funeral. All of the family members (except for Noriko) were selfish, insincere, heartless and guilt-ridden, and impatient to leave. Shigi, Kiochi and Keizō made plans to get tickets and quickly left town on the night express train to attend to their own busy lives, while it was expected that Noriko would remain behind to help Kyōko, the youngest daughter. In the tender concluding scene with the lonely father before Noriko returned to Tokyo on the afternoon train, Shukishi spoke about his wife's time with her as her "happiest time" in Tokyo, and how he wished she would remarry. Shukishi presented Noriko with a memento - his dead wife's "old-fashioned" wristwatch, to make her "happy" - it brought tears to Noriko's eyes; he also thankfully and gratefully noted to her: "It's strange. We have children of our own, yet you've done the most for us, and you're not even a blood relative. Thank you." Sitting on the train, Noriko knew that Shukishi would now suddenly be left to live alone: (Shukishi: "Living alone, I feel the days will get very long"); the film ended on a view of the solitary Shukishi fanning himself - destined to be by himself for the remainder of his life. Ugetsu Monogatari (1953, Jp.) (aka Tales of Ugetsu), 94 minutes, D: Kenji Mizoguchi Kenji Mizoguchi's beautifully-composed, expressionistic anti-war film and ghostly-supernatural fantasy story was a fluid fable and morality tale of greed, the folly of ambition, misdirected love and infidelity. The "refashioning" was based on two stories by the 18th century writer Akirari Ueda (often described as the Japanese Guy de Maupassant). The film cleverly seemed to exist simultaneously in both a ghostly dreamworld and the real-world. The film's story was set in late 16th century feudal Japan during the Age of Civil Wars. Its main characters were two couples: (1) a restless, vain and ambitious craftsman-potter and peasant farmer named Genjuro (Masayuki Mori), living with his loving, dedicated wife Miyagi (Kinuyo Tanaka) and their young son Gen'ichi in a village hut, and (2) the second couple was Genjuro's peasant neighbor and simple-minded brother-in-law Tobei (Sakae Ozawa) who had fanciful but foolish dreams about becoming a respected and noble samurai warrior; his shrewish wife Ohama (Mitsuko Mito), Genjuro's sister, failed to discourage him from fantasizing about finding glory as a samurai warrior. During the civil war, according to Genjuro's wife, he had become a "different man" - he espoused monetary greed and the acquisition of more food and material gifts. The two families were able to escape from marauding troops and ventured by boat to the markets at Nagahama to sell his pottery wares. They borrowed an abandoned boat that Ohama (a boatman's daughter) rowed across the foggy mists of Lake Biwa. During the trip, they came upon a phantom ship where a dying boatman warned them (particularly the wives: "Take care of your women") to be on the lookout for pirates where they were going. Fearing the "bad omen," potter Genjuro decided to return his resistant wife (and child) to the shore so they could return home. Genjuro marketed his ceramic wares in the busy village bazaar in Nagahama where one of his high-spending customers was a bewitching, seductive, glamorous, ghostly, vengeful and threatening noblewoman-princess Lady Wakasa (Machiko Kyo) - "daughter of the late Lord Kutsuki." Meanwhile, Tobei greedily took his share of the profits from sales to purchase a spear-sword and a suit of armor from another market vendor for a proper samurai outfit, and also abandoned his wife Ohama. She was subsequently assaulted, held down and raped (ironically) by a group of roving Samurai soldiers. Genjuro was lured him to Lady Wakasa's creepy but elegant castle, where he was immediately betrothed to her. The newlywed husband experienced scenes of seductive ecstasy in paradise with his spirit-lover/enchantress. Meanwhile, on her way back to their home village, Miyagi, the potter's wife was attacked and raped by hungry, savage, marauding soldiers, and lethally speared to death. At the same time, Tobei stole the severed head of a suicidal defeated enemy general in a bag and falsely took credit for killing the general. He was rewarded with a horse, armor, and vassals, and while celebrating in a town's brothel, he ran into his disgraced wife Ohama, one of the prostitutes. He begged for her forgiveness ("I never dreamed you'd be brought to this") and she asked if he could restore her honor or otherwise she would die. Back in the marketplace, Genjuro was warned by a Buddhist priest that Lady Wasaka was a long-dead apparition ("a spirit of the dead"). His bare back was painted with script to protect him from "the jaws of death" and exorcise the dangerous ghosts. In Kutsuki Manor, Genjuro protectively repelled Lady Wasaka and learned that she had died without knowing love, but had returned as a ghost to experience the joys of true love and happiness with him, not knowing that he had a family. Genjuro grabbed a sword, and began to assault the ghost-like personages. After falling to the ground and fainting, he awoke to find that the manor was only ruins - an illusory pile of burnt wood timbers. He quickly returned for a homecoming with his wife Miyagi, and found that she was overjoyed to see him. The next morning, he learned that it was all an illusion or dream - his wife was only a phantom. At his wife's grave, Genjuro asked: "Miyagi, why did you have to die?"; Miyagi's long-suffering, tranquil and patient spirit (in voice-over) assured Genjuro, as the camera slowly pulled back: "I did not die. I am at your side." She continued to encourage his pottery work ("Helping you spin the wheel is my greatest pleasure"), and how he had become her ideal man although she was now in a different world. The Wages of Fear (1953, Fr./It.) (aka Le Salaire De La Peur), 148 minutes, D: Henri-Georges Clouzot Director Henri-Georges Clouzot's suspenseful, nail-biting adventure thriller and road film was based upon Georges Arnaud's 1950 novel Le Salaire De La Peur ("The Salary of Fear"). It was a film-noirish tale of greed, macho-competition, dehumanization, misogyny, and exploitation. In the small, poor, hot and remote, "god-forsaken" South American town of Las Piedras (near to Caracas, Venezuela) in 1950, some of the film's main characters were introduced in the town's central gathering place - a cantina-bar known as Corsario. The first half of the film introduced the setting and many of the derelict, unemployed, unfortunate, down-and-out individuals (mostly Europeans) who were stranded, trapped and desperate to leave the town (the only
7961	dbpedia	3	13	https://georgewbush-whitehouse.archives.gov/nsc/history.html	en	National Security Council			[ "https://georgewbush-whitehouse.archives.gov/imgs/print_banner.png", "https://georgewbush-whitehouse.archives.gov/imgs/wh_banner.jpg", "https://georgewbush-whitehouse.archives.gov/imgs/pod3.jpg", "https://georgewbush-whitehouse.archives.gov/imgs/rss3.jpg", "https://georgewbush-whitehouse.archives.gov/imgs/infocus_top2.jpg", "https://georgewbush-whitehouse.archives.gov/imgs/arrow.gif", "https://georgewbush-whitehouse.archives.gov/imgs/arrow.gif", "https://georgewbush-whitehouse.archives.gov/nsc/images/banner.jpg", "https://georgewbush-whitehouse.archives.gov/imgs/2colbg_bot.jpg" ]	[]	[]	[ "history", "National Security Council", "NSC" ]	null	[]	2001-01-01T00:00:00	Outlines the history of the National Security Council from 1947-1997. Written by the Office of the Historian, U.S. Department of State, August 1997.	en			null	History of the National Security Council, 1947-1997 Contents Summary Truman Administration, 1947-1953 Eisenhower Administration, 1953-1961 Kennedy Administration, 1961-1963 Johnson Administration, 1963-1969 Nixon Administration, 1969-1974 Ford Administration, 1974-1977 Carter Administration, 1977-1981 Reagan Administration, 1981-1989 Bush Administration, 1989-1992 Clinton Administration, 1993-1997 Appendix: Assistants to the President for National Security Affairs 1953-Present Summary Since the end of World War II, each administration has sought to develop and perfect a reliable set of executive institutions to manage national security policy. Each President has tried to avoid the problems and deficiencies of his predecessors' efforts and install a policy-making and coordination system that reflected his personal management style. The National Security Council (NSC) has been at the center of this foreign policy coordination system, but it has changed many times to conform with the needs and inclinations of each succeeding chief executive. The National Security Act of July 26, 1947, created the National Security Council under the chairmanship of the President, with the Secretaries of State and Defense as its key members, to coordinate foreign policy and defense policy, and to reconcile diplomatic and military commitments and requirements. This major legislation also provided for a Secretary of Defense, a National Military Establishment, Central Intelligence Agency, and National Security Resources Board. The view that the NSC had been created to coordinate political and military questions quickly gave way to the understanding that the NSC existed to serve the President alone. The view that the Council's role was to foster collegiality among departments also gave way to the need by successive Presidents to use the Council as a means of controlling and managing competing departments. The structure and functioning of the NSC depended in no small degree upon the interpersonal chemistry between the President and his principal advisers and department heads. But despite the relationships between individuals, a satisfactory organizational structure had to be developed, for without it the necessary flow of information and implementation of decisions could not occur. Although a permanent staff gradually began to take shape, the main substantive work occurred in the departments. President Truman's NSC was dominated by the Department of State. President Eisenhower's predilection for the military staff system, however, led to development of the NSC along those lines. The NSC staff coordinated an elaborate structure for monitoring the implementation of policies. The NSC's Executive Secretary became an assistant to the President, but was sufficiently self-effacing not to conflict with a powerful Secretary of State, John Foster Dulles. President Kennedy may have initially looked to a strong Secretary of State to take charge of foreign policy-making, but turned to other strategies when it became apparent that the Department of State did not have sufficient authority over other departments. Kennedy, who preferred policy-making with ad hoc groups, dismantled Eisenhower's elaborate NSC machinery and allowed the Special Assistant for National Security Affairs and his staff to assume the primary coordination role. Kennedy's freewheeling style tended to erase the distinction between policy-making and operations that President Eisenhower's regimented staff system so carefully observed. Sharing Kennedy's affinity for informal advisory arrangements, President Johnson let the NSC structure atrophy still further and, like his predecessor, relied instead on the National Security Adviser and his staff and various ad hoc groups and trusted friends. But he also consulted regularly with his Tuesday Lunch Group and in 1966 officially turned over responsibility for the supervision and coordination of interdepartmental activities overseas to the Secretary of State, with mixed results. Under Presidents Nixon and Ford, Henry Kissinger's expanded NSC staff concentrated on acquiring analytical information from the various departments that would allow the National Security Adviser to put before the President the best possible range of options for decision. This system was in perfect accord with President Nixon's preference for detailed written expositions rather than interpersonal groupings. Kissinger concentrated on a handful of major issues and allowed some foreign matters to devolve by default on the Department of State, while weapons and international financial questions were dealt with by the Departments of Defense and the Treasury. Kissinger at first attempted to restore the separation between policy-making and implementation, but eventually found himself personally performing both roles. Under President Carter, the National Security Adviser became a principal source of foreign affairs ideas and the NSC staff was recruited and managed with that in view. The Department of State provided institutional memory and served as operations coordinator. Some saw this as an activism-conservatism duality, and the press eventually picked up on the tensions that were present. The National Security Adviser's role as public advocate rather than as custodian exacerbated the difficult relationships with State and other departments. A collegial approach to government decision-making was emphasized in the Reagan administration. The National Security Adviser was downgraded, and the Chief of Staff to the President exercised a coordinating role in the White House. The collegiality among powerful department heads was not successfully maintained and conflicts became public. The NSC staff tended to emerge as a separate, contending party. President Bush brought his own considerable foreign policy experience to his leadership of the National Security Council, and restored collegial relations among department heads. He reorganized the NSC organization to include a Principals Committee, Deputies Committee, and eight Policy Coordinating Committees. The NSC played an effective role during such major developments as the collapse of the Soviet Union, the unification of Germany, and the deployment of American troops in Iraq and Panama. The Clinton administration continued to emphasize a collegial approach within the NSC on national security matters. The NSC membership was expanded to include the Secretary of the Treasury, the U.S. Representative to the United Nations, the newly-created Assistant to the President for Economic Policy (who was also head of a newly-created National Economic Council or NEC, parallel to the NSC), the President's Chief of Staff, and the President's National Security Adviser. For 50 years, 10 Presidents have sought to use the National Security Council system to integrate foreign and defense policies in order to preserve the nation's security and advance its interests abroad. Recurrent structural modifications over the years have reflected Presidential management style, changing requirements, and personal relationships. Truman Administration, 1947-1953 The National Security Council was created by Public Law 80(253, approved July 26, 1947, as part of a general reorganization of the U.S. national security apparatus. Proponents of the reform realized that no institutional means for the coordination of foreign and defense policy existed, and that the informal management techniques employed by President Roosevelt during the war and President Truman after the war were not suitable for the long haul. The State-War-Navy Coordinating Committee (SWNCC) had been established in 1944 at the Assistant Secretary-level, and by 1945 the Secretaries of State, War, and Navy began holding weekly meetings. President Roosevelt had tended to trust White House aides like Harry Hopkins and Admiral William D. Leahy to carry on necessary day-to-day coordination. President Truman for a time relied upon Special White House Counsel Clark Clifford to provide the Hopkins(Leahy type of personal coordination. Clifford, who was dismayed by the disorder among agencies taking major post-war policy-making decisions, was a key figure in establishing the National Security Council to give institutional stability to national security policy-making. The National Security Act of 1947 created the National Security Council under the chairmanship of the President, with only the following seven officials as permanent members: the President, the Secretaries of State, Defense, Army, Navy, Air Force, and the Chairman of the National Security Resources Board. The President could designate "from time to time" the Secretaries of other executive departments and the Chairmen of the Munitions Board and the Research and Development Board to attend meetings. While the new Central Intelligence Agency was to report to the NSC, the Director of Central Intelligence was not a member, although he attended meetings as an observer and resident adviser. The function of the NSC as outlined in the 1947 act was to advise the President on integration of domestic, foreign, and military policies relating to national security and to facilitate interagency cooperation. At the President's direction, the NSC could also assess and appraise risks to U.S. national security, consider policies, and then report or make recommendations to the President. The act created a small permanent staff headed by a civilian Executive Secretary appointed by the President. In neither the National Security Act of 1947 nor subsequent amendments was there provision for the position of National Security Adviser. Initially, the permanent NSC staff had no substantive role in the formulation, let alone implementation, of national security policies. The NSC did, however, serve other purposes beyond its stated goal of advising on policy formulation. For Forrestal and the Navy, who were opposed to a strongly-unified Department of Defense, it provided top-level coordination of the three armed services without integration or unification. For Defense officials, it ensured a continuing military voice in formulation of related foreign and domestic policies during peacetime. For those, especially in Congress, who doubted Truman had adequate experience in foreign affairs or even doubted his abilities in general, the NSC offered the hope of evolving into a collegial policy-making body to reinforce the President. Truman was clearly sensitive to this implied criticism and jealous of his prerogatives as Chief Executive. He did not like the idea of Congress legislating who could advise him on national security. Truman, therefore, kept the NSC at arm's length during its first 3 years. He attended the first session of the NSC on September 26, 1947, and then stayed away from all but 10 of the next 55 meetings. Truman continued to rely on a succession of personal White House advisers (George M. Elsey, Rear Admiral Robert Dennison, and W. Averell Harriman(to coordinate for him major foreign policy matters. Initially, Truman named the Secretary of State as the ranking member of the Council in his absence and expected the Department of State to play the major role in formulating policy recommendations. This decision disappointed Defense officials who hoped that the Secretary of Defense would be allowed to preside in the President's absence and had offered to locate the NSC staff in the Pentagon. Clifford managed to resist Secretary of Defense Forrestal's efforts to gain control of the NSC. Procedures established during the Truman administration set the basic bureaucratic pattern which lasted through the Eisenhower administration: draft NSC papers written primarily by State's Policy Planning Staff, discussion at the NSC meeting, approval by the President resulting in an NSC Action, and dissemination to relevant parts of the bureaucracy. During its initial years, the NSC suffered from haphazard staffing and irregular meetings and was sometimes bypassed entirely. The executive secretaries of the Council had no real authority or influence beyond managing the staff process. In 1949, the NSC was reorganized. Truman directed the Secretary of the Treasury to attend all meetings and Congress amended the National Security Act of 1947 to eliminate the three service secretaries from Council membership and add the Vice President(who assumed second rank from the Secretary of State(and the Joint Chiefs of Staff who became permanent advisers to the Council. NSC standing committees were created to deal with sensitive issues such as internal security. The NSC staff consisted of three groups: the Executive Secretary and his staff who managed the paper flow; a staff, made up of personnel on detail, whose role was to develop studies and policy recommendations (headed by the Coordinator from the Department of State); and the Consultants to the Executive Secretary who acted as chief policy and operational planners for each department or agency represented on the NSC. Even Truman's overhaul of the machinery in 1949 did not create a National Security Council that fulfilled the role originally envisioned. Truman was partly to blame. He insisted on going outside NSC channels for national security advice, relying directly on his Secretaries of State and Defense, and increasingly on the Bureau of the Budget. Attendance at NSC meetings gradually increased to a point where the Council became too large for free discussion and degenerated into a bureaucratic battleground of departmental rivalries. NSC lines of authority, never clear, became increasingly blurred. By not attending most NSC meetings, Truman ensured that Council members would seek him out to press their own viewpoints privately. In 1949, events reinforced the need for better coordination of national security policy: NATO was formed, military assistance for Europe was begun, the Soviet Union detonated an atomic bomb, and the Communists gained control in China. The Department of State seized the opportunity to review U.S. strategic policy and military programs, overcoming opposition from Secretary of Defense Louis Johnson and his allies in the Bureau of the Budget. Initially sidestepping formal NSC channels, State won approval of an ad hoc interdepartmental committee under its Policy Planning head, Paul Nitze. Their report, NSC 68, was submitted directly to Truman in February 1950, who sent it to the NSC for a cost analysis. An NSC committee authorized to consider costs and broader implications of NSC 68 began its work, but before it could be completed the Korean war broke out. The war in Korea dramatically changed the functioning of the NSC under Truman. Thereafter the Council met every Thursday and the President attended all but 7 of its 71 remaining meetings. Truman limited attendance to statutory members plus the Secretary of the Treasury, the Chairman of the JCS, the Director of Central Intelligence, two special advisers (Averell Harriman and Sidney Souers), and the NSC Executive Secretary. The Secretariat was retained, but the Staff and the Consultants were eliminated in favor of a Senior Staff--Assistant Secretary level or higher(supported by Staff Assistants. Truman reiterated that the NSC was to be the channel for all important national security recommendations. During the first year of the Korean war, the NSC came as close as it ever did under Truman to fulfilling that role. Nonetheless, Truman still looked outside the formal NSC mechanism for advice and recommendations, relying on the NSC as much for staffing and coordination of interdepartmental views as for primary recommendations. Truman made additional structural changes in the NSC in late 1950 and in 1951. He directed the head of the newly-created Office of Defense Mobilization to attend NSC meetings and then made him a member of the Senior Staff. With the Mutual Security Act of 1951, the newly-created Director for Mutual Security (Harriman) became a statutory member with the right to appoint a Senior Staff member. The Bureau of the Budget sent a representative to some Senior Staff meetings. In 1951, the Psychological Strategy Board (PSB), made up of the deputies at State and Defense and the Director of Central Intelligence, was created to coordinate the response to Soviet unconventional Cold War tactics. The PSB worked closely with the NSC in managing America's covert psychological counterattack. In his retirement President Truman denied any responsibility for "cloak and dagger operations" but it was during his Presidency that covert intelligence operations in support of foreign policy objectives was undertaken on an ever broadening scale. The NSC's first action (NSC 1/1) authorized covert action in the Italian elections. The formal institutionalization of covert actions was established as NSC 4 in December 1947, and NSC 10/2 of June 1948. During Truman's last year, the Council and the Senior Staff met less frequently and NSC activity abated. Much interdepartmental planning on the NSC books was never completed by the end of the Truman administration. During this period, the NSC reflected Truman's sense of frustration as a lame-duck President caught in a stalemated war. Eisenhower Administration, 1953-1961 Under President Eisenhower, the National Security Council system evolved into the principal arm of the President in formulating and executing policy on military, international, and internal security affairs. Where Truman was uncomfortable with the NSC system and only made regular use of it under the pressure of the Korean war, Eisenhower embraced the NSC concept and created a structured system of integrated policy review. With his military background, Eisenhower had a penchant for careful staff work, and believed that effective planning involved a creative process of discussion and debate among advisers compelled to work toward agreed recommendations. The genesis of the new NSC system was a report prepared for the President in March 1953 by Robert Cutler, who became the President's Special Assistant for National Security Affairs. Cutler proposed a systematic flow of recommendation, decision, and implementation that he later described as the "policy hill" process. At the bottom of the hill, concerned agencies such as State and Defense produced draft policy recommendations on specific topics and worked for consensus at the agency level. These draft NSC papers went up the hill through the Planning Board, created to review and refine the recommendations before passing them on for full NSC consideration. The NSC Planning Board met on Tuesday and Friday afternoons and was composed of officials at the Assistant Secretary level from the agencies with permanent or standing representation on the Council, as well as advisers from the JCS and CIA. Hundreds of hours were spent by the Board reviewing and reconstructing proposed papers for the NSC. Cutler resigned in 1958 in exhaustion. The top of the foreign policy-making hill was the NSC itself, chaired by the President, which met regularly on Thursday mornings. The Council consisted of the five statutory members: the President, Vice President, Secretaries of State and Defense, and Director of the Office of Defense Mobilization. Depending on the subject under discussion, as many as a score of other senior Cabinet members and advisers, including the Secretary of the Treasury, the Chairman of the JCS, and the Director of Central Intelligence, attended and participated. The agenda included regular briefings by the Director of Central Intelligence on worldwide developments affecting U.S. security, and consideration of the policy papers advanced by the Planning Board. The upshot of the discussions were recommendations to the President in the form of NSC Actions. The President, who participated in the discussion, normally endorsed the NSC Action, and the decision went down the hill for implementation to the Operations Coordinating Board. President Eisenhower created the Operations Coordinating Board (OCB) to follow up on all NSC decisions. The OCB met regularly on Wednesday afternoons at the Department of State, and was composed of the Under Secretary of State for Political Affairs, Deputy Secretary of Defense, the Directors of CIA, USIA, and ICA, and the Special Assistants to the President for National Security Affairs and Security Operations Coordination. The OCB was the coordinating and implementing arm of the NSC for all aspects of the implementation of national security policy. NSC action papers were assigned to a team from the OCB for follow-up. More than 40 interagency working groups were established with experts for various countries and subjects. This 24-person staff of the OCB supported these working groups in which officials from various agencies met each other for the first time. The President's Special Assistant for National Security Affairs, a post held under Eisenhower by Cutler, Dillon Anderson, William H. Jackson, and Gordon Gray, oversaw the flow of recommendations and decisions up and down the policy hill, and functioned in Council meetings to brief the Council and summarize the sense of discussion. The Special Assistant was an essential facilitator of the decision-making system, but, unlike the National Security Adviser created under Kennedy, had no substantive role in the process. The NSC staff managed by the Special Assistant grew during the Eisenhower years, but again had no independent role in the policy process. President Eisenhower had great confidence in the efficacy of covert operations as a viable supplement or alternative to normal foreign policy activities. The seeming clear success of the operations to overthrow Iranian populist leader Mossadegeh in 1953 and the left-leaning President Arbenz in Guatemala in 1954 was not without their crisis moments in the White House. In 1954 NSC 5412 provided for the establishment of a panel of designated representatives of the President and the Secretaries of State and Defense to meet regularly to review and recommend covert operations. Gordon Gray assumed the chairmanship of the "5412 Committee" as it was called, and all succeeding National Security Advisers have chaired similar successor committees, variously named "303", "40", "Special Coordinating Committee," which, in later Presidential administrations, were charged with the review of CIA covert operations. President Eisenhower also created the position of staff secretary with the responsibility to screen all foreign policy and military documents coming to the President. While Colonel Andrew Goodpaster held this position, he tended to eclipse the Special Assistant for National Security. The strength of the NSC system under Eisenhower was that it provided for regular, fully-staffed, interagency review of major foreign and national security issues, culminating in discussion and decision at the highest level of government. The resulting Presidentially-approved NSC papers provided policy guidance at every level of implementation. Eisenhower felt that the regular policy discussions kept his principal advisers fully informed, in step with one another, and prepared to react knowledgeably in the event of crisis. His commitment to the system was such that he chaired every Council meeting he could attend (329 of a total of 366). The NSC meetings, including prior briefings and subsequent review of NSC Actions, constituted the largest single item on his weekly agenda. Secretary of State Dulles, on the other hand, had reservations about the NSC system. He was the strongest personality in the Eisenhower Cabinet and jealously guarded his role as principal adviser to the President on foreign policy. He had constant, direct access to the President and did not feel that some of the most sensitive issues should be discussed in groups as large as were involved in most NSC meetings. He drew a sharp line between the NSC policy review process and the day-to-day operations of foreign policy, which he maintained were the province of the Department of State. Dulles and his deputies were not comfortable with the scope the NSC review system gave to Secretary of the Treasury George Humphrey, another strong figure in the Cabinet, to intrude budgetary limitations into policy considerations. And Dulles successfully resisted a proposal to substitute the Vice President for the Under Secretary of State as chairman of the OCB, arguing that such a change would impinge on his role as principal adviser to the President on foreign policy. Critics of the Eisenhower NSC system have argued that it was inflexible, overstaffed, unable to anticipate and react to immediate crises, and weighed down by committees reporting in great detail on long checklists of minor policy concerns. The most thorough critique of the system emerged from the hearings conducted in 1960(1961 by the Senate Subcommittee on National Policy Machinery, known as the Jackson Subcommittee for its chairman, Senator Henry Jackson. Cutler and NSC Executive Secretary James Lay testified in support of the effectiveness of the system, but their testimony was offset by that of former Truman administration officials such as George Kennan, Paul Nitze, and Robert Lovett. They argued that foreign policy was being made by a passive President influenced by a National Security Council rendered virtually useless by ponderous, bureaucratic machinery. Basically, they argued, the NSC was a huge committee, and suffered from all the weaknesses of committees. Composed of representatives of many agencies, its members were not free to adopt the broad, statesmanlike attitude desired by the President, but, rather, were ambassadors of their own departments, clinging to departmental rather than national views. To make matters worse, critics added, the NSC system by its very nature was restricted to continuing and developing already established policies and was incapable of originating new ideas or major innovations. The critics suggested replacement of the formal, "over-institutionalized" NSC structure with a smaller, less formal NSC which would offer the President a clear choice of alternatives on a limited number of major problems. Eisenhower was certainly not a passive President, dominated on foreign policy and national security issues by his Secretary of State. In fact, Eisenhower was actively in command of his administration, and the NSC system met his instincts and requirements. There is substance in the criticism that the Eisenhower NSC became to some extent the prisoner of a rigidly bureaucratic process, but the criticism misses the point that Eisenhower and Dulles did not attempt to manage fast-breaking crises or day-to-day foreign policy through the NSC apparatus. An examination of several of the major foreign policy problems that confronted the Eisenhower administration reveals that the NSC system was used to manage some and was virtually bypassed in others. When the question involved a policy debate between departments with strongly-held, contending positions, as it did in the case of the debate between the Departments of State and Defense in 1956(1957 over whether to introduce a more modern generation of weapons into Korea, the NSC process focused debate and produced an agreed decision after discussion of three draft policy papers. Crisis situations, however, such as the Suez crisis of 1956, the off-shore island crises of 1955 and 1958, and the Lebanon crisis of 1958, were typically managed through telephone conversations between Eisenhower, Dulles, and other principal advisers, and through small meetings with the President in the White House, normally involving Dulles and other concerned advisers. Eisenhower sometimes used trusted NSC staffers to serve as an intermediary to gain information outside the chain of command as he did with Colonel Goodpaster during the Quemoy crisis in 1955. There was great similarity between this process of crisis management and that adopted by subsequent Presidents, such as Kennedy, Johnson, and Nixon, except for the fact that the ad hoc meetings in the Eisenhower White House did not involve a National Security Adviser as a substantive participant. And in the event that aspects of crisis management depended on contact with the critical man-on-the-spot, as it did in 1958 when Deputy Under Secretary of State Robert Murphy was dispatched to Lebanon to attempt to defuse the crisis, his instructions came from the Department of State and he reported to the Secretary of State rather than directly to the White House, as became the practice during the height of the Vietnam conflict. When Eisenhower briefed President-elect Kennedy on the NSC system, and when Gray briefed his successor McGeorge Bundy, they emphasized the importance of the NSC machinery in the management of foreign policy and national security affairs. They might have been more persuasive had they pointed to the fact that the NSC system was essentially limited to policy review and was not used to manage crises or day-to-day foreign policy. Kennedy Administration, 1961-1963 President Kennedy, who was strongly influenced by the report of the Jackson Subcommittee and its severe critique of the Eisenhower NSC system, moved quickly at the beginning of his administration to deconstruct the NSC process and simplify the foreign policy-making process and make it more intimate. In a very short period after taking office, the new President moved to reduce the NSC staff from 74 to 49, limit the substantive officers to 12, and hold NSC meetings much less frequently while sharply curtailing the number of officers attending. The Operation Coordination Board was abolished, and the NSC was, at the President's insistence, pulled back from monitoring the implementation of policies. The coordination of foreign policy decisions was ostensibly left to the State Department (and other agencies as necessary). McGeorge Bundy's appointment as the President's National Security Adviser inaugurated this position as it has essentially continued down to the present. The definition of Bundy's responsibilities and authority unfolded and grew during the Kennedy presidency. Bundy's considerable intellectual and bureaucratic abilities as well as close personal relationship with the new President contributed much to evolution of the National Security Adviser position and the new role of the NSC. In a letter to Senator Jackson in September 1961 Bundy sought to define the early relationship sought with the State Department. ". . . the President has made it very clear that he does not want a large, separate organization between him and his Secretary of State. Neither does he wish any question to arise as to the clear authority and responsibility of the Secretary of State, not only in his own Department, and not only in such large-scale related areas as foreign aid and information policy, but also as the agent of coordination in all our major policies toward other nations." The Department of State's apparent failure effectively to coordinate the administration's response to the Bay of Pigs crisis in early 1961 led to a series of measures aimed at providing the President with better independent advice from the government. It also sparked the NSC process to reenter the arena of monitoring the implementation of policy. The most important step in this direction was the establishment of the Situation Room in the White House in 1962. The Sit Room, located next to Bundy's office in the basement of the West Wing of the White House, was directly linked to all the communication channels of the State Department and the Department of Defense, as well as to some of the channels of the CIA. The Sit Room allowed the President and his foreign affairs advisers to keep abreast of all the cable traffic from overseas posts. More than anything else, the Sit Room allowed Bundy and his NSC staff to expand their involvement in the international activities of foreign affairs community and become, in essence, "a little State Department." As National Security Adviser, Bundy divided his work with his Deputy, Walt Rostow (and later Carl Kaysen). While Bundy dealt with the immediate day-to-day crises and the range of European affairs, Rostow focused upon long-term planning with a particular concentration on Latin American affairs. Kaysen focused upon foreign trade and economic affairs matters that became increasingly important in the latter part of the Kennedy Presidency. In addition to Bundy and the NSC staff, President Kennedy reached out still further for foreign affairs advice. Early in 1961 the President appointed General Maxwell Taylor to serve as his military representative and provide liaison with the government agencies and defense and intelligence establishments on military-political issues confronting the administration. Taylor in effect took up the role filled by Admiral Leahy in the Roosevelt White House. General Taylor advised the President on military matters, intelligence, and Cold War planning and paid special attention to the continuing Berlin crisis and growing difficulties in Indochina. The Taylor(Rostow mission to Indochina at the end of 1961 and the resulting report led to military decisions on aid to South Vietnam and the entry of the United States into the Vietnamese quagmire. Taylor had a very personal connection with the President and was not replaced in 1962 when he left. But in 1962 Kennedy appointed former State Department Under Secretary Chester Bowles to serve as his Special Adviser on Foreign Affairs. Bowles had not survived conflicts with Secretary of State Rusk and his appointment to the White House was partly compensatory. His brief was seemingly intended to be the development of policy toward the Third World, but after a year he left Washington to become Ambassador to India. The NSC continued to meet during the Kennedy Presidency, but far less frequently than had been the case under his predecessor. It met 15 times during the first 6 months of 1961, then averaged one meeting a month for the rest of his Presidency, reaching a total of 49 meetings. "Much that used to flow routinely to the weekly meetings of the Council is now settled in other ways, Bundy reported in September 1961. Some of the NSC activities were taken up by a smaller, more select body called the Standing Group. This small NSC coordinating panel was chaired by the Under Secretary of State for Political Affairs and included the Deputy Secretary of Defense, the Director of Central Intelligence, and Bundy. It considered a wide range of foreign affairs issues at 14 meetings the last of which was in August 1962. The Standing Group resumed in April 1963 with Bundy as its chairman and with the added membership of the Attorney General, the Chairman of the JCS, the Under Secretary of the Treasury, the Director of USIA, and Administrator of AID. It also met 14 times during the remainder of the Kennedy Presidency. The Kennedy administration abandoned the Eisenhower-era efforts at long-range planning in favor of a heavy reliance upon ad hoc inter-agency working groups functioning in a "crisis management" atmosphere. The leadership in these special groups did not automatically fall to the State Department. Trusted officials from other agencies or outside the foreign affairs community often took the lead. There were special groups on counter-insurgency (chaired by General Taylor), on Vietnam, and the Berlin crisis, the latter presided over by former Secretary of State Dean Acheson. The Executive Committee of the National Security Council (ExCom) was established in the autumn of 1962 to manage the emerging Cuban Missile Crisis. A much smaller group than the NSC, it consisted of the President as chairman, the Vice President, the Secretaries of State, Defense, and the Treasury, the Attorney General (the President's brother), the Director of Central Intelligence, and Chairman of the JCS as well as National Security Adviser Bundy. After the missile crisis was successful weathered, the ExCom continued to meet with Cuba as its primary subject but with discussions of other matters during its 42 meetings between October 1962 and March 1963. U.S. covert actions and paramilitary activity during the Kennedy administration were administered generally outside the NSC system. Following the Bay of Pigs fiasco in early 1961, the President reconstituted the 5412 Committee that monitored covert actions as the Special Group. Chaired by National Security Adviser Bundy, the new body included the Director of Central Intelligence, the Chairman of the Joint Chiefs of Staff, and Under Secretaries from the State and Defense Departments. This body reviewed and endorsed a number of covert action projects in the first 2 years of the Kennedy Presidency. President Kennedy also added to the responsibilities of the President's Foreign Intelligence Advisory Board (PFIAB), originally created by President Eisenhower in 1956. Kennedy met with the Board 12 times and conferred frequently with individual members. The Board reviewed a wide range of intelligence matters and made some 120 recommendations to the President. In effect, Bundy had the first and last words on policy. He worked in close proximity to the President who valued highly his competence and opinions; he served on most major ad hoc committees and the Executive Committee, and he attended the occasional formal meetings of the National Security Council. It is possible to overemphasize Bundy's substantive skewing of Presidential policy formulation. Most observers credited him with being scrupulously fair in presenting opinions of the agencies to the President, even when they conflicted with his own. He offered his views to Kennedy only when specifically asked. Bundy's influence was oblique rather than direct. Essentially, he served an administrative function and did not seek to advance a personal overview of American security and foreign policy. The most significant aspect of Bundy's tenure as Kennedy's Special Assistant for National Security Affairs was that he headed an aggressive Presidential staff that believed its job was to protect the President's interests, provide him with independent advice, and lead a recalcitrant bureaucracy toward his policies. In addition, Bundy was an effective channel to the President for his activist staff. Johnson Administration, 1963-1969 The abrupt transition of power to the Johnson administration brought no dramatic change in the formal role of the National Security Council. Like Kennedy, Johnson much preferred small, informal advisory meetings to large Council meetings supported by an elaborately organized staff. According to one of his aides, Johnson felt the NSC was "not a live institution, not suited to precise debate for the sake of decision." Moreover, Johnson thought NSC meetings were prone to leaks--they were "like sieves," he once remarked--and he inherited advisers who shared his views. Secretary of State Dean Rusk later observed that during the Kennedy Presidency neither he nor Secretary of Defense Robert McNamara liked to "get into much discussion" in the NSC with "so many people sitting around the room" and the possibility of leaks so great. Despite his misgivings about the Council, Johnson started out convening it fairly regularly, about every 2 weeks on average during his first 11 months in office. The sessions dealt with a broad range of issues but were relatively brief in duration and, after May 1964, consisted largely of briefings. With the approach of the Presidential election in November, Johnson suspended NSC meetings, but then in early 1965 he shifted gears. From February 1965 through mid-1966 he convened the NSC almost exclusively to discuss Vietnam, doing so irregularly and, following a flurry of meetings in February 1965, infrequently. Several participants later charged that Johnson used the NSC during 1965 not to consult on Vietnam as he committed major U.S. ground forces but to "rubber stamp" decisions made beforehand. The other major foreign policy crisis of the period, the intervention in the Dominican Republic during April and May 1965, was not brought before the Council at all. As the Council's formal advisory role diminished, so too did its institutional support. Johnson treated the NSC staff as a personal staff, and dropped meetings of the NSC Standing Group, which convened intermittently under Kennedy to deal with planning and operations problems. Official records of Council actions were discontinued, and National Security Action Memorandums, which Kennedy had instituted to inform government agencies of Presidential decisions requiring follow-up action, were issued with decreasing frequency. Whereas Kennedy had issued 272 NSAMs in less than three years, Johnson issued 46 in 1964, 35 during 1965 and 1966, and a mere 14 during his final 2 years in office. Disinclined to use the Council meetings for advice, Johnson, like Kennedy, relied heavily on his National Security Advisers: McGeorge Bundy, who remained in office through February 1966, and Bundy's successor, Walt Rostow, who served to the end of the administration. Indeed, scholars looking at the evolution of the NSC from its inception to the 1970s contend that the National Security Adviser and his White House centered staff increasingly assumed a more prominent role than the official National Security Council and that Johnson, like Kennedy before him, played a key role in this development. Focusing on Johnson's Presidency alone, however, some of his advisers, including Secretary of State Rusk and Walt Rostow, insisted that the Council's advisory role was actually performed principally by another institution, the Tuesday Lunch Group, and that those lunch meetings were in effect regular NSC meetings. The small, informal, Tuesday luncheon meetings were much more to Johnson's liking than formal NSC meetings and quickly gained a prominent place in the decision-making process. Embracing the Secretaries of State and Defense and the National Security Adviser, the Tuesday Lunch Group met 27 times between February and September 1964. In all Johnson convened some 160 Tuesday luncheons during his Presidency, and the group was gradually expanded to include his press secretary, the Director of Central Intelligence, and the Chairman of the Joint Chiefs of Staff. The participants uniformly praised the "strong collegial sense" at the meetings and the opportunity for "extraordinary candor," but subordinates often complained that the secrecy and informality that encouraged candor also made it hard for them to prepare their superiors properly for the meetings and implement the decisions that were reached. Upon succeeding Bundy as National Security Adviser in 1966, Rostow came to grips with the issue of how to make effective use of the formal Council, which by then was virtually moribund. He advised Johnson neither to pretend to use the Council meetings for making major decisions nor to focus on day-to-day operations. Instead he proposed regular, "anticipatory-type" sessions devoted, as Johnson explained at the first of the new series, to "discussion of complex problems requiring careful exploration before they were to come to him for decision." Clearly intended to complement rather than challenge the primary advisory roles of the Tuesday luncheons and the National Security Adviser and his staff, NSC meetings for the balance of the administration considered a broad range of anticipated rather than pressing issues and gave little attention to Vietnam. As one NSC staff member put it, Council members now convened for "reflective and educational discussions, rather than decision-making meetings." When not relying for advice and support on the Tuesday Lunch Group and the National Security Adviser and his small staff, Johnson turned to a variety of ad hoc groups and trusted friends inside and outside the government. Following the outbreak of the Six Day War, for example, he established an NSC Special Committee, modeled on the NSC Executive Committee that met during the Cuban Missile Crisis, to coordinate U.S. policy in the Middle East for several weeks. But none of these arrangements substituted fully for the functions that the NSC's Planning Board and the Operations Coordinating Board provided under Eisenhower. In March 1966 the Johnson White House sought to remedy this situation through issuance of NSAM 341, the brainchild of General Maxwell Taylor. NSAM 341 assigned the Secretary of State official responsibility for the overall direction, coordination, and supervision of interdepartmental activities overseas and created a mechanism to carry out the responsibility consisting of the Senior Interdepartmental Group (SIG), chaired by the Under Secretary of State, and several Interdepartmental Regional Groups (IRGs) beneath it, each chaired by an Assistant Secretary of State. But following a fast-paced start, the SIG entered a period of quiescence that saw it meet only three times from late July 1966 to mid-July 1967, reflecting in part Under Secretary of State Nicholas Katzenbach's initial hesitancy to exploit its possibilities upon taking office in October 1966. The SIG gained new vitality in mid-1967, however, and together with the more active IRGs played a complementary and supporting role to the Secretary of State and the NSC, especially in easing the burdens of the national security adviser and his staff with respect to interagency coordination and follow-up. The innovations of a Presidential administration often do not survive its close, reflecting as they do the distinctive views and management style of the President and his immediate advisers. The close of the Johnson administration brought an end to several of the adaptations it had made to manage foreign policy: Tuesday luncheons, anticipatory-type NSC meetings, and the SIG/IRG structure. Nixon Administration, 1969-1974 President Nixon and his National Security Adviser, Henry Kissinger, dominated the making of U.S. foreign policy during the Nixon Presidency. As Nixon recalled in his memoirs: "From the outset of my administration, . . . I planned to direct foreign policy from the White House. Therefore I regarded my choice of a National Security Adviser as crucial." Henry Kissinger worked through a National Security Council apparatus he revised and fashioned to serve his needs and objectives and those of the President. The close relationship between the President and the National Security Adviser was the basis for their ability to carry out American foreign affairs leadership around the world. The National Security Council system was the mechanism for the period of unprecedented American activism in foreign policy and the exercise of Kissinger's growing power. Kissinger wrote later that "in the final analysis the influence of a Presidential Assistant derives almost exclusively from the confidence of the President, not from administrative arrangements." The two men developed a conceptual framework that would guide foreign policy decisions. Kissinger's intellectual ability, his ambition, and his frequent discussions with Nixon were all factors in increasing within the government both his own power and the unchallenged authority of the NSC system he personally directed. The Kissinger NSC system sought to combine features of the Johnson and Eisenhower systems. The Senior Interdepartment Group (SIG) of the Johnson White House was replaced by an NSC Review Group (somewhat similar to the Eisenhower-era NSC Planning Group) together with an NSC Under Secretary's Committee. The Kissinger NSC relied upon interdepartmental working groups (IGs) to prepare for NSC directives. Critics observed that 10 IG meetings prepared the way for each SIG-level meeting, and 5 SIG meetings were needed to prepare for each NSC meeting. White House direction of foreign policy meant the eclipse of the Department of State and Secretary William Rogers. Nixon did not trust the Department bureaucracy. According to Kissinger, Nixon picked Rogers, who was inexperienced in foreign affairs, to indicate that the President would dominate the relationship between the NSC and the Department of State. Throughout Nixon's first term, only Kissinger participated in the President's important discussions with foreign state visitors. Nixon excluded Rogers from his first meeting with Soviet Ambassador Anatoly Dobrynin in February 1969. The NSC also took control of the process of clearing key policy cables to overseas posts. Kissinger and Rogers became rivals and developed formal contacts in place of substantive discussions. The NSC(Department of State power relationship was reflected in institutional arrangements. During the transition period before Nixon assumed power, Kissinger recommended that the NSC be buttressed by a structure of subcommittees to draft analyses of policy that would present clear decision options to the President. The National Security Adviser was to be chairman of a Review Group to screen interagency papers before their presentation to the full NSC chaired by the President. Nixon insisted on the abolition of the SIG chaired by the Department of State. These recommendations were incorporated in National Security Decision Memorandum (NSDM) 2, issued shortly after Nixon's inauguration on January 20, 1969. NSDM 2 was rightly perceived as a victory for Kissinger and helped to establish his foreign policy authority at the outset of the administration. Kissinger moved quickly to establish the policy dominance of the NSC. He expanded its staff from 12 to 34; not only was it the cadre for his centralized policy-making, but it was also his antennae throughout the bureaucratic structure. In the President's name, Kissinger set the NSC agendas and issued the numerous National Security Study Memoranda (NSSM) that set forth the precise needs for interagency policy papers. An NSC Under Secretaries Committee, chaired by the Deputy Secretary of State, gradually withered away. By the time the increasingly complicated committee structure was settled, Kissinger chaired six NSC-related committees: the Senior Review Group (non-crisis, non-arms control matters), the Washington Special Actions Group (serious crises), the Verification Panel (arms control negotiations), the 40 Committee (clandestine operations), the Intelligence Committee (policy for the intelligence community), and the Defense Program Review Committee (relation of the defense budget to foreign policy aims). Nixon also increasingly bypassed the Department of State to supervise personally sensitive negotiations in order to avoid what he and President Nixon agreed were likely bureaucratic disputes and inertia. The President made clear that he wanted the National Security Adviser to conduct important matters directly out of his office. Nearly every foreign ambassador called upon Kissinger at least once. With Soviet Ambassador Dobrynin, Kissinger maintained a special relationship that completely bypassed the Department of State and Secretary Rogers. Dobrynin was told by Kissinger to deal with the Secretary of State only on a limited range of less vital matters. Kissinger also maintained similar relationships with Chinese leader Chou En-lai and Israeli Ambassador Rabin. In carrying on his activist, operational undertakings, Kissinger relied upon special controlled communications. CIA communications were used for his "back channel" messages so that the Department of State was kept in the dark. He also used the White House Communication Agency including the use of special aircraft as communication centers. With his negotiations in Paris in 1971 regarding Vietnam, with Israelis and Arabs after 1973, and with the Soviet Union in advance of summit meetings, Kissinger was a traveling negotiator, and the NSC was a system on the move. Jeanne Davis, the NSC Executive Secretary, also facilitated the handling of sensitive correspondence by propelling the NSC staff into the computer age with a document tracking system unheard of by Kissinger's predecessors. The waning of Nixon's power during the Watergate affair further increased Kissinger's influence. On September 22, 1973, Kissinger became Secretary of State, replacing Rogers. For the first time, one individual held simultaneously the positions of National Security Adviser and Secretary of State. Under these unique circumstances, Kissinger strengthened his institutional base as the administration's principal foreign policy adviser. Kissinger later admitted, however, that the union of the two positions did not work. Department of State representatives were his subordinates while he wore his Secretary of State hat. When he chaired a meeting, they had to represent his point of view or else all interdepartmental matters would be outside his control. Kissinger indicated he was in an inherently absurd position of either pushing his Department's views as chairman or dissociating himself from his subordinates. Ford Administration, 1974-1977 President Ford, who assumed office in August 1974, was relatively inexperienced in foreign affairs. He therefore relied almost exclusively on Kissinger's expertise and advice. During 1975, however, there developed strong public and congressional disapproval of the accretion of so much power over foreign policy in the hands of one man. As part of a Cabinet shakeup on November 3, 1975, Ford named Lieutenant General Brent Scowcroft, Kissinger's deputy at the NSC, as National Security Adviser. Kissinger was at first resentful of the loss of his unique, dual position. He soon discovered, however, as he wrote in his memoirs, that Scowcroft's appointment in no way diminished his real power within the administration because he kept Ford's confidence and unlimited access, and Scowcroft in no way sought to advocate policies in competition with the Secretary of State. Kissinger continued to have a cordial relationship with Scowcroft, and both men exchanged ideas constantly. In turn, Scowcroft was content to operate in a quiet, unobtrusive way. He took seriously the NSC obligation to present the President with clear analyses and options for decision. He managed a toned-down version of the Kissinger NSC system that was compatible with the Secretary of State's role as the President's chief foreign policy adviser. Many of the most aggressive members of Kissinger's NSC team also made the move to State, allowing Scowcroft to fashion a staff that reflected the new relationships. Carter Administration, 1977-1981 Carter began his term determined to eliminate the abuses he ascribed to the Kissinger NSC under Nixon and Ford. He believed that Kissinger had amassed too much power during his tenure as NSC Adviser and Secretary of State, and effectively shielded his Presidents from competing viewpoints within the foreign policy establishment. Carter resolved to maintain his access to a broad spectrum of information by more fully engaging his Cabinet officers in the decision-making process. He envisaged the role of the National Security Council to be one of policy coordination and research, and reorganized the NSC structure to ensure that the NSC Adviser would be only one of many players in the foreign policy process. Carter chose Zbigniew Brzezinski for the position of National Security Adviser because he wanted an assertive intellectual at his side to provide him with day-to-day advice and guidance on foreign policy decisions. Initially, Carter reduced the NSC staff by one-half and decreased the number of standing NSC committees from eight to two. All issues referred to the NSC were reviewed by one of the two new committees, either the Policy Review Committee (PRC) or the Special Coordinating Committee (SCC). The PRC focused on specific issues that fell largely within the jurisdiction of one department. Its chairmanship rotated to whichever department head had primary responsibility for the issue, most often the Department of State, and committee membership was frequently expanded as circumstances warranted. Unlike the Policy Review Committee, the Special Coordinating Committee was always chaired by the NSC Adviser. Carter believed that by making the NSC Adviser chairman of only one of the two committees, he would prevent the NSC from being the overwhelming influence on foreign policy decisions. The SCC was charged with considering issues that cut across several departments, including oversight of intelligence activities, arms control evaluation, and crisis management. Much of the SCC's time during the Carter years was spent on SALT issues. President Carter changed the name of the documents in the decision-making process, although the mechanics of NSC review differed little from that of previous administrations. The Presidential Review Memorandum (PRM) replaced the National Security Study Memorandum (NSSM), and the Presidential Directive (PD) supplanted the National Security Decision Memorandum (NSDM). PRMs identified topics to be researched by the NSC, defined the problem to be analyzed, set a deadline for the completion of the study, and assigned responsibility for it to one of the two NSC committees. If the selected committee were the Policy Review Committee, a member was designated to serve as study chairman. The study chairman assigned an ad hoc working group to complete the study, which was ultimately reviewed by the responsible committee (either the PRC or SCC). When the committee was satisfied that the study had incorporated meaningful options and supporting arguments, the study's conclusions went to the President in a 2- or 3-page memorandum, which in turn formed the basis for a Presidential Directive. The actual operation of the NSC under Carter was less structured than under previous Presidents. The Council held few formal meetings, convening only 10 times, compared with 125 meetings during the 8 years of the Nixon and Ford administrations. Instead, Carter used frequent, informal meetings as a decision-making device, typically his Friday breakfasts, usually attended by the Vice President, the Secretaries of State and Defense, the NSC Adviser, and the chief domestic adviser. The President counted on the free flow of ideas, unencumbered by a formal setting, to increase the chances of an informed decision. Critics have contended that the Carter NSC staff was deficient in certain respects. The NSC's emphasis on providing advice was effected at the expense of some of its other functions, particularly its responsibility to monitor implementation of the President's policies. Also, the President's and some of his principals' commitment to arms control skewed the formation and execution of a broad range of foreign policy options on national security questions. Without any clearly-developed foreign policy principles beyond a commitment to arms control, he often changed his mind, depending on the advice he was receiving at the time. Carter's preference for informality and openness increased the diversity of views he received and complicated the decision-making process. Every Friday, for example, the President breakfasted with Vice President Mondale, Secretary of State Vance, Secretary of Defense Brown, Brzezinski, and several White House advisers. No agendas were prepared and no formal records were kept of these meetings, sometimes resulting in differing interpretations of the decisions actually agreed upon. This problem led to one of the most embarrassing episodes of the Carter administration in which the United States had to retract a UN vote involving Israel and Jerusalem. Brzezinski was careful, in managing his own weekly luncheons with Secretaries Vance and Brown in preparation for NSC discussions, to maintain a complete set of careful notes. Brzezinski also sent weekly reports to the President on major foreign policy undertakings and problems, with recommendations for courses of action. President Carter enjoyed these reports and frequently annotated them with his own views. Brzezinski and the NSC used these Presidential notes (159 of them) as the basis for NSC actions. At the outset of the administration, Brzezinski successfully persuaded Carter to make the National Security Adviser chairman of the SCC. This meant that Brzezinski was given oversight responsibility for the SALT negotiations, which became an important focus of the Carter administration's foreign policy. Brzezinski's coordination of the arms control process also gave him major input into the administration's policy toward the Soviet Union. Thus from the beginning, Brzezinski made sure that the new NSC institutional relationships would assure him a major voice in the shaping of foreign policy. While he knew that Carter would not want him to be another Kissinger, Brzezenski also felt confident that the President did not want Secretary of State Vance to become another Dulles and would want his own input on key foreign policy decisions. Vance voiced his displeasure with this arrangement, which threatened to diminish the role of the Department of State on arms control. The SCC, however, functioned fairly smoothly on arms control. Following Vance's visit to Moscow in March 1977 to present new arms control proposals, which the Soviet leadership abruptly rejected, the SCC developed and refined arms control proposals for U.S. negotiators at the SALT talks in Geneva. President Carter carefully monitored the work of the SCC, which met with increasing frequency from 1977 to 1979. The President's personal commitment to SALT II ultimately overcame fundamental differences between the National Security Adviser and the Secretary of State. Brzezinski wanted to link arms control to other security issues, such as the administration's commitment to the development of the MX missile and normalization of relations with the People's Republic of China. Vance, however, did not want SALT linked to other Soviet activity. When the SALT II negotiations with the Soviet Union verged on success, an NSC working group, including a Department of State representative, formulated the subject areas for an agenda at the Vienna Summit (June 1979), at which Carter and Brezhnev signed the SALT II Treaty and discussed other bilateral and Third World issues. Brzezinski's power gradually expanded into the operational area during the Carter Presidency. He increasingly assumed the role of a Presidential emissary. In 1978, for example, Brzezinski traveled to Beijing to normalize U.S.-China relations. Like Kissinger before him, Brzezinski maintained his own personal relationship with Soviet Ambassador Dobrynin. Brzezinski had NSC staffers monitor State Department cable traffic through the Situation Room and call back to the Department if the President preferred to revise or take issue with outgoing Department instructions. He also appointed his own press spokesman, and his frequent press briefings and appearances on television interview shows made him a prominent public figure although perhaps not nearly as much as Kissinger had been under Nixon. In other areas the NSC system did not work effectively. The reasons stemmed less from inherent institutional defects than from strong policy differences within the administration and President Carter's inability to discipline his advisers and forge a more coherent response to the crises of the last few years of his Presidency. The Soviet military invasion of Afghanistan in December 1979 further damaged the Vance(Brzezinski relationship. Vance felt that Brzezinski's linkage of SALT to other Soviet activities and the MX, together with the growing domestic criticisms in the United States of the SALT II Accord, convinced Brezhnev to decide on military intervention in Afghanistan. Brzezinski, however, later recounted that he advanced proposals to maintain Afghanistan's "independence" but was frustrated by the Department of State's opposition. An NSC working group on Afghanistan wrote several reports on the deteriorating situation in 1979, but President Carter ignored them until the Soviet intervention destroyed his illusions. Only then did he decide to abandon SALT II ratification and pursue the anti-Soviet policies that Brzezinski proposed. The Iranian revolution provided the coup de grace to the disintegrating Vance(Brzezinski relationship. As the upheaval developed, the two advanced fundamentally different positions. Brzezinski wanted to control the revolution and increasingly suggested military action to prevent Khomeini from coming to power, while Vance wanted to come to terms with the new Khomeini regime. As a consequence Carter failed to develop a coherent approach to the Iranian situation. Brzezinski continued, however, to promote his views, which the President eventually accepted. Vance's resignation following the unsuccessful mission undertaken over his objections to rescue the American hostages in March 1980 was the final result of the deep disagreement between Brzezinki and Vance. Reagan Administration, 1981-1989 The Reagan administration, like its predecessors, faced the recurring dilemma of determining which official or agency would have primary responsibility for the direction, control, and supervision of U.S. foreign policy. During the 1980 campaign, Ronald Reagan pledged to downgrade the post of National Security Adviser in order to end the rivalry between the NSC and the Department of State that had plagued previous administrations. On inauguration day, Secretary of State-designate Alexander Haig presented a draft National Security Decision Directive (NSDD) on the organization of U.S. foreign policy to Presidential Counselor Edwin Meese III. The intent of Haig's draft was to place overall responsibility for the direction and implementation of U.S. foreign policy within the Department of State. Relying on his experience in the Nixon administration, Haig wanted to ensure Department of State control of the interagency groups within the NSC because they were the "key [to] the flow of options to the President," and thus to policy control. Haig's initiative, which he repeated on several occasions, was never responded to. Senior members of the White House staff, Counselor Meese, Chief of Staff James A. Baker III, and Michael Deaver were concerned that the proposed reorganization took too much power out of the President's hands and that an activist Secretary of State operating with wide powers could eclipse the President in his public role as the chief enunciator of U.S. foreign policy. Although the Haig initiative failed, the Secretary of State appeared to achieve for a time broad authority over the formulation of foreign policy. The President placed National Security Adviser Richard Allen's office under the supervision of Meese, and for the first time in the history of the NSC, the National Security Adviser lost direct access to the President. In subsequent public statements, the President underlined his belief that his Secretary of State was his "primary adviser on foreign affairs, and in that capacity, he is the chief formulator and spokesman for foreign policy for this administration." Allen, who had less personal authority, undertook a role as National Security Adviser that emphasized the "integration" of the proposed policies and views of the foreign affairs agencies. Nor did he take on any of the articulation of administration foreign policy(a responsibility left to Secretary Haig who at first thought of himself as the "Vicar" of foreign affairs. Changes were made in the NSC from the outset of the Reagan presidency. At a February 25, 1981, meeting chaired by Meese, Cabinet-level heads of the major foreign affairs agencies agreed on a plan to establish three Senior Interdepartmental Groups (SIGs) on foreign, defense, and intelligence problems, chaired respectively by the Secretaries of State and Defense and the Director of Central Intelligence. Under the SIGs, a series of Assistant Secretary-level Interdepartmental Groups (IGs), each chaired by the agency with particular responsibility, dealt with specific issues. The NSC staff was responsible for the assignment of issues to the groups. One example of a failed effort to create a new NSC organ in the hopes of improving interagency coordination and reducing friction among the Departments of State and Defense, the CIA, and the NSC, was President Reagan's order on March 24, 1981, naming Vice President George Bush as chair of a proposed administration crisis management team. The NSC was charged with providing staff support for this effort. The crisis group, referred to as the Special Situation Group (SSG) received a formal charter on December 14, 1981, but in fact only met once. Secretary Haig immediately and forcefully complained that the SSG would remove coordinating responsibility from him. In another effort to improve policy coordination during the summer of 1981, the President authorized the creation of a National Security Planning Group (NSPG) composed of the Vice President, the Secretaries of State and Defense, the Director of Central Intelligence, the Chairman of the Joint Chiefs of Staff, and the National Security Adviser. This group met weekly with the President and shaped policy prior to formal meetings of the NSC. In January 1982, following the resignation of National Security Adviser Allen, the President appointed a close personal friend, Deputy Secretary of State William Clark, as his new adviser. The brief episode of the weakened National Security Adviser was over. Clark would report directly to the President and not through Meese or the other two members of the triumvirate of Baker and Deaver as Allen had done. President Reagan issued a written directive (NSDD(2) in January 1982 outlining the structure and functions of the National Security Council. The directive placed responsibility for developing, coordinating, and monitoring national security policy with the National Security Adviser in consultation with the NSC members. It assigned to the Secretary of State "authority and responsibility" for the "overall direction, coordination and supervision of the interdepartmental activities incident to foreign policy formulation, and the activities of executive departments and agencies overseas," except for military activities. NSDD(2 delineated the functions of the three SIGs. It designated the Secretary of State as chairman of the Senior Interdepartmental Group for Foreign Policy (SIG(FP), and established a "permanent secretariat, composed of personnel of the State Department," augmented "as necessary" by other agency personnel requested by the Secretary of State, to deal with foreign affairs matters. To assist the SIG(FP, the Secretary of State set up Interagency Groups (IGs) for each geographic region, politico-military affairs, and international economic affairs. The IGs, in turn, created full-time working groups. The two other SIGs followed a similar structure under the leadership of the Secretary of Defense and the Director of Central Intelligence. Over the next 5 years, the Reagan administration established an additional 22 SIGs and 55 IGs within the NSC system. Some committees met only once. Observers pointed out the overuse of SIGs and the increasing snarl of responsibilities that led to enterprising NSC officials like Colonel Oliver North developing their own sub-domains within the policy-making system. Zbigniew Brzezinski described the NSC as entering its "Mid Life Crisis" during the Reagan years. Clark took a very active role in coordination of policy among the agencies in such areas as intelligence and the protection of classified security information. He replaced a number of senior NSC staff members and reorganized his office to create three "clusters" to deal with political, military, and intelligence matters. Clark emerged as a major spokesman for Reagan administration foreign policy, particularly with the Congress. He publicly reaffirmed President Reagan's stated policy that the Secretary of State would be the primary "formulator and enunciator of foreign policy." At the same time, however, Clark insisted that the role of the President as the final arbiter on matters of foreign policy be kept in front of the public. He also asserted NSC staff jurisdiction over long-range policy review, formerly a Department of State function. The NSC system under Clark did not solve the coordination problems. Friction between the Department of State and the NSC continued and came to a head during the intense debates within the administration over how the United States should act in the Lebanon crisis in the spring of 1982 following the Israel invasion. The disputes resulted in Secretary Haig's resignation on June 25, 1982, and President Reagan's appointment of George P. Shultz as his new Secretary of State. In his July confirmation hearings, Shultz emphasized the primary role of the President in the formulation of policy and stressed the collegial nature of policy formulation in the Reagan administration. Shultz also referred to the delegation of authority as laid out in NSDD(2 as the source of his own responsibilities and authority. The apparent resolution of the dimensions of the Secretary of State's authority ironically coincided with ever-increasing activities in the foreign affairs field. The NSC frequently disagreed with the Department of State over the management of daily U.S. foreign relations problems. One observer called the NSC a "bee hive of activity." An NSC-chaired group took over arms control responsibilities from a State-chaired group (SAC/G) and ramrodded the tough negotiating position favored by ACDA Chief Fred Ikle and Richard Perle of the Defense Department. Deputy National Security Adviser Robert McFarlane replaced Philip C. Habib as the chief U.S. Middle East negotiator in July 1983, and the National Security Adviser became directly involved in the operations of foreign policy. It led to a major change in how the NSC system worked. In October 1983, McFarlane replaced Clark as National Security Adviser, with Admiral John Poindexter as his deputy. The new National Security Adviser had a background in both military and diplomatic affairs. Retaining the NSC structural changes established by Clark, McFarlane played a highly active role in attempting to compromise interagency disputes. He lacked the personal ties with the President that Clark enjoyed, but continued to have direct Presidential access. During his tenure, the National Security Adviser stepped back from the previous high profile in public policy enunciation, but became more involved in the direct management of key areas of foreign policy. During 1985 and 1986, the National Security Adviser and certain staff members took a particularly activist role in the formulation and execution of policy in the Caribbean, Central America, and the Middle East. It was an activism run amok in the "Iran-Contra affair" that brought the NSC to a nadir of public trust and brought upon it Congressional investigation and the threat of prison for those involved. The Iran-Contra matter resulted from NSC-led efforts to develop a policy to befriend Iran and provide arms to that nation in exchange for its resistance to the Soviet Union and, more particularly to assist in the freeing of American hostages held by Moslem extremist groups in the Middle East. National Security Adviser McFarlane and Admiral Poindexter, who succeeded him in December 1985, played major roles in these matters. The efforts to provide arms for hostages eventually became connected, through the transfer of funds made with arms sales, with the NSC staff's ardent support for the Nicaraguan "Contras" in their civil war against the left-wing government of Nicaragua. Investigations in 1987 and thereafter by a Presidential Review Board (the Tower Board), the Congress, and a Special Prosecutor examined in great detail the activities of the NSC staff, as well as the actions and responsibilities of the President, the National Security Adviser, and the heads of agencies. The Tower Board, headed by Senator John Tower and including former Senator Edmund Muskie and former National Security Adviser Scowcroft, not only reviewed the events of Iran-Contra but made a body of recommendations for the reform of the NSC. NSDD(266 of March 31, 1987, adopted the Board's major recommendations: reduction of the size of the staff, appointment of a legal counsel, removal of the Crisis Pre-Planning Group, and its replacement with Policy Review Committee. The spirit of the reforms was given more content by the new NSC leadership appointed by President Reagan in November 1987: National Security Adviser Frank Carlucci and Deputy National Security Adviser Lieutenant General Colin Powell. Carlucci reformed the NSC by replacing more than half of the professional staff within 3 months. Carlucci largely withdrew the NSC from its operational roles, but in the matter of Nicaragua, NSC continued to exercise the coordination that was not forthcoming from any of the agencies. In the autumn of 1988, Carlucci was called to the Defense Department to succeed Caspar Weinberger, and for the third time among his six appointments to the position of National Security Adviser during his presidency, Reagan promoted the Deputy. General Powell directed an NSC that strived to provide balanced coordination of major foreign policy presentations for the President. Managing the Policy Review Group and the National Security Planning Group that Poindexter had so favored in preparing the NSC for discussions, Powell conducted an NSC process that was efficient but low key. There were no longer free-lancers operating out of the NSC staff. Under Powell's direction, the President and his chief advisers weathered the Persian Gulf crisis in 1987(1988, the wind-down of the Nicaraguan Contra effort, and the Reagan-Gorbachev relationship culminating in the Moscow Summit of June 1988(the smoothest ever seen by observers at the time. Bush Administration, 1989-1992 After serving 8 years as Vice President and participating in the momentous foreign affairs events of the Reagan administration, President George Bush made many changes in the NSC machinery reformed by Carlucci and Powell. On the date of his inauguration, January 20, 1989, President Bush issued NSD(1 providing the charter for NSC administration. A Policy Review Group was enlarged to a Committee, the Deputy National Security Adviser managed the Deputies Committee, and a Principals Committee screened matters for the NSC to consider. Eight Policy Coordinating Committees assumed regional and functional responsibilities in place of the multiple interagency groups from the Reagan era. NSC policy papers were named National Security Review papers (NSRs) and National Security Directives (NSDs) to distinguish them from the Reagan era documentation. President Bush brought deep experience to the NSC leadership with his appointment of General Brent Scowcroft as National Security Adviser. Scowcroft had served in the Kissinger NSC, had been National Security Adviser in the last years of the Ford administration, and had chaired the President's Board examining the Iran-Contra scandal. Robert Gates served as Deputy National Security Adviser under Scowcroft until his appointment as Director of Central Intelligence in 1991. Scowcroft's direction of the NSC was distinguished by the informality but intensity of the relationship with the President. The NSC also maintained good relationships with the other agencies, and Secretary of State Baker and Scowcroft appear to have maintained the most comradely working terms. Through the collapse of the USSR and the unification of Germany, Operation Just Cause which sent American troops into Panama in December 1989, and Operation Desert Shield and Desert Storm, the NSC worked effectively in facilitating a series of American foreign policy successes. Nor did Scowcroft fail to involve in key operations Deputy Secretary of State Eagleburger, such as when he visited China in July 1989 to try to improve U.S. relations with China in the aftermath of the pro-democracy demonstrations in Tiananmen Square. Clinton Administration, 1993-1997 President William J. Clinton on January 20, 1993, the day of his inauguration, issued Presidential Decision Directive l to departments and agencies concerned with national security affairs. PDD l revised and renamed the framework governing the work of the National Security Council. A Presidential Review Directive (PRD) series would be the mechanism used by the new administration to direct that specific reviews and analyses be undertaken by the departments and agencies. A Presidential Decision Directive (PDD) series would now be used to promulgate Presidential decisions on national security matters. The Bush administration's National Security Review (NSR) series and National Security Directive (NSD) series were abolished. On January 21, 1993, in PDD 2, President Clinton approved an NSC decision-making system that enlarged the membership of the National Security Council and included a much greater emphasis on economic issues in the formulation of national security policy. The President, Vice President, Secretary of State, and Secretary of Defense were members of the NSC as prescribed by statute. The Director of Central Intelligence and Chairman of the Joint Chiefs of Staff, as statutory advisers to the NSC, attended its meetings. The new membership of the National Security Council included the following officials: the Secretary of the Treasury, the U.S. Representative to the United Nations, the Assistant to the President for National Security Affairs, the Assistant to the President for Economic Policy, and the Chief of Staff to the President. Although not a member, the Attorney General would be invited to attend meetings pertaining to his jurisdiction. The heads of other Executive departments and agencies, the special statutory advisers to the NSC, and other senior officials would be invited to attend meetings of the NSC where appropriate. The new position of Assistant to the President for Economic Policy, which had been promised by Clinton during the election campaign, was intended to serve as a senior economic adviser to coordinate foreign and domestic economic policy through a newly-created National Economic Council (NEC). Robert E. Rubin was the first to be appointed to this position. The NEC was to deal with foreign and domestic economic issues in much the same way as the NSC coordinated diplomatic and security issues, and the Assistant to the President for Economic Policy was to be included in meetings involving international economic issues. In January 1993, Clinton appointed W. Anthony Lake as his National Security Adviser. Lake, a former Foreign Service officer, served under Henry Kissinger, President Nixon's National Security Adviser, and as director of the Department of State Policy Planning Staff during the Carter administration. During the Carter years, Lake had witnessed the negative effects of bureaucratic infighting and squabbling between Secretary of State Vance and National Security Adviser Brzezinski. As Clinton's National Security Adviser, Lake was effective in maintaining cordial relations with Secretary of State Warren M. Christopher and in developing an atmosphere of cooperation and collegiality. Lake initially maintained a low public profile, avoiding public appearances and television interviews, so as not to upstage the Secretary of State as Kissinger had done in the Nixon administration. In September 1993, however, in response to criticism that the Clinton administration had not adequately explained its foreign policy, Lake began to appear as a public speaker. The National Security Council framework in the Clinton administration included an NSC Principals Committee, a forum available to Cabinet-level officials to discuss and resolve issues not requiring the President's participation. An NSC Deputies Committee served as the senior sub-cabinet interagency forum for considering policy issues affecting national security and for reviewing and monitoring the work of the NSC interagency process. This process included Interagency Working Groups (IWGs), which were to convene on a regular basis to review and coordinate the implementation of Presidential decisions in their respective policy areas. Among the most urgent issues the NSC dealt with in the first year of the Clinton administration were Bosnia, Haiti, Iraq, and Somalia. The several dozen other questions the NSC system dealt with initially included such issues as illegal drugs, United Nations peacekeeping, Zaire, strategic arms control policy, China, and global environmental affairs. Samuel R. "Sandy" Berger, a longtime foreign policy adviser to Clinton who had been Lake's deputy since 1993, became National Security Adviser in March 1997, after Clinton nominated Lake to be Director of Central Intelligence. (Lake subsequently withdrew from the nomination.) Berger initiated a review of principles that would guide the foreign policy of Clinton's second term. These included the integration of Eastern and Western Europe without provoking tensions with Russia; promoting more open trade; improving defenses against such transnational threats as terrorism and narcotics; and promoting a strong and stable Asian-Pacific community by seeking trade cooperation with China and avoiding confrontation on human rights issues. In the spring and summer of 1997, the National Security Council became occupied with such issues as the ratification of the Chemical Weapons Treaty, NATO enlargement, the Middle East peace process, the U.S-Russian Summit at Helsinki, and the Denver Economic Summit. Office of the Historian U.S. Department of State August 1997 Appendix Assistants to the President for National Security Affairs 1953-1997 Established March 23, 1953, by President Eisenhower, in response to a report on NSC organization by Robert Cutler. Stephen Hadley: January 26, 2005 - PRESENT Dr. Condoleezza Rice: January 22, 2001 - January 25, 2005 Samuel R. Berger: March 14, 1997 - January 20, 2001 W. Anthony Lake: January 20, 1993 - March 14, 1997 Brent Scrowcroft: January 20, 1989 - January 20, 1993 Colin L. Powell: November 23, 1987 - January 20, 1989 Frank C. Carlucci: December 2, 1986 - November. 23, 1987 John M. Poindexter: December 4, 1985 - November 25, 1986 Robert C. McFarlane: October 17, 1983 - December 4, 1985 William P. Clark: January 4, 1982 - October 17, 1983 Richard V. Allen: January 21, 1981 - January 4, 1982 Zbigniew Brzezinski: January 20, 1977 - January 21, 1981 Brent Scowcroft: November 3, 1975 - January 20, 1977 Henry A. Kissinger: December 2, 1968 - November 3, 1975 (served concurrently as Secretary of State from September 21, 1973) Walt W. Rostow: April 1, 1966 - December 2, 1968 McGeorge Bundy: January 20, 1961 - February 28, 1966 Gordon Gray: June 24, 1958 - January 13, 1961 Robert Cutler: January 7, 1957 - June 24, 1958 Dillon Anderson: April 2, 1955 - September 1, 1956 Robert Cutler: March 23, 1953 - April 2, 1955
7961	dbpedia	3	29	https://www.themoviedb.org/movie/199474-intimate-relations%3Flanguage%3Den-US	en	Intimate Relations	https://media.themoviedb…V1qdYIrAyqgp.jpg	https://media.themoviedb…V1qdYIrAyqgp.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/qWUQp1wU3xfdTAiV1qdYIrAyqgp.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/wQmaWboO4ylyzQ9hGP8PphjBM8.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/afMRGXk3AvnzON6xT88ESHtuqLI.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/aOsH33Qcilx5yBn4e5CUuKtct0y.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/4AKOBtJ5w1JTZglRRrBtLtN25xT.jpg", "https://media.themoviedb.org/t/p/w45_and_h45_face/1ZKaGq1a84AW5dCIR4bcw4QW0kh.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Yvonne is seething when her devoted son, Michael, declares his intention to marry Madeleine, despite the latter's admitting to having an affair with a mysterious older man. At the same time, George, Michael's father, confides in Yvonne's sister, Leo, that he is in fact Madeleine's other lover. Together, they hatch a plot to end Madeleine's hopes of marriage - by threatening to reveal George's scandalous secret to his son.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/movie/199474-intimate-relations	Yvonne is seething when her devoted son, Michael, declares his intention to marry Madeleine, despite the latter's admitting to having an affair with a mysterious older man. At the same time, George, Michael's father, confides in Yvonne's sister, Leo, that he is in fact Madeleine's other lover. Together, they hatch a plot to end Madeleine's hopes of marriage - by threatening to reveal George's scandalous secret to his son.
7961	dbpedia	0	85	https://doi.org/10.5422/fordham/9780823251650.003.0001	en				[]	[]	[]	[ "" ]	null	[]	null					null
7961	dbpedia	0	70	https://tv.apple.com/gb/person/woody-allen/umc.cpc.55gswnso41k9yy87exiozjatz	en	Woody Allen Films and Shows â Apple TV (UK)	https://is1-ssl.mzstatic…w/1200x675mf.jpg	https://is1-ssl.mzstatic…w/1200x675mf.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	null	Learn about Woody Allen on AppleÂ TV. Browse shows and movies that include Woody Allen, such as Match Point, Scoop and more.	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/gb/person/woody-allen/umc.cpc.55gswnso41k9yy87exiozjatz	Allen Stewart Konigsberg was born in Brooklyn, NY. He was the only son of Orthodox Jewish parents Nettie, a bookkeeper, and Martin, who held a series of odd jobs, including waiter and jewelry engraver. Growing up in the middle class neighborhood of Midwood, Allen spent his free time at the local movie theaters where he was drawn into the worlds of the Marx Brothers and Humphrey Bogart. In stark contrast to Allen's screen persona as an awkward outsider, he was well-liked in school, playing on the baseball team and entertaining students with card tricks and jokes. When he was still a teenager, he began selling his jokes to newspaper columnists and officially adopted the pen name Woody Allen. He was contributing material to such programs as "The Colgate Comedy Hour" (NBC, 1950-55) and Sid Caesar's "Your Show of Shows" (NBC, 1950-54) before he even graduated from Midwood High School in 1953. After a brief stint at New York University where he purportedly failed a film course, Allen wrote for Caesar's "Caesar's Hour" (NBC, 1954-57) while writing jokes for comics and nightclub performers including Carol Channing, Art Carney and Buddy Hackett. He eventually took the stage and became a stand-up comedian himself, honing the intellectual "schnook" persona that would become his trademark.Allen's stage act was uniquely New York - Jewish, intellectual, guilt-ridden and anxious, with an insecure, halting stammer. His monologues poked fun at everything from sex and marriage to religion and politics and his refreshing personal style proved popular in liberal Greenwich Village cabarets and on college campuses. During the early 1960s, Allen found more and more outlets for his imagination and humor, publishing short stories in the New Yorker, co-writing a musical comedy revue called "A to Z" and writing his first feature film, the farcical "What's New, Pussycat?" (1965), directed by Clive Donner. Allen also starred in the film that served as an introduction to career-long recurring themes of romantic complications and a reliance on psychotherapy. He married Broadway actress and singer Louise Lasser in 1966 (an earlier teenage marriage had ended in 1962) and debuted as a filmmaker of sorts when he re-dubbed a minor Japanese spy thriller with his own irreverent dialogue and plot, releasing it as "What's Up Tiger Lily?" (1966). That, along with the James Bond spoof "Casino Royale" (1967), which he co-wrote and acted in, launched one of the most successful and unusual careers in American filmmaking history.Following the production of two more stage plays - "Don't Drink the Water," about a New Jersey family spying in an Iron Curtain country, and "Play It Again, Sam" (1969) about a film critic who invokes the spirit of Humphrey Bogart to guide him through life - Allen wrote, directed and starred in "Take the Money and Run" (1969). The unceasingly funny parody of both gangster films and cinema verite documentaries starred Allen as an unlikely escaped convict. The loose structure, lack of technical polish, and indebtedness to his nightclub one-liners was also evident in "Bananas" (1971), a satire lambasting both politics and mass media that starred Lasser as an idealistic leftie with a groupie-like admiration for a South American rebel leader who turns out to be her ex-boyfriend (Allen) in disguise. Another madcap satire, "Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)" (1972), consisted of a series of loosely related shorts debunking various sexual myths while poking fun at the era's self-help craze. The already prolific filmmaker followed up with a screen adaptation of his stage production "Play it Again Sam" (1972), which established Allen's indebtedness to classic films and began his long association with actress Diane Keaton. Allen's marriage to Lasser had ended several years earlier and Keaton took over the role of Allen's girlfriend, muse and star of his films.As the 1970s progressed, Allen began to find his voice as a filmmaker, rounding out his "slapstick" period with "Sleeper" (1973), about a health food store owner cryogenically frozen and thawed out after 200 years. "Love and Death" (1975) marked a leap forward for Allen, raising philosophical questions and showcasing a love of great literature and arts with its spoof of Russian culture. Allen's aspirations to be considered a "serious" moviemaker were acutely evident in "Annie Hall" (1977), the first of his films to achieve widespread critical and box office popularity. While still anchored in comedy, it clearly tackled themes that reflected his own concerns in life and he utilized sophisticated narrative devices such as breaking the fourth wall, and relied less on slapstick and sight gags. In the lead role as Alvy Singer, the writer-director-actor solidified his screen persona as the urban, Jewish intellectual outsider; this time pursuing the love of a quirky but ethereal WASPY beauty (Keaton). Often considered the quintessential Allen movie - personal and thoughtful yet satiric and entertaining - "Annie Hall" earned four Academy Awards including beating out "Star Wars" for Best Picture, Best Actress (Diane Keaton), Best Director (Allen) and Best Original Screenplay (Allen and Marshall Brickman). As a surprising follow-up, Allen shifted to more dramatic material and focused on the starchy, repressed WASP milieu in "Interiors" (1978). Owing more than a passing debt to Ingmar Bergman, Shakespeare and Eugene O'Neill, "Interiors" probed the angst and petty betrayals of an upper-class family with three daughters. Many critics and audience members were confounded by the deadly earnest tone, but inarguably the film was beautifully shot by cinematographer Gordon Willis and strongly acted by a cast that included Geraldine Page, E.G. Marshall, Diane Keaton and Maureen Stapleton. "Interiors" earned a surprising five Oscar nominations, including nods to Allen for direction and writing. The following year, he re-teamed with Marshall Brickman to write his most profitable (and arguably best) film, "Manhattan" (1979). With its lush Gershwin score, gorgeous black-and-white photography (again by Willis) and brilliant ensemble cast, the film marked a return to comedy peppered with autobiographical and romantic elements. It was also notable as Allen's last film with Diane Keaton for many years, as their off-screen relationship was ending around the same time. The film engendered mild controversy over Allen's onscreen love interest, a teenaged Mariel Hemingway.In "Stardust Memories" (1980), Allen's character of a film director is exhorted to "make funny movies," something the character is adamant about no longer doing. Allen was sorry that audiences largely interpreted this as autobiographical, though he did follow it up with a return to slapstick in "A Midsummer Night's Sex Comedy" (1982), where he also found a new on- and off-screen leading lady in Mia Farrow. The period mockumentary "Zelig" (1983) melded Allen's fascination with celebrity with his growing grasp of cinematic methods. A marvel of technical wizardry, Allen intercut and merged new footage with old to recreate vintage newsreels and sound recordings. "Broadway Danny Rose" (1984) was primarily dismissed by critics as a minor outing, yet it centered on a marvelous performance from Farrow who was virtually unrecognizable as the Brooklyn-accented former mistress of a gangster. Farrow gave another outstanding lead performance as the timid, Depression-era wife of an abusive husband who finds refuge at the movie theater in the "The Purple Rose of Cairo" (1985). Another technical tour de force, the delightful fantasy took a turn when a matinee idol (Jeff Daniels) stepped off the screen to woo the unhappy woman. Tying together several of Allen's major themes - fame, romance, fantasy and art - the film earned Best Screenplay and Best Director Oscar nominations for Allen.For much of the decade, Allen concentrated on drama with the exception of "Radio Days" (1987), a charming memoir of life in World War II Brooklyn, threaded together by a wonderful soundtrack of the era's hits. He was nominated for a Best Screenplay Oscar, an award he had won the previous year for his Chekhovian "Hannah and Her Sisters" (1986), a chronicle of New York family relationships and a set of very different sisters. The bloodless "September" (1987) and the Bergman-esque "Another Woman" (1988), featuring a virtuoso leading turn from Gena Rowlands, were further examinations of the emotionally bereft worlds of WASPy New Yorkers. With the outstanding "Crimes and Misdemeanors" (1989), Allen closed the decade with a pessimistic examination of the morality of murder and earned more Oscar nominations for his screenplay and direction. In a lighter mode, 1990's "Alice," a riff on Lewis Carroll's Alice and Wonderland, cast Farrow as a wealthy but shallow uptown woman who receives a new perspective on life thanks to a Chinatown herbalogist. Allen had a rare starring role in a film not of his own making, playing Bette Midler's husband in Paul Mazursky's seriocomic look at contemporary marriage, "Scenes from a Mall" (1991) - a film which tanked miserably. Back behind the camera, his critically reviled "Shadows and Fog" (1992) was an allegory about anti-Semitism that combined homages to 1930s German expressionism and 1950s European art films but was plagued by one-note characterizations.Though not without humor, "Husbands and Wives" (1992) marked one of Allen's most emotionally violent films. Highlighted by jittery, hand-held cinema verite camerawork and a pessimistic view of enduring love, the film was released early by its distributor in part to capitalize on its uncanny parallels with the real-life turmoil between Allen and Farrow. Their very public break-up, spurred by Allen's romantic involvement with Farrow's adopted daughter, Soon Yi, was followed by Farrow's public accusations that Allen had molested their adopted daughter, Dylan (now Malone). In the midst of all the Sturm und Drang, Allen made the frothy but fun "Manhattan Murder Mystery" (1993), which reunited him with Marshall Brickman and ex-flame, Diane Keaton. The comic thriller attempted to recreate the banter and urbanity of such seminal films as "The Thin Man," though it proved to be a financial disappointment, overshadowed by Allen's personal troubles - which by this time, were monumental, when Soon Yi left her family to be with Allen. By the time "Bullets Over Broadway" was released in 1994, Allen was out of the headlines and audiences were ready to embrace his work anew. The hilarious period comedy about a 1930s New York playwright (John Cusack as Allen's screen alter ego) banked on a lush, dramatic portrayal of the era's theater world and benefited from an outstanding ensemble cast, including Oscar-winning performances from Dianne Wiest as a past-her-prime stage diva and a nomination for Chazz Palminteri as a thug-turned-ghost writer. Under it all, the film was a successful meditation on the definition of an artist.Allen returned to TV to adapt, direct and co-star in a small screen remake of his 1968 stage play "Don't Drink the Water" (ABC, 1994). On the big screen, "Mighty Aphrodite" (1995) was an uneven attempt that baldly proclaimed its indebtedness to Greek theater with the use of a chorus. Allen played a middle-aged sportswriter searching for the birth mother of his adopted child, who turns out not to be the cultured woman he imagined but a prostitute. With "Everyone Says I Love You" (1996), he combined frothy 1930s musical sensibilities with his familiar themes, resulting in a mixed response that divided audiences and critics. "Deconstructing Harry" (1997) was an Oscar-nominated screenplay - a scatological and complex look at a writer's life employing black comedy and dramatizations of his works to comment on the function of the artist in society. "Celebrity" (1998) with Kenneth Branagh doing a mannered Allen impersonation in the leading role, was considered a misbegotten, poorly cast take on the contemporary obsession with fame. Paying his own price for fame, Allen was in the tabloids again for his 1997 marriage to Soon Yi Previn, 35 years his junior. The marriage reminded all of the sordid story from only six years prior, but the couple seemed in love. The following year, documentarian Barbara Kopple released "Wild Man Blues" (1998). Rather than focusing on Allen the filmmaker, Allen the amateur clarinet player was the central character, from the Monday evening club engagement he held for decades to a European tour.Allen the filmmaker continued to put out one movie per year for the next five years. Still dabbling in different genres and new techniques, 1999's clever mockumentary/dramedy hybrid "Sweet and Lowdown" cast Sean Penn in one of his finest performances as a fictional 1930s jazz guitarist and hothead. He followed up with the surprisingly mainstream but highly comic heist picture, "Small Time Crooks" (2000) and the disappointing period faux noir "Curse of the Jade Scorpion" (2001). "Hollywood Ending" (2002), where Allen played a film director who goes blind, was poorly received. The target of much criticism for his series of disappointing films, Allen mined familiar territory in 2003 with "Anything Else," which did little groundbreaking besides casting Jason Biggs in the Allen-esque lead as a young writer bedeviled by his torturous relationship with a neurotic actress (Christina Ricci), with Allen playing the role of Biggs' conspiracy-minded mentor. He rebounded with the novel "Melinda and Melinda" (2005), which offered two parallel interpretations of the romantic troubles of a neurotic, self-destructive woman (Radha Mitchell); one tragic and one comic. The film's intriguing structure and fresh cast, including Will Ferrell, Amanda Peet, Chloe Sevigny, Chiwetel Ejiofor and Mitchell as two widely differing Melindas, made the film one of the more satisfying efforts from Allen in recent years.Even better was his next project, "Match Point" (2005), an entirely serious, morality-minded effort featuring Jonathan Rhys Myers as a social climbing tennis pro who believes he would rather "be lucky than good," who finds himself torn between his comfortable, practical, status-confirming union with a loving wife (Emily Mortimer) and his torrid affair with a sensual but ultimately demanding American actress (Scarlett Johansson). Allen did not appear as an actor in the film, and even more significantly, neither did New York City: the film was shot entirely in London. "Match Point" demonstrated that Allen still had considerable power as a filmmaker and fresh subject matter to explore as a screenwriter. His continued significance as a writer was validated with an Academy Award nomination for Best Original Screenplay. "Scoop" (2006), a comedy about an American journalism student in London, and "Cassandra's Dream" (2007), a morality tale about a pair of brothers also set in London, earned lukewarm reviews but his fourth European outing, "Vicky Cristina Barcelona" (2008) was a critical pick. An evocative new locale and a well-matched cast including Allen's latest muse, Scarlett Johansson, as well as Penelope Cruz and Javier Bardem, spelled a return to Allen's strength with intelligent and thoughtful romantic comedies. The filmmaker's next project was "Whatever Works" (2009), starring Larry David. After writing and directing his fourth London film, "You Will Meet a Tall Dark Stranger" (2010), Allen returned to prominence with "Midnight in Paris" (2011), an engrossing comedy-drama where a despondent Hollywood hack (Owen Wilson) dreams of writing his novel and is mysteriously transported to the past where he meets his artistic heroes Ernest Hemingway (Corey Stoll), F. Scott Fitzgerald (Tom Hiddleston) and Salvador Dali (Adrien Brody). The film received widespread acclaim - including a Golden Globe for Allen for Best Screenplay - and became his highest-grosser at the box office, surpassing "Hannah and Her Sisters." For his work on "Paris," Allen earned his 22nd and 23rd career Academy Award nominations with nods for Best Director and Best Original Screenplay; ultimately taking home the Oscar for the latter.
7961	dbpedia	0	27	https://imagejournal.org/top-25-marriage-films/	en	Theme: (Film) Top 25 Marriage Films	https://imagejournal.org…-Main-Review.jpg	https://imagejournal.org…-Main-Review.jpg	[ "https://imagejournal.org/wp-content/uploads/2023/06/logo.png", "https://imagejournal.org/wp-content/uploads/2023/06/logo.png", "https://imagejournal.org/wp-content/uploads/2023/06/sss.png", "https://imagejournal.org/wp-content/uploads/2023/06/ssz.png", "https://imagejournal.org/wp-content/uploads/2023/06/ssr.png", "https://imagejournal.org/wp-content/uploads/2016/06/curatedcollectionsbutton2b-300x295.png 300w, https://imagejournal.org/wp-content/uploads/2016/06/curatedcollectionsbutton2b-180x177.png 180w, https://imagejournal.org/wp-content/uploads/2016/06/curatedcollectionsbutton2b.png 500w", "https://imagejournal.org/wp-content/uploads/2016/06/filmandfaithbutton1b-300x300.png 300w, https://imagejournal.org/wp-content/uploads/2016/06/filmandfaithbutton1b-150x150.png 150w, https://imagejournal.org/wp-content/uploads/2016/06/filmandfaithbutton1b-180x180.png 180w, https://imagejournal.org/wp-content/uploads/2016/06/filmandfaithbutton1b.png 500w", "https://imagejournal.org/wp-content/uploads/2016/01/viaggio-en-italia-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/certified-copy-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/my-night-at-mauds-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/sunrise-a-song-of-two-humans-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/make-way-for-tomorrow-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/tokyo-story-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/stromboli-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/the-family-way-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/friendly-persuasion-final-rela.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/a-separation-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/a-woman-under-the-influence-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/in-america-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/another-year-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/scenes-from-a-marriage-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/dodsworth-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/tender-mercies-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/husbands-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/latalante-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/tuesday-after-christmas-final-real.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/dont-look-now-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/chloe-in-the-afternoon-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/hobsons-choice-final.png", "https://imagejournal.org/wp-content/uploads/2016/01/le-mepris-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/ali-final.jpg", "https://imagejournal.org/wp-content/uploads/2016/01/the-face-of-another-final.png", "https://imagejournal.org/img/closebutton.png", "https://imagejournal.org/img/frame.png", "https://imagejournal.org/img/lock1.png", "https://imagejournal.org/img/book.png" ]	[]	[]	[ "" ]	null	[]	2016-01-19T22:17:37+00:00	The Arts & Faith Top 25 Films on Marriage How do we live our promises? The way cinema tackles difficult questions about marriage is a moving target. These films represent important responses to this creative challenge, covering the mysteries of love, mortality, loyalty, and human vows. Produced in 2013 by the Arts & Faith online…	en	https://imagejournal.org…Logo-I-32x32.jpg	Image Journal	https://imagejournal.org/top-25-marriage-films/	How do we live our promises? The way cinema tackles difficult questions about marriage is a moving target. These films represent important responses to this creative challenge, covering the mysteries of love, mortality, loyalty, and human vows. Produced in 2013 by the Arts & Faith online community, this list spans 84 years of cinema, from 1927’s Sunrise to 2011’s A Separation. The Top 25 Films on Marriage is sponsored by Image, a literary and arts quarterly founded in 1989 to demonstrate the vitality and diversity of well-made art and writing that engage seriously with the historic faiths of the West in our time. Now one of the leading literary magazines published in the English language, it is read all over the world—and it forms the nexus of a warm and lively community. Explore Image here. For more thoughts about this list by M. Leary, click here. 1. Viaggio in Italia (1954), Roberto Rossellini While visiting Naples to close the estate of a deceased relative, two middle-aged sophisticates (Ingrid Bergman and George Sanders) are forced to acknowledge the tenuous condition of their marriage. Katherine and Alex spend much of the film apart, wandering through the rubble-strewn, post-war landscape, which is shaped by Rossellini's camera into a kind of mythic, holy place. Each of them faces temptations of their own choosing. Each imagines the other lives they might lead. It’s no spoiler to say that the reunion in the closing minutes of the film is among cinema’s most transcendent and sacramental images. —Darren Hughes 2. Certified Copy (2010), Abbas Kiarostami He’s a cerebral English art critic (William Shimmel), who believes that a copy is as valuable and meaningful as an original, and she's an infatuated, impulsive fan (Juliette Binoche). As they explore Tuscany arguing about art, marriage, and parenthood, the lines between real and fake begin to blur: Is it an epic debate between estranged spouses, or a game between strangers acting as stand-ins for unseen partners? That’s only the first mystery of many, as we are challenged to take sides on issues of love, fidelity, authenticity, parenthood, independence, vulnerability, and —eventually —faith. —Jeffrey Overstreet 3. My Night at Maud's (1969), Eric Rohmer Philosopher Blaise Pascal wrote of marriage as the lowest state to which a Christian can descend, but Jean-Louis, the Jesuitical bachelor protagonist of this fourth installment of Eric Rohmer’s Six Moral Tales, strongly objects. “Pascal’s Wager,” he says, is a calculated utilitarian exchange, inapplicable to the spheres of religion or romance. The end result, as he spends an evening discussing religion, love and marriage with a dangerously attractive divorcee, is a fascinating reflection upon the choices and commitments that one has to make in order to enter the “adventure in sanctity” that entails living for another. —J.A.A. Purves 4. Sunrise: A Song of Two Humans (1927), F.W. Murnau Based on the story “An Excursion to Tilsit” by Hermann Sudermann, this silent-era masterpiece spins its tale around “The Man,” “The Wife,” and “The Woman From the City.” But this is no typical love triangle yarn. Sunrise is the story of a rekindled and reconciled man who—after breaking his vows—gets another shot at true love when it looked like all was lost. Murnau’s trademark expressionism is rife with vitality, combining a modern-era technical achievement with a beating heart that audiences have felt for the last eighty-four years. —Persona Loy 5. Make Way for Tomorrow (1937), Leo & Ray McCarey Leo McCarey made two outstanding marriage-themed films in 1937, winning his first Oscar for The Awful Truth — “the wrong picture,” he complained. The “right picture” was this neglected humanistic masterpiece, a heartbreaking tribute to lifelong love and a jeremiad to filial indifference. Victor Moore and Beulah Bondi play an elderly couple losing their independence and turning for support to their children. A nostalgic outing becomes one of the most memorable movie dates of all time, a compassionate, defiant coda elevating the story from pathos to tragedy. —Steven D. Greydanus 6. Tokyo Story (1953), Yasujiro Ozu In this film, which many would call Yasujiro Ozu’s masterpiece, an elderly couple (Chishû Ryû and Chieko Higashiyama) visit their adult children in Tokyo, only to find that time and change have altered the way generations treat each other, and their future together becomes uncertain. In the end, their faithfulness to each other is honored and emulated by an unlikely family member, who serves them in a way that will make audiences nostalgic for the days when fidelity was the norm and not the exception. But the most magnificent fidelity in this film may be Ozu’s own faithfulness to the truth of words, silences, rooms, rituals, and light. —Jeffrey Overstreet 7. Stromboli (1950), Roberto Rossellini In the second Rossellini/Bergman collaboration on this list, a WWII refugee (Ingrid Bergman) breaks free from an internment camp by marrying a young Italian fisherman (Mario Vitale), but finds herself trapped as soon as they return to his ancestral home—a Sicilian island that hosts a live volcano. Roberto Rossellini directs with an ascetic fervor that charges the simple storyline with cosmic significance. The stark, terrible beauty of the setting throws the concept of marriage into sharp relief, offering a stage for one of the most striking conclusions in ‘40s cinema. —Nathaniel Bell 8. The Family Way (1966), Roy & John Boulting It’s one thing to save yourself for marriage, but what if you and your partner still don’t have any sex after the wedding? That is the question explored by this poignant, funny, bittersweet look at newlywed woes in 1960s Britain starring a grown-up Hayley Mills, but what makes the film truly special is how it shifts its focus partway through to look at the parents of the newlyweds, to suggest how our own relationships can sometimes be influenced by hidden forces in the relationships of others. Based on the play All in Good Time by Bill Naughton, whose Alfie explored the changing sexual mores of the era from a very different angle. —Peter T. Chattaway 9. Friendly Persuasian (1956), William Wyler From time to time in Friendly Persuasion we see a needlepoint that says, “God is love,” always in the background and near the center of the frame. It echoes the sentiment’s valued place in the marriage of Jess and Eliza Birdwell (Gary Cooper and Dorothy McGuire), a Quaker couple in south Indiana in 1862. That truth plays itself out in the way they encounter each other’s failures and foibles, in their relationship to their children, their neighbors, and even rebel soldiers who come to loot and destroy their farm. —Darrel Manson 10. A Separation (2011), Asghar Farhadi Emotionally involving, intelligent, and psychologically complex, A Separation is a persuasive portrait of flawed but sympathetic people trapped in such familiar patterns of conflict that they might be our own family or neighbors, despite religious and cultural differences. Set in Tehran, Asghar Farhadi’s Oscar-winning drama is spurred by the incompatible priorities of a middle-class Iranian couple with a pre-teen daughter, until unexpected circumstances overshadow the marital conflict. The wrenching denouement underscores the stakes in the failure of a marriage: the choice is impossible, all outcomes unthinkable. —Steven D. Greydanus 12. In America (2002), Jim Sheridan On the face of it, Jim Sheridan’s semi-autobiographical tale of an Irish family settling in Hell’s Kitchen would seem a shamelessly sentimental tearjerker featuring adorable children and a lovable, dying black man. But the film transcends such a description with its unconventional directing, enchanting cinematography, and deeply compelling characters. Anchored by the marriage of Johnny (Paddy Considine) and Sarah (Samantha Morton) in the aftermath of their son Frankie’s death, In America offers an emotionally honest portrayal of the challenges of marriage in the context of children, family life, and procreation. —Anders Bergstrom 13. Another Year (2010), Mike Leigh In a series of stories separated by the seasons themselves, Another Year follows Tom and Gerri Hepple (Jim Broadbent and Ruth Sheen), a happily married couple, as they work in their garden and in the lives of those nearby. Exploring what it means to be a married couple in a community, and the virtue of hospitality itself, this is a deeply sad but also moving portrayal of patient love, longsuffering, and hopeful encouragement for the broken lives around us. —Justin Hanvey 16. Tender Mercies (1983), Bruce Beresford Downtrodden Mac Sledge, played to perfection by Robert Duvall, wanders into the hearts and home of a young widow (Tess Harper) and her son. As his successful past continually hunts him down, this torn man tries to love and heal, give up the bottle that ails him, and reconcile his life with his new family and with hope from above. Beautiful, heartfelt and without one false note, the story demonstrates how tender mercies come—one small step at a time. In the face of recovery from loss, there will be mistakes along the way, but there is hope in doing the next right thing. —Persona Loy 17. Husbands (1970), John Cassavetes After the death of their close friend, three middle-aged New Yorkers spend a lost weekend in London, drinking, gambling, womanizing, and struggling to make sense of their places in the world. John Cassavetes had a preternatural talent for scratching at the scabs of our lives—evoking and expressing the complex, contradictory, and occasionally shameful emotions of adult relationships. Working with long-time friends and collaborators Peter Falk and Ben Gazzarra, Cassavetes creates with Husbands a lopsided portrait of marriage, colored, as the title suggests, by common (but not stereotypical) struggles of masculinity. —Darren Hughes 18. L'Atalante (1934), Jean Vigo The canal barge L’Atalante is both livelihood and romantic getaway for its captain and his new small-town bride as they set out with cargo for Paris, but the romance of travel is lost as the tight quarters of the ship intensify marital strife and the makeshift honeymoon begins to give way to a monotonous and mundane life on the river. L’Atalante is the only feature film in Jean Vigo’s tragically short filmography, a demonstration of Vigo’s strong visual sensibility as well as his warm and humorous storytelling —James Blake Ewing 19. Tuesday, After Christmas (2010), Radu Muntean In the days preceding Christmas, Paul must choose between his stable ten-year marriage to Adriana or his passionate affair with their daughter’s young dentist, Raluca, in a film replete with duplicity, double entendre, and relational boundary intrusions. Every scene in Tuesday, After Christmas is marked by gestures, conversations, and settings that sharpen the contrast between the ordered family of three and the secret pair in the shadows. As the fallout of Paul’s affair plays out in long takes, the tension of interwoven marital and betrayal movements heightens, uninterrupted. What unfolds next is a profound warning against adultery, illuminated with raw transparency. —Nick Olson 20. Don’t Look Now (1973), Nicolas Roeg In Nicolas Roeg’s Don’t Look Now, adapted from a Daphne du Maurier short story, an English couple (Donald Sutherland and Julie Christie) grieves over the accidental drowning death of their daughter. At their new home in Venice, a series of uncanny and portentous circumstances unfolds as the husband restores the stained glass windows of an old church. Through narrative elision, chronological reordering and repetition of colors and images, Roeg presents the entirety of the couple's shared experience—their ecstatic joys, their physical pleasures, their sorrow and fear of death—in one unbroken line, existing at a fixed time in eternity. Like a wedding ring. —Russell Lucas 21. Love (Chloe) in the Afternoon (1972), Eric Rohmer Vows to “forsake all others” are all well and good, but how does that settle the longing for the thrill of new romance, particularly for a married fortyish lawyer in Paris, walking the same streets and frequenting the same cafes as the miniskirted footsoldiers of the sexual revolution? Frederic (Bernard Verley) must put his intellectual musings into practice when the ideal becomes real in the form of Chloe (Zouzou), an ex-lover who re-enters his life through happenstance. Chloe’s carefree rejection of monogamy and her open invitation to Frederic contrast with the ordered rhythms and obligations of his settled family life, but he can only choose one image to privilege. —Russell Lucas 22. Hobson's Choice (1954), David Lean One of David Lean’s few forays into comedy tells the story of an alcoholic boot-shop owner (Charles Laughton) whose business suffers a blow when his bookkeeping daughter (Brenda de Banzie) leaves to set up her own shop and takes his gifted but underappreciated bootmaker (John Mills) with her. The courtship between the strong-willed daughter and the timid bootmaker plays at first like a bossy business transaction, but in time it proves surprisingly empowering, and it puts a new, amusing twist on the old idea that marriage consists of leaving one’s home and cleaving to one’s spouse. —Peter T. Chattaway 23. Le Mépris (1963), Jean-Luc Godard What is unexpressed is just as important as what is expressed in the exquisitely sad Le Mépris, in which unspoken words, lost moments, and failed connections lead to the collapse of a marriage. Paul Javal (Michel Piccoli), a screenwriter hired to adapt Homer's Odyssey, uses his beautiful wife, Camille (Brigitte Bardot), as a bargaining chip to further his career ambitions, or so she believes. In one of the film’s greatest sequences, Godard blends together conversation, memory, thought, and image, exploring the complexities of love and trust, which, for this couple, prove too fragile to survive. —Ryan Holt
7961	dbpedia	3	7	https://www.va.gov/health-care/eligibility/	en	Eligibility For VA Health Care	https://www.va.gov/img/d…/va-og-image.png	https://www.va.gov/img/d…/va-og-image.png	[ "https://s3-us-gov-west-1.amazonaws.com/content.www.va.gov/img/tiny-usa-flag.png", "https://s3-us-gov-west-1.amazonaws.com/content.www.va.gov/img/icon-dot-gov.svg", "https://s3-us-gov-west-1.amazonaws.com/content.www.va.gov/img/icon-https.svg", "https://s3-us-gov-west-1.amazonaws.com/content.www.va.gov/img/arrow-right-white.svg", "https://s3-us-gov-west-1.amazonaws.com/content.www.va.gov/img/header-logo.png" ]	[]	[]	[ "va health care eligibility", "va priority groups" ]	null	[]	2024-05-15T00:00:00	Find out if you can get VA health care as a Veteran.	en	https://s3-us-gov-west-1…e-touch-icon.png	Veterans Affairs	https://www.va.gov/health-care/eligibility/
7961	dbpedia	0	89	https://www.usatoday.com/story/entertainment/movies/2022/03/24/every-oscar-best-picture-winner-ranked/7083229001/	en	Every Oscars best picture winner, ranked: Where does 'Oppenheimer' land on the list?	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "USA TODAY", "Brian Truitt" ]	2022-03-24T00:00:00	\	en	https://www.gannett-cdn.…ages/favicon.png	USA TODAY	https://www.usatoday.com/story/entertainment/movies/2022/03/24/every-oscar-best-picture-winner-ranked/7083229001/	Everybody has their own idea of what makes a best picture winner at the Oscars. Perhaps a biopic or a small art-house movie, or something huge in scale such as "Dances With Wolves," "Titanic" or the latest to win the Academy Awards' top trophy, "Oppenheimer." What's pretty clear if you undertake watching all 96 (so far) films to take that vaunted prize – and it's not for the fainthearted, trust us – is that you come out of it changed. You love movies a little bit more. As we wait another year for the newest entry to join this storied canon, here's a ranking of every best picture winner, from iffy stuff where a recount seems in order to the very best of the best. 96. 'The Broadway Melody' (1928/29) The second best picture winner, it's a musical dud with vaudevillian sisters and romantic malarkey that could have won worst picture, too. 95. 'Crash' (2005) A mess of interwoven stories centered on social and xenophobic tensions in LA, it has a good cast (Sandra Bullock, Don Cheadle) and little else. 94. 'The Greatest Show on Earth' (1952) Jimmy Stewart is a clown and Charlton Heston also signs up for this ostentatious and loathsome three-ring ode to P.T. Barnum’s circus. 93. 'Cimarron' (1930/31) The rocky drama about an 1800s Oklahoma family was the first Western to win the category, yet it has aged badly with unfortunate racist stereotypes. 92. 'Cavalcade' (1932/33) This sentimental tale of family, friends and servants experiencing ups and downs of life from 1899 to 1933 is like "Downton Abbey" but not good. 91. 'Driving Miss Daisy' (1989) Morgan Freeman plays a Black driver and Jessica Tandy is his elderly white charge in an emotionally manipulative dramedy made for random cable TV showings. 90. 'Around the World in 80 Days' (1956) An English dude (David Niven) travels the globe and meets colorful characters in a flighty three-hour affair. It's no "Cannonball Run," though. 89. 'The English Patient' (1996) The pretentious World War II melodrama has Ralph Fiennes as a burned man, Juliette Binoche as his nurse and Kristin Scott Thomas as his already-married love. 88. 'Out of Africa' (1985) Meryl Streep's married Danish writer falls for Robert Redford's big-game hunter over 160 snoozy minutes of Oscar-bait romance. 87. 'Shakespeare in Love' (1998) The biopic rom-com gone wrong finds Shakespeare (Joseph Fiennes) wooing the woman (Gwyneth Paltrow) who helps him write “Romeo and Juliet." 86. 'The Great Ziegfeld' (1936) William Powell plays the infamous title Broadway producer in an arduous and showy musical that is, suffice it to say, less than great. 85. 'Million Dollar Baby' (2004) Hilary Swank packed on muscle to play an up-and-coming boxer trained by an aging coach (director Clint Eastwood) in a film as depressing as "Rocky" is uplifting. 84. 'How Green Was My Valley' (1941) One of the Oscars' greatest unsolved mysteries is how this maudlin Welsh family coal drama upset "Citizen Kane." 83. 'Chariots of Fire' (1981) Vangelis' catchy theme is the most memorable aspect of this emotionally deep but sluggish British sports drama that follows runners racing toward the 1924 Paris Olympics. 82. 'Green Book' (2018) Mahershala Ali plays a Black pianist touring the Jim Crow South and Viggo Mortensen is his uncouth driver in a feel-good film about race relations with a whitewashed perspective. 81. 'Gentleman’s Agreement' (1947) Gregory Peck stars as a journalist who pretends to be Jewish for a story on antisemitism, which probably sounded like a better idea in 1947. 80. 'Tom Jones' (1963) The courtly British comedy finds Albert Finney embracing saucy adventures and getting into swordfights as a squire cast out of his kingdom. 79. 'Grand Hotel' (1931/32) The episodic drama peeks at the various goings-on at a swanky Berlin hotel, like the budding relationship of a Russian ballerina (Greta Garbo) and jewelry-heisting gambler (John Barrymore). 78. 'Slumdog Millionaire' (2008) Dev Patel's orphan rises from the slums to win the Indian “Who Wants to Be a Millionaire?" but a Bollywood song-and-dance number botches the satisfying ending. 77. 'The Lost Weekend' (1945) Billy Wilder's bracing, noir-ish exploration of alcoholism features Ray Milland as a writer whose life devolves into a desperate hunt for his next drink over several harrowing days. 76. 'Forrest Gump' (1994) The title character’s fanciful jaunt through American history veers schmaltzy, so thank goodness for Tom Hanks imbuing Gump with an enduring charm. 75. 'Marty' (1955) One of Hollywood’s great character actors, Ernest Borgnine is outstanding as a 30-something butcher who finally finds love and doesn’t know who to do with it. 74. 'The Hurt Locker' (2009) Director Kathryn Bigelow's Iraq War thriller makes you feel the constant stress and danger faced by a military bomb-disposal unit (including Jeremy Renner and Anthony Mackie). 73. 'American Beauty' (1999) Who could have imagined 20-plus years later that the divisive "dancing" plastic bag from the suburban satire would be more respected than best actor winner Kevin Spacey? 72. 'Terms of Endearment' (1983) Shirley MacLaine and Debra Winger are a mother and daughter with a polarized relationship, yet Jack Nicholson stands out as a roguish astronaut. 71. 'Gigi' (1958) Young courtesan wannabe Gigi (Leslie Caron) and Parisian playboy Gaston (Louis Jourdan) see each other as just friends, until romance intercedes in the musical confection. 70. 'You Can’t Take It With You' (1938) Frank Capra's folksy rom-com casts Jimmy Stewart as Tony, a grounded guy from a snobby family who falls for Alice (Jean Arthur), the most normal in a clan of oddballs. 69. 'Nomadland' (2020) Chloe Zhao’s look at older workers in modern America combines splendid scenery with a wondrous Frances McDormand as a woman who adores life on the road. 68. 'Going My Way' (1944) Bing Crosby is the singingest priest you've ever seen in the musical dramedy, a tune-filled battle of wills between Crosby's young holy man and Barry Fitzgerald's elder pastor. 67. 'Argo' (2012) Director Ben Affleck also stars in the historical thriller (and a sort of salute to the movies) about the CIA using a fake sci-fi movie as a ruse to rescue diplomats during the Iran hostage crisis. 66. 'The Deer Hunter' (1978) Pennsylvania friends (including Robert De Niro and Christopher Walken) go off to Vietnam and face the psychological aftermath. Well made but super-duper bleak, so maybe chase it with ... 65. 'Oliver!' (1968) Charles Dickens' spunky characters from "Oliver Twist" get a crowd-pleasing all-ages revamp courtesy of a Victorian musical that doesn't skimp on the earworming showtunes. 64. 'The Best Years of Our Lives' (1946) Fredric March, Dana Andrews and Harold Russell star in the drama that deals honestly with a theme of the time: World War II veterans returning home to face personal and professional struggles. 63. 'Braveheart' (1995) Mel Gibson's controversial stances aside, he is pretty good at making you want to put war paint on and fight for Scottish independence. 62. 'Ordinary People' (1980) Mary Tyler Moore veers unlikable for a change as the hard-to-please matriarch of a family shaken to its core by the death of one son and a suicide attempt by the other (Timothy Hutton). 61. 'An American in Paris' (1951) Gene Kelly stars as a World War II vet crushing on the French perfume girl (Leslie Caron) who's dating his singer pal (Georges Guétary). Awkward! But this one's all about the wowing 17-minute dance finale set to Gershwin's title tune. 60. 'Mrs. Miniver' (1942) Greer Garson and Walter Pidgeon star as an English couple dealing with the early days of World War II in a drama that, unlike many other films on this list, was made during said war. 59. 'The King’s Speech' (2010) The sweet and inspirational story features Colin Firth as England's King George VI working through a childhood stutter to be the steady voice his country needs. 58. 'The Bridge on the River Kwai' (1957) “Star Wars” fans will appreciate Alec Guinness owning the screen as a World War II British colonel leading whistling, bridge-building POWs at a Japanese prison camp in Thailand. 57. 'Wings' (1927/28) The first best picture winner holds up well almost a century later. The silent film stars Charles Rogers and Richard Arlen as rival pilots in World War I who dig the same girl (Clara Bow) back home. 56. 'Dances With Wolves' (1990) Kevin Costner takes a break from sports movies to direct and star in the solid Western epic as a Union soldier who befriends – and fights for – a Native American tribe. 55. 'The Life of Emile Zola' (1937) Maybe not the most famous biopic but a quite effective one, with Paul Muni as the 19th-century French writer who speaks up for a Jewish captain tagged as a traitor. 54. 'All the King’s Men' (1949) The film noir tackles the corruptive tendencies of power, with Broderick Crawford as a populist politician who rises up as a Southern governor and wields dangerous influence. 53. 'A Man for All Seasons' (1966) Paul Scofield brings steady nerve to his portrayal of Sir Thomas More, the British statesman who butted heads with King Henry VIII (Robert Shaw). 52. 'A Beautiful Mind' (2001) A year after winning best actor for "Gladiator," Russell Crowe returned to the Oscar race with his role as John Nash, a genius on an absorbing journey of math and madness. 51. 'The Last Emperor' (1987) Bernardo Bertolucci was the first Italian filmmaker to win best director for the immersive historical chronicle of Chinese emperor Puyi's life, from ruling as a toddler to being imprisoned as an adult. 50. 'The Shape of Water' (2017) Guillermo del Toro's beautifully unconventional romance makes you believe in the love between a voiceless janitor (Sally Hawkins) and a captured fish man (Doug Jones). 49. 'Rain Man' (1988) Dustin Hoffman shows up on this list a few times as part of some dynamic duos. Here, he plays a savant with autism who reconnects with his brash younger brother (Tom Cruise) on the road. 48. 'Gandhi' (1982) Richard Attenborough's biopic takes on the tale of the renowned Indian leader and succeeds, primarily because of the spirit Ben Kingsley gives his title character. 47. 'The Sound of Music' (1965) Julie Andrews is a nun who teaches a family of kids to sing and gallivants tunefully across Austrian mountains, while Christopher Plummer rips up a Nazi flag. They understood the assignment, as the kids say. 46. 'The Artist' (2011) The (mostly) silent film is a joyous look at Hollywood’s yesteryear, finding something special with an aging star (Jean Dujardin), an infectious ingenue (Bérénice Bejo) and a ridiculously cute pooch. 45. 'Mutiny on the Bounty' (1935) Clark Gable looks strange without his signature mustache, yet he's a clean-shaven force of good in this watery clash as a seaman taking on Charles Laughton's cruel Captain Bligh. 44. 'The Lord of the Rings: The Return of the King' (2003) Hobbits and Co. finally reach Mount Doom, and Peter Jackson’s massive fantasy trilogy gets its atta-boy. 43. 'Birdman or (The Unexpected Virtue of Ignorance)' (2014) Alejandro González Iñárritu's innovative satire sets its sights on celebrity, family and movie superheroes, with a gonzo Michael Keaton in one of his greatest roles. 42. 'Oppenheimer' (2024) Christopher Nolan tackles the creation of the atomic bomb in blistering fashion, and the work of J. Robert Oppenheimer (Cillian Murphy) unfolds as both scientific feat and all-time cautionary tale. 41. 'Rebecca' (1940) Alfred Hitchcock's lone entry on this list is a fitting psychological head trip, with Joan Fontaine playing the new wife of an aristocrat (Laurence Olivier) who can't escape the seemingly constant presence of his dead wife. 40. 'Patton' (1970) George C. Scott embodies Gen. George S. Patton as a tough leader on the battlefield and a larger-than-life speaker, especially the opening monologue in front of a flag that's a classic Hollywood moment. 39. 'No Country for Old Men' (2007) The Coen brothers' Western-tinged thriller rounds up a posse with Josh Brolin as a Vietnam vet who finds a load of drug money and Javier Bardem as a chilling hitman. 38. 'Midnight Cowboy' (1969) Dustin Hoffman found another dude duo with Jon Voight as two hustlers – one a Texan sex worker, the other an ailing con man – navigating New York City’s seedier corners. 37. 'Hamlet' (1948) Laurence Olivier is the peanut butter, Shakespeare’s Danish prince is the jelly, and they’re made for each other in a delicious treat doing expressionism way before “The Tragedy of Macbeth.” 36. 'Everything Everywhere All at Once' (2022) The one with the hot dog fingers! Michelle Yeoh paces the brain-melting sci-fi comedy with the heart of gold as a laundromat owner who goes from needing to fix her tax problems to saving the multiverse with awesome kung fu moves. 35. 'Platoon' (1986) Oliver Stone's Vietnam drama superbly depicts the horrors of war and the morals of the men involved, including Charlie Sheen as a soldier caught between ideologically different sergeants (Willem Dafoe and Tom Berenger). 34. 'CODA' (2021) It's a big, warm inclusive hug of a movie, with a hearing girl (Emilia Jones) torn between the struggling fishing business run by her parents (Marlee Matlin and Oscar winner Troy Kotsur) and her own musical dreams. Have a box of tissues by your side at all times. 33. 'Kramer vs. Kramer' (1979) Dustin Hoffman's best pairing was with Meryl Streep, with their searing look at parenting, divorce and the effects on a child decades before “Marriage Story." 32. 'Titanic' (1997) In James Cameron’s blockbuster, Leonardo DiCaprio and Kate Winslet gave us a doomed love story folks could (mostly) buy amid a historical disaster. (Jack totally could have fit on Rose's door, though.) 31. 'Annie Hall' (1977) Woody Allen is polarizing, his best movie is not. The filmmaker's beloved comedy hilariously follows the relationship build and breakup of a comedian (Allen) and a singer (Diane Keaton). 30. 'The Sting' (1973) Set to a rollicking ragtime score, the enjoyable crime caper lets Robert Redford and Paul Newman shine as con men who eye a powerful boss as their ultimate mark after the murder of a shared friend. 29. 'Ben-Hur' (1959) The chariot race rules and the action is on a biblical scale (literally!) in the epic featuring Charlton Heston as a Jewish prince enslaved on a galley ship who plots revenge on the Romans who betrayed him. 28. 'Unforgiven' (1992) Clint Eastwood rides tall in the director's chair, stakes his claim for best Western ever and stars as an aging farmer who returns to his outlaw ways for righteous retribution. 27. 'Gladiator' (2000) Joaquin Phoenix's first Oscar win for "Joker" should have been No. 2: He was devilishly top-notch as evil Commodus opposite Russell Crowe's vengeful battler Maximus. 26. 'In the Heat of the Night' (1967) The late Sidney Poitier wondrously exudes intelligence and gumption as a visiting detective traveling through Mississippi who helps racist cops catch a killer. 25. 'The Departed' (2006) Martin Scorsese's sole best director win is for this twisty crime thriller with gangster Jack Nicholson, undercover cop Leonardo DiCaprio and Mob mole Matt Damon. 24. 'My Fair Lady' (1964) Audrey Hepburn is a hoot as cockney Brit Eliza Doolittle, given a makeover by Rex Harrison's Henry Higgins in the musical take on "Pygmalion." 23. '12 Years a Slave' (2013) Chiwetel Ejiofor plays a free Black man tricked into servitude for Steve McQueen's uneasy-to-watch yet essential pre-Civil War drama. 22. 'Chicago' (2002) The rare A-list musical – with Renée Zellweger and Catherine Zeta-Jones as jazz-era convicts – that ingeniously treats its numbers as flights of fantasy. 21. 'From Here to Eternity' (1953) Come for Burt Lancaster and Deborah Kerr's infamous kiss on the beach, stay for the drama involving soldiers in Hawaii just before the Pearl Harbor attack. 20. 'The Apartment' (1960) Nothing says "Christmas movie" like office drone Jack Lemmon lending his place to the boss for hookups and falling for elevator girl Shirley MacLaine. 19. 'Rocky' (1976) With Sylvester Stallone's headstrong boxer, it's the classic every underdog sports drama will be compared to forevermore. 18. 'It Happened One Night' (1934) Frank Capra's enjoyable and sexy (for the '30s) romantic comedy had Clark Gable's journalist falling for Claudette Colbert's runaway heiress. 17. 'All Quiet on the Western Front' (1929/30) The extremely powerful anti-war film explored the carnage of World War I and the disillusioned soldiers who came home. 16. 'Spotlight' (2015) Sigh. "All the President's Men" didn't win best picture. Thankfully this story of crusading Boston journalists and a shady Catholic Church cover-up did. 15. 'West Side Story' (1961) The cultural portrayals earn some side-eye, but the musical love story still soars with powerhouse tunes and a phenomenal Rita Moreno. 14. 'Gone With the Wind' (1939) It's problematic for modern eyes, but the Southern-fried Civil War epic still works as a spectacle of unrequited romance. 13. 'Moonlight' (2016) Barry Jenkins' elegant character study of a Black man dealing with his identity and sexuality is an unforgettable, multilayered work. 12. 'Parasite' (2019) In the first non-English language film to win best picture, a poor but clever Korean family infiltrates a wealthy clan – as well as the viewer's heart and mind. 11. 'Lawrence of Arabia' (1962) Peter O'Toole's title British officer has his allegiances torn in this sweeping, sandy epic that influenced a generation of filmmakers. 10. 'One Flew Over the Cuckoo’s Nest' (1975) A criminal (Jack Nicholson) figures being in an asylum is an easy way to do time, then runs into the nurse from hell (Louise Fletcher). 9. 'The Godfather Part II' (1974) Francis Ford Coppola's great gangland prequel/sequel unleashes Al Pacino and Robert De Niro as two generations of Mob bosses. 8. 'The Silence of the Lambs' (1991) Anthony Hopkins made us root for the bad guy (and a cannibal at that) in the only horror movie to crack this vaunted Oscar list. 7. 'The French Connection' (1971) With an all-timer of a car chase and Gene Hackman's fantastic antihero Popeye Doyle, good luck finding a better cop thriller. 6. 'Amadeus' (1984) Who said period pieces have to be boring? In the hands of Tom Hulce, musical genius Mozart is a 19th-century wild child we'd all want to party with. 5. 'All About Eve' (1950) Bette Davis' Broadway star freaks out about her age (at 40!) – and Anne Baxter's zealous understudy does not help – in a stellar lesson on celebrity and cold-blooded ambition. 4. 'On the Waterfront' (1954) Marlon Brando's New Jersey boxer-turned-longshoreman “coulda been a contender” but is definitely the champ of this stunning crime drama. 3. 'Schindler’s List' (1993) A moving, devastating Holocaust tale about hope and kindness, it's the best Steven Spielberg movie without a certain globetrotting archaeologist. 2. 'Casablanca' (1943) As Humphrey Bogart learns, you can stay neutral in war only until love and righteousness walk back through your nightclub doors. 1. 'The Godfather' (1972)
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Both men determine to find a way around her objections. Preserved by the Academy Film Archive in partnership with Andrew J. Kuehn Jr. Foundation in 2006.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/the-moon-is-blue/	Playboy architect Donald (William Holden) and his roguish neighbour David (David Niven) both attempt to pursue aspiring actress Patty (Maggie McNamara), but find that she’s a lot more headstrong than they thought, in Otto Preminger’s romantic comedy based on F Hugh Herbert’s play. This caused a huge scandal when it was released, with the controversial subject matter resulting in the all powerful Production Code refusing to pass it. Unperturbed, Preminger and the producers just released it anyway without a seal of approval, taking various theatre chains who refused to screen the film to court and getting them to show it. In the process, it became a huge hit, significantly weakening the Code’s influence and opening the doors for allowing more… I'm someone who likes filmed plays that take place in NYC. Why? I have no idea. I just find them to be terribly compelling. "The Moon Is Blue" is just this. The film is a romantic comedy about virginity, making it scandalous for its time. It begins with a young lamb (Maggie McNamara) being chased to the top of the Empire State Building by a hungry wolf (William Holden). What the wolf encounters is a very bold lamb who challenges him with his own thoughts. That's funny and entertaining enough, but a drunken David Niven eventually invites himself and his libido to the picture, creating even more humorous situations. Holden and Niven are on top of their games in this… First, the good stuff: the actors are fine. Maggie McNamara and MVP David Niven lay on the charm and float above the material. As for William Holden, his convertible coffee/dinner table is fantastic. As for the rest: it’s telling when the most talked about aspect of a sex comedy isn’t its contents, but its place in film history as one of the early chippers at the Hay Code. The Moon is Blue is the safest kind of “scandalous” movie, one that talks about sex in comparatively straightforward manner, within the most conservative set of values. Its the worst kind of puritanism disguised as sophistication. McNamara's Patty barely has any traits that aren't Perfect '50s Wife material (attractive, young, a virgin… Though the Hollywood production code censored many of the best, or potentially best films of all time in the name of "morality", there were a select few films including From Here to Eternity and Some Like it Hot that slowly ate away at the old code until its abolishment in the mid 60s. One of the earlier films to do so was 1954's The Moon is Blue, a radical sex comedy that pushed the production code to the limit. Based on a play by the same name and plot, The Moon is Blue stars William Holden as Don't Greshem, a newly single architect who because enamored with a young woman Patty O'Neill(Maggie McNamara). However when Don brings her back to… This film, produced and directed by Otto Preminger, is a fascinating example of a 1950s sex comedy but it is now very dated and it is hard to fathom the ruckus it caused with the MPAA/PCA. The screenplay, adapted from his play of the same name by F. Hugh Herbert, was rejected by MPAA censor Joseph Breen because of its “light and gay treatment of the subject of illicit sex and seduction”, back in the days when “gay” meant “lighthearted and carefree”. After six months of back and forward correspondence and rewrites, Preminger and Herbert, backed by United Artists’ studio heads, advised Breen that they were going to proceed to make the film without any changes. As well as a… There is an episode of MAS*H where Hawkeye and BJ are determined to secure a print of The Moon Is Blue to view at the 4077th simply because it was banned in Boston. I don’t know about Boston, but in real life the Production Code office refused to give it a seal and the Legion of Decency gave it a C rating (condemned). As Hawkeye and BJ learned to their chagrin, being banned in Boston does not make for either a prurient or a good movie. As I learned, being denied a seal and condemned does not make it a prurient or good movie either. Patty (Maggie McNamara) and Don (William Holden) pick each other up at the Empire State…
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Your next challenge: Figuring out exactly which of the best movies available to you is the one you're going to watch tonight. No matter what you're looking for—a rom-com, a murder mystery, a sad film, a great musical movie—there are plenty of must-watch films in your chosen genre to settle in with for the first (but probably not the last) time. We movie lovers at Marie Claire know how time-consuming picking a great movie can be, so we did the work for you. We combed through movie rankings, critical reviews, and award nominations, and spoke to fellow pop culture fans to bring you this list of crucial must-watch films. Of course, you can expect to see well-known classic films like Casablanca and The Sound of Music on this list, in addition to movies from iconic directors like Steven Spielberg, Stanley Kubrick, and Alfred Hitchcock. But modern masterpieces like Everything Everywhere All At Once and Get Out stand up just as well and are on this list, too. The must-watch movies below are modern classics, the best of the best, the essential films that millions of people are probably jealous that you're getting to see for the first time. They span multiple countries, languages, and decades. (A bonus: You’ll also find must-know facts and exactly why each film is considered the “best.”) And because pulling these movies was a hard enough task in itself, we've decided to leave this list unranked. Feel free to decide for yourself how your favorites stack up to the rest on this list, and if we've left a title off, don't yell at us too harshly. A list as subjective as this is meant to be debated, after all. Without further ado, in no particular order: The best movies of all time. The Best Romance Movies of All Time There are a few things you can (almost) always expect from a romance movie: a love story (duh!); attractive protagonists; and a happy ending—usually. Maybe you need to be reminded that true love is out there. Or maybe you need to show your partner what real romance looks like. Some of the movies on this list are funny, and some are the ultimate in sad romance films, but there’s one thing all of these romantic films have in common: They're sure to pull on your heartstrings and make you believe in love all over again. Casablanca (1942) Director: Michael Curtiz Stars: Humphrey Bogart, Ingrid Bergman, Paul Henreid Rotten Tomatoes Score: 99% For fans of: black and white films and worldly settings Set in the early years of World War II in Casablanca, Rick Blaine's (Humphrey Bogart) nightclub is an oasis for refugees despite the warnings he gets from local authorities. But things get rocky when an ex-lover and her boyfriend show up, bringing with them a challenge that Rick has to face. One of the most famous classic Hollywood romance films of all time, Casablanca is a love story you won't forget. watch The Notebook (2004) Director: Nick Cassavetes Stars: Ryan Gosling, Rachel McAdams, James Marsden Rotten Tomatoes Score: 53% For fans of: unwavering love stories and steamy kisses Ryan Gosling. Rachel McAdams. An on-screen kiss that's impossible to forget. The Notebook, based on Nicholas Sparks's 1996 novel, is a must-watch for all of the hopeless romantics out there who believe they'll eventually find their way back to their one true love. "It wasn't over. It still isn't over!" watch Titanic (1997) Director: James Cameron Stars: Leonardo DiCaprio, Kate Winslet, Billy Zane Rotten Tomatoes Score: 87% For fans of: tragic love stories and real-world disasters Need we say more? If you haven't watched Titanic yet (please don't admit this out loud), do yourself a favor and stream it on Netflix immediately. watch A Star Is Born (2018) Director: Bradley Cooper Stars: Bradley Cooper, Lady Gaga, Sam Elliot Rotten Tomatoes Score: 90% For fans of: musical movies and remakes If you were alive in 2018, you most definitely heard about Bradley Cooper and Lady Gaga's on- and off-screen chemistry thanks to their roles in the hit adaptation of A Star Is Born. The movie centers on rockstar Jackson Maine (Cooper) and struggling artist Ally (Gaga) who fall in love while Maine pushes Ally into the spotlight and confronts his own demons. Make sure to have a pack of tissues handy. watch Before Sunrise (1995) Director: Richard Linklater Stars: Ethan Hawke, Julie Delpy, Erni Mangold Rotten Tomatoes Score: 100% For fans of: Europe and love at first sight In this swooningly romantic movie from Richard Linklater, Julie Delpy and Ethan Hawke play a pair of travelers—she French, he American—who have a chance meeting in Vienna and decide to spend the evening before his departing flight walking around the city and talking to one another. In 2005, the sequel Before Sunset continues the story, and then in 2015 the trilogy is wrapped up with Before Midnight. All of them are worth watching over and over. watch You've Got Mail (1998) Director: Nora Ephron Stars: Tom Hanks, Meg Ryan, Greg Kinnear Rotten Tomatoes Score: 69% For fans of: online dating and rivals The Marie Claire team is very passionate about You've Got Mail. Starring Tom Hanks and Meg Ryan, the 1998 drama/romance tells the story of two neighborhood bookstore rivals who absolutely hate each other in real life, then fall in love online, and well...we won't spoil the rest for you. (The good ol' AOL days.) watch In the Mood for Love (2000) Director: Kar-Wai Wong Stars: Tony Leung Chiu Wai, Maggie Cheung, Kelly Lai Chen Rotten Tomatoes Score: 91% For fans of: love never realized and beautiful costumes The elaborate costumes, the stunning visuals, and the beautiful art direction are all key features of art house movie In the Mood for Love, by Chinese director Wong Kar-Wai. And though there's sparse dialogue, sit back and prepare to be enchanted by the slow but captivating scenes of two married neighbors falling in love. watch Roman Holiday (1953) Director: William Wyler Stars: Audrey Hepburn, Gregory Peck, Eddie Albert Rotten Tomatoes Score: 97% For fans of: royals and European getaways Breakfast at Tiffany's is terrific, of course, but Audrey Hepburn won the Academy Award for her turn as a princess who ditches her schedule (and her entourage) in favor of exploring Rome, only to fall asleep on a bench and get rescued by a hunky American reporter played by Gregory Peck. watch Dilwale Dulhania Le Jayenge (1995) Director: Aditya Chopra Stars: Shah Rukh Khan, Kajol, Amrish Puri Rotten Tomatoes Score: 100% For fans of: opposing families and Indian cultures Dilwale Dulhania Le Jayenge, the highest-grossing Indian film of 1995, is an absolute delight. The Bollywood rom-com about two young star-crossed lovers who fall in love despite their parents' critiques ended up winning 10 Filmfare Awards—India’s Academy Award equivalent—and changed the game forever. watch When Harry Met Sally (1989) Director: Rob Reiner Stars: Billy Crystal, Meg Ryan, Carrie Fisher Rotten Tomatoes Score: 91% For fans of: fall and friends-to-lovers If you haven't seen When Harry Met Sally, you probably know it from this famous "I'll have what she's having" scene. But it's worth seeing in full to relive Nora Ephron's groundbreaking screenwriting, plus the easy banter between America's sweetheart Meg Ryan and Billy Crystal (it kind of set the stage for modern rom-coms as we know them). watch Love Jones (1997) Director: Theodore Witcher Stars: Larenz Tate, Nia Long, Isaiah Washington Rotten Tomatoes Score: 80% For fans of: Chicago and dramedies A photographer (Nia Long) and a poet (Larenz Tate) fall in love in one of the best romance movies of all time. watch The Princess Bride (1987) Director: Rob Reiner Stars: Cary Elwes, Robin Wright, Mandy Patinkin Rotten Tomatoes Score: 97% For fans of: fairytales and adventures There are so many things packed into The Princess Bride: historical fantasy, sweeping romance, laugh-out-loud comedy, subtle satire, Robin Wright and Mandy Patinkin! If you haven't seen yet, just think of every time you've heard, "My name is Inigo Montoya. You killed my father. Prepare to die," as little nudges to watch. watch Silver Linings Playbook (2012) Director: David O. Russell Stars: Jennifer Lawrence, Bradley Cooper, Robert DeNiro Rotten Tomatoes Score: 92% For fans of: football and dysfunctional relationships What looks from the outset like a typical rom-com delves deeper into the motions of mental illness, as a bipolar man tries to reconnect with his estranged wife following his release from a psychiatric ward. He meets a recently widowed woman (Jennifer Lawrence) with her own problems, who convinces him to join a dance competition with her to help him win his wife back. watch Like Water for Chocolate (1992) Director: Alfonso Arau Stars: Lumi Cavazos, Marco Leonardi, Regina Torné Rotten Tomatoes Score: 87% For fans of: magical cooking and family dynamics This sumptuous story follows the life of a Mexican girl who's subjected to a family custom that demands she stays unmarried and take care of her mother through old age. She ends up pouring her lifetime of unfulfilled passion into her cooking, where her family literally feels her emotions while eating, thanks to a helping of magical realism. watch Pride and Prejudice (2005) Director: Joe Wright Stars: Keira Knightley, Matthew Macfadyen, Rosamund Pike Rotten Tomatoes Score: 87% For fans of: Jane Austen novels and the enemies-to-lovers trope Sure, there have been plenty of Jane Austen adaptations over the years, but not all of them have Matthew Macfadyen dreamily walking across a field at sunrise in a billowing coat. This period piece takes the cake for its beautiful scenery and in-your-face chemistry between Macfadyen and Kiera Knightley. watch Moulin Rouge (2001) Director: Baz Luhrmann Stars: Nicole Kidman, Ewan McGregor, John Leguizamo Rotten Tomatoes Score: 75% For fans of: over-the-top musicals and A little bit quirky and a little bit extravagant, Baz Luhrmann creates a visual spectacle of a musical that's still so much fun to watch, despite a sad ending. Complete with a perfect soundtrack and fairytale romance, this is a musical you can watch again and again. watch Portrait of a Lady on Fire (2019) Director: Céline Sciamma Stars: Noémie Merlant, Adèle Haenel, Luàna Bajrami Rotten Tomatoes Score: 97% For fans of: Lesbian love stories and slow burns Set in 18th-century France, a young painter named Marianne (Noémie Merlant) is commissioned to paint the wedding portrait of Héloïse (Adèle Haenel), the daughter of a French countess, only she must keep it in secret. By day, Marianne and Héloïse spend time together and eventually grow a mutual attraction, while Marianne attempts to paint Héloïse at night. Each shot of this rich period piece is like a painting itself, and the love story is so intimate to watch unfold. watch Notting Hill (1999) Director: Roger Michell Stars: Julia Roberts, Hugh Grant, Hugh Bonneville Rotten Tomatoes Score: 84% For fans of: London and star-crossed lovers Julia Roberts is just a girl—a beret-wearing, world-famous movie star, to be exact—standing in front of a boy—Hugh Grant, as a decidedly non-famous travel bookstore owner—asking him to love her. His response, of course, comes with a supersized dose of that classic, bumblingly awkward Hugh Grant charm. watch Past Lives (2023) Director: Celine Song Stars: Greta Lee, Teo Yoo, and John Magaro Rotten Tomatoes Score: 95% For fans of: subverted love triangles and what-ifs Nora (Lee) and Hae-sung (Yoo) were childhood sweethearts growing up in Seoul, South Korea, but after Nora's family immigrated to Canada, their lives went down different paths. Celine Song's directorial debut follows the pair as they reunite in NYC over two decades later, facing questions of lingering feelings, nostalgia, and in-yun, or the Korean concept of fate derived from Buddhism. watch The Best Comedy Movies of All Time Sometimes, we all need a little cheering up, and what better way to do that than with a feel-good movie that makes you laugh? These comedy films are guaranteed to bring a little levity to your evening, whether it be through jokes or characters in insane situations. With typically universally relatable stories, comedy movies remind us that it's okay to poke fun at ourselves once in a while. Ferris Bueller's Day Off (1986) Director: John Hughes Stars: Mathew Broderick, Alan Ruck, Mia Sara Rotten Tomatoes Score: 81% For fans of: playing hooky and fourth wall breaks Every kid in high school dreamed of having a day off like Ferris Bueller's and, frankly, we can't help but still aspire to have one like his as an adult. Come for each character's hilarious antics, and stay for the inevitable comparisons between Alan Ruck's character, Cameron Frye, and his recent portrayal of Connor Roy on Succession. watch Mean Girls (2004) Director: Mark Waters Stars: Lindsay Lohan, Rachel McAdams, Tina Fey Rotten Tomatoes Score: 84% For fans of: teen comedies and high school clichés No movie has ever spoofed high school culture as brilliantly as Mean Girls, whose hilarious script by Tina Fey has become iconic, bringing the phrases "so fetch," "I know, right?" and "cool mom" into our modern language. It lives on in countless memes and GIFs, even though the movie's more than 10 years old at this point. watch Clueless (1995) Director: Amy Heckerling Stars: Alicia Silverstone, Brittany Murphy, Paul Rudd Rotten Tomatoes Score: 81% For fans of: Jane Austen adaptations and classic '90s movies Cher Horowitz stole everyone's heart in the '90s as the well-intentioned Valley Girl with an enviable revolving closet who set out to prove she wasn't "just a ditz with a credit card." Inspired by Jane Austen's Emma, Clueless sees her trying to play matchmaker at school, until she gets caught up in her own love triangle. watch His Girl Friday (1940) Director: Howard Hawks Stars: Cary Grant, Rosalind Russell, Ralph Bellamy Rotten Tomatoes Score: 99% For fans of: journalism and screwball comedy Carey Grant and Rosalind Russell play a formerly married couple—he an editor, she an investigative reporter—who have to team up for one last assignment. Of course, the fact that he hired her only after finding out she was engaged to someone new might have something to do with it, but Russell is hilarious and their chemistry is bananas in this romance. watch Some Like It Hot (1959) Director: Billy Wilder Stars: Marilyn Monroe, Jack Lemmon, Tony Curtis Rotten Tomatoes Score: 94% For fans of: impersonations and comedic duos If you don't know why Miss Marilyn Monroe was and is such a big deal, take a look at this one. The film shows off her vocal chops as the lead singer of an all-girl band who dreams of wooing a millionaire. As her band travels to sunny Florida, she makes friends with two new musicians in the group, who she doesn't realize are men in disguise and on the run. watch Monty Python and the Holy Grail (1975) Director: Terry Gilliam, Terry Jones Stars: Graham Chapman, John Cleese, Terry Gilliam Rotten Tomatoes Score: 98% For fans of: silly humor and cult classics You'll never think of coconuts the same way after watching this silly British slapstick comedy set in the time of King Arthur and the fabled Round Table. God sends a group of knights on a quest to find the Holy Grail, where they encounter several nonsensical obstacles along the way—a classic Monty Python premise. watch 10 Things I Hate About You (1999) Director: Gil Junger Stars: Heath Ledger, Julia Stiles, Joseph Gordon-Levitt Rotten Tomatoes Score: 70% For fans of: Shakespeare retellings and bad boys Volumes could be written about the sheer brilliance of 10 Things I Hate About You. If you've never seen it, know that it's one of the best teen movies ever made, from the script to the acting (two words: Heath. Ledger.) to the speech-making and wooing. It feels like a modern Shakespearean comedy because it is. (Ever heard of Taming of the Shrew?) watch Spider-Man: Into the Spiderverse (2018) Director: Bob Persichetti, Peter Ramsey, Rodney Rothman Stars: Shameik Moore, Jake Johnson, Hailee Steinfeld Rotten Tomatoes Score: 97% For fans of: stunning animation and relatable protagonists If you love superhero movies, this Spider-Man standalone may become your favorite of them all. The Oscar-winning animated film follows Miles Morales' origin story with a multiverse twist that has multiple Spider-Mans (Spiders-Man? Spider-Men?) popping up in his world. watch Legally Blonde (2001) Director: Robert Luketic Stars: Reese Witherspoon, Luke Wilson, Selma Blair Rotten Tomatoes Score: 70% For fans of: female empowerment and chick flicks Heard of the bend and snap? If you can believe Legally Blonde came into our lives more than two decades ago, it's time to give this classic feel-good movie a watch if you haven't already—even if just to witness the evolution of Reese Witherspoon and her incredible acting. What, like it's hard? watch Coming to America (1988) Director: John Landis Stars: Eddie Murphy, Arsenio Hall, James Earl Jones Rotten Tomatoes Score: 73% For fans of: corny lines and snappy jokes A hilarious comedy with a super-sweet love story, Coming to America is an essential watch for anyone who loves to smile. This film also cemented Eddie Murphy's place as comedy royalty, with him and Arsenio Hall cracking us up through multiple different characters. watch Bridesmaids (2011) Director: Paul Feig Stars: Kristen Wiig, Maya Rudolph, Rose Byrne Rotten Tomatoes Score: 89% For fans of: all-female casts and hilarious gags Kristen Wiig wrote and stars in Bridesmaids, a film about a bridal party's hilarious activities leading up to the big day (which should be required viewing every wedding season). watch The Breakfast Club (1985) Director: John Hughes Stars: Emilio Estevez, Molly Ringwald, Judd Nelson Rotten Tomatoes Score: 89% For fans of: unexpected friendships and teen makeovers John Hughes's catalog of '80s films (with Molly Ringwald often playing the starring role) are all classics, though this story about unexpected friendship that blossoms in the middle of detention hall takes the cake for its iconic scenes, from coordinated dances to beauty makeovers. watch Tangerine (2015) Director: Sean Baker Stars: Kitana Kiki Rodriguez, Mya Taylor, and James Ransone Rotten Tomatoes Score: 96% For fans of: innovative filmmaking and moving friendships Sean Baker was one of the first filmmakers to shoot a feature entirely on an iPhone back in 2015. For the project, he utilized a microbudget, three iPhone 5Ss, and a cast of many untrained actors, finding his leads in two transgender women and real-life friends, Kitana Kiki Rodriguez and Mya Taylor, whom he discovered outside of an LGBTQ+ center in L.A. The two play sex workers and close friends Sin-Dee Rella (Rodriguez) and Alexandra (Taylor), who set out to find Sin-Dee’s boyfriend and pimp when they find out he cheated on her when she was carrying out a recent prison sentence. watch The Devil Wears Prada (2006) Director: David Frankel Stars: Meryl Streep, Anne Hathaway, Emily Blunt Rotten Tomatoes Score: 75% For fans of: fashion montages and Stanley Tucci This movie is filled with iconic moments: There’s the infamous cerulean monologue, the perfect mid-aughts opening montage set to “Suddenly I See,” one of the most satisfying style transformations ever put on film, a grilled cheese sandwich containing $8 worth of Jarlsberg and, yes, the Chanel boots. What more could you ask for? watch Barbie (2023) Director: Greta Gerwig Stars: Margot Robbie, Ryan Gosling, America Ferrera Rotten Tomatoes Score: 88% For fans of: dolls and powerful women The summer of 2023 will forever be remembered for its spectacular displays of female power, between Beyoncé and Taylor Swift’s sold-out world tours and, of course, the blockbuster release of Barbie. Come for the nostalgia, the perfectly choreographed dance scenes, and Ryan Gosling’s goofy turn as Ken, stay for the expert skewering of the patriarchy, a celebration of womanhood, and that America Ferrera monologue. watch Step Brothers (2008) Director: Adam McKay Stars: Will Ferrell, John C. Reilly, Mary Steenburgen, Richard Jenkins Rotten Tomatoes Score: 55% For fans of: blended families and the Catalina Wine Mixer Don’t let the Rotten Tomatoes score fool you: As any real cinephile can attest, this film is one of the all-time greats. You’ll laugh, you’ll cry, you’ll be inspired to form an entertainment company à la Prestige Worldwide with your rival-turned-best friend-slash-stepsibling and start churning out hit songs (“Boats ’N Hoes,” anyone?)—all the makings of a truly great movie. watch My Cousin Vinny (1992) Director: Jonathan Lynn Stars: Joe Pesci, Ralph Macchio, and Marisa Tomei Rotten Tomatoes Score: 87% For fans of: courtroom comedies and scene-stealing women Sure, a murder trial doesn't seem like it would be the best place for laughs, but proving that assumption wrong is just one of the surprises that catapulted this '90s comedy into the all-time must-watch category. After a pair of road-tripping New Yorkers are wrongly accused of killing a convenience store clerk, they enlist the help of Cousin Vinny (Pesci) and his fiancée Mona Lisa (Oscar winner Tomei) to prove their innocence. watch Paddington 2 (2017) Director: Paul King Stars: Ben Whishaw, Hugh Grant, Sally Hawkins Rotten Tomatoes Score: 99% For fans of: family movies and lovable creatures This movie about a talking teddy bear with a big heart shows a heartwarming lesson about empathy and community to both kids and adults alike, as Paddington and the people who love him band together to help when the polite bear is falsely imprisoned. watch The Best Classic Movies of All Time Less of a genre and more of a distinction, we define "classic movies" as the kind of film that changed their respective genres forever. Being familiar with the films on this list will set you apart from the casual pop culture fan and put you on the road to becoming a movie buff. For a film to be a classic in our book, it should have some years on it, be universally loved, and have a major cultural impact. The classic movies below, all released over 25 years ago, check those boxes. Rebel Without a Cause (1955) Director: Nicholas Ray Stars: James Dean, Natalie Wood, Sal Mineo Rotten Tomatoes Score: 93% For fans of: teen angst and the 1950s Two words for you: James! Dean! The old Hollywood icon's second to last film, as teenager Jim Stark, before his untimely death in 1955 ended up being one of his most celebrated. The unlikely bond shared on-screen between him, John "Plato" Crawford (Sal Mineo), and Judy (Natalie Wood) gave American youths at the time a movie where they could finally see themselves on the screen. watch A Raisin in the Sun (1961) Director: Daniel Petrie Stars: Sidney Poitier, Claudia McNeil, Ruby Dee Rotten Tomatoes Score: 90% For fans of: theatrical plays and social commentary A Chicago family, the Youngers, are about to receive a windfall that will change their lives, but they have different ideas on how to use the money. An adaptation of the Lorraine Hansberry play made with the original cast, this film questions who is allowed the American Dream. watch Carmen Jones (1954) Director: Otto Preminger Stars: Dorothy Dandridge, Harry Belafonte, Pearl Bailey Rotten Tomatoes Score: 78% For fans of: historic performances and musicals This underrated musical set at an all-Black army camp follows Carmen (Dorothy Dandridge), who, despite being sought after by every man at the base, has her sights set on the super married Joe (Harry Belafonte). Dandridge's performance as Carmen Jones got her nominated for an Oscar, making history as the first African American actress in a leading role to be nominated. watch To Kill a Mockingbird (1962) Director: Robert Mulligan Stars: Gregory Peck, Mary Badham, Robert Duvall Rotten Tomatoes Score: 93% For fans of: historical stories and court cases Scout Finch tells the story of how her father, Atticus, a small town lawyer in the rural South, defended a wrongfully accused black man in this adaptation of Harper Lee's beloved novel. Gregory Peck as Atticus Finch is how most people who've seen this movie think of the character, and you will too when you see it. watch Butch Cassidy and the Sundance Kid (1969) Director: George Roy Hill Stars: Paul Newman, Robert Redford, Katharine Ross Rotten Tomatoes Score: 89% For fans of: Westerns and buddy comedies Robert Redford! Paul Newman! Really strong facial hair game! What could go wrong? Well, actually, a train robbery does go wrong, leaving outlaws Butch Cassidy (Newman) and The Sundance Kid (Redford) on the run from a seriously dangerous posse as they try to leave rural Wyoming for Bolivia. It's a Western film you can't miss. watch 12 Angry Men (1957) Director: Sidney Lumet Stars: Henry Fonda, Lee J. Cobb, Ed Begley Rotten Tomatoes Score: 100% For fans of: courtroom dramas and realistic thrillers This classic film is ostensibly about a dozen white men on a jury arguing over whether a young Puerto Rican man actually killed his father (the class and race dynamics feel unfortunately familiar, 60-plus years later). But it's really about prejudice and stereotype and the assumptions we carry with us every day without realizing it. If you didn't get to watch this one in school, watch it now. watch Rocky (1976) Director: John G. Avildsen Stars: Sylvester Stallone, Talia Shire, Burgess Meredith Rotten Tomatoes Score: 91% For fans of: sports movies and underdog stories It’s the classic underdog story that made Sylvester Stallone a household name. The movie follows boxer Rocky Balboa on the road to fight heavyweight champion Apollo Creed in a match deemed “a somebody vs. nobody.” The film, written by Stallone, would go on to win Best Picture at the Oscars in 1977. watch The Godfather (1972) Director: Francis Ford Coppola Stars: Marlon Brando, Al Pacino, James Caan Rotten Tomatoes Score: 97% For fans of: mob dramas and gangster action Yes, there are three parts to this trilogy that might require a night of bingeing. But there's really nothing like Francis Ford Coppola's depiction of the mob family of Don Vito Corleone. It's a chilling to the bone, action-packed story that's not one to miss. watch Jaws (1975) Director: Steven Spielberg Stars: Roy Scheider, Robert Shaw, Richard Dreyfuss Rotten Tomatoes Score: 97% For fans of: tension-building suspense and iconic theme songs When Steven Spielberg made this movie, I’m unsure if he knew it would become the face of anti-shark propaganda, and make a whole generation scared to get in the water. Regardless, this movie about a sheriff, marine biologist, and fisherman hunting down a shark that’s terrorizing their beach town is a must-see. watch Do the Right Thing (1989) Director: Spike Lee Stars: Danny Aiello, Giancarlo Esposito, Ossie Davis Rotten Tomatoes Score: 91% For fans of: slice-of-life stories and driving messages Spike Lee acts and directs in a film that marries comedy and drama perfectly. Roger Ebert's review is pretty spot-on, but to summarize: Lee builds a community in Bed-Stuy, Brooklyn, teeming with life and tension on the hottest day of the year. And then he rips it all apart. But it's so much more compelling than even that description. Lee handles all his characters with love, and there's no one who's truly evil, despite spot-on and heart-wrenching commentary about racism, classism, and poverty. watch Back to the Future (1985) Director: Robert Zemeckis Stars: Michael J. Fox, Christopher Lloyd, Crispin Glover Rotten Tomatoes Score: 97% For fans of: Comedic sci-fis and '80s references This sci-fi film sees Michael J. Fox as Marty McFly, a time traveler who drives his flying Delorean back into the '50s after an experiment gone wrong. Fun fact: the sequel is set in the far-away future, a.k.a. 2015. watch The Sound of Music (1965) Director: Robert Wise Stars: Julie Andrews, Christopher Plummer, Eleanor Parker. Rotten Tomatoes Score: 83% For fans of: sweet storylines and uplifting music Julie Andrews plays an Austrian nun during World War II in the Academy Award-winning film. When she comes to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children, she begins to realize how much the family means to her. The latter part of the movie has an unexpected twist and displays the unfathomable truth of what it was like living in Nazi Germany. watch One Flew Over the Cuckoo's Nest (1975) Director: Milos Forman Stars: Jake Nicholson, Louise Fletcher, Brad Dourif Rotten Tomatoes Score: 93% For fans of: memorable characters and tragic comedies Jack Nicholson's at his best in this film about a habitual criminal who's sentenced to time in a mental hospital. There, he threatens the natural order under the watch of cruel Nurse Ratched and attempts to flee with his fellow patients. The film swept up five Academy Awards in its day, from Best Picture to Best Actor and Best Actress. watch The Graduate (1967) Director: Mike Nichols Stars: Dustin Hoffman, Anne Bancroft, Katharine Ross Rotten Tomatoes Score: 87% For fans of: love triangles and a moving score Between the Simon & Garfunkel soundtrack and the easy-on-the-eyes love triangle—Dustin Hoffman as a wandering college graduate, his married neighbor Mrs. Robinson, and her daughter—this film is hard to not immediately fall in love with. watch Rocky Horror Picture Show (1975) Director: Jim Sharman Stars: Tim Curry, Susan Sarandon, Barry Bostwick Rotten Tomatoes Score: 78% For fans of: wild characters and over-the-top dance numbers See for yourself where all the live versions of the cult favorite Rocky Horror Picture Show began with this over-the-top, perfectly cast musical (see: young Susan Sarandon). watch The Wizard of Oz (1939) Director: Victor Fleming Stars: Judy Garland, Jack Haley, Ray Bolger Rotten Tomatoes Score: 98% For fans of: fantasy and flawless vocals A technical marvel at its time and one of the most influential films ever, this 1937 film is definitely worth a watch for movie buffs, even if you've seen countless iterations of L. Frank Baum's fairy tale. watch The Philadelphia Story (1940) Director: George Cukor Stars: Cary Grant, Katharine Hepburn, James Stewart Rotten Tomatoes Score: 100% For fans of: screwball comedies and love triangles Over 80 years after its release, this classic still deserves every bit of its perfect Rotten Tomatoes rating. Katharine Hepburn plays the headstrong socialite Tracy Lord, who spends the days leading up to her second wedding trading barbs with her ex-husband Dexter (Cary Grant) and James Stewart’s Mike, a journalist sent to cover the ceremony—leading her to reassess her decision to marry the social-climbing George Kittredge (John Howard). There’s still a wedding at the end of the movie, but we won’t spoil who ends up as the groom. watch Singin’ in the Rain (1952) Director: Gene Kelly and Stanley Donen Stars: Gene Kelly, Debbie Reynolds, Donald O’Connor Rotten Tomatoes Score: 100% For fans of: musicals and Old Hollywood Singin’ in the Rain is still considered by many to be the greatest musical film of all time, more than 70 years later. Rightfully so—the rom-com is full of catchy songs and impressive dance sequences to tell the story of Hollywood’s not-so-smooth transition from silent films to “talkies.” watch Seven Samurai (1956) Director: Akira Kurosawa Stars: Toshirô Mifune and Takashi Shimura Rotten Tomatoes Score: 100% For fans of: action epics and long runtimes If you're an action fan and haven't watched Seven Samurai, odds are you've already seen countless references to Kurosawa's 1954 film. This story of a motley crew of samurai gathered to protect a small village from a major threat has gone on to inspire generations of filmmakers, including several who appear on this very list. Just be sure to carve out enough time to immerse yourself in the three-plus hour runtime. watch The Matrix (1999) Director: Lana and Lilly Wachowski Stars: Keanu Reeves, Laurence Fishburne, and Carrie-Anne Moss Rotten Tomatoes Score: 85% For fans of: mind-bending effects and leather trenches Many elements of The Matrix have escaped the screen to become mainstays in fashion and internet culture as a whole (for better or worse). Over 25 years after its release, Neo's (Reeves) escape from his simulated reality still has some of the best action scenes and visual effects ever put to film. watch The Best Scary Movies and Thriller Movies of All Time Horror and thriller films do something to us that no other genre of films do—they terrify us. Some people may think it’s crazy, but feeling a sense of fear, dread, and anticipation via movies is an adrenaline rush like no other. These classic horror movies and thrillers feature some of the most terrifying creatures, killers, and jump scares, not to mention some unforgettable psychological horror. You’re going to want to leave the lights on when you go to bed after watching these. The Exorcist (1973) Director: William Friedkin Stars: Ellen Burstyn, Linda Blair, Max von Sydow Rotten Tomatoes Score: 84% For fans of: demonology and good vs. evil stories The film that prompted so many parodies and remakes (another one is coming in 2023!), nothing lights a candle to the original. Rightfully dubbed "one of the best horror films ever made" by many, The Exorcist goes above and beyond to make you terrified. The story about a girl possessed by a demon in need of an exorcism is unsettling, to say the least. watch Parasite (2019) Director: Bong Joon Ho Stars: Song Kang-ho, Choi Woo-sik, Park So-dam Rotten Tomatoes Score: 99% For fans of: gruesome twists and commentaries on social issues An unemployed family of four slips into the lives of the crazy wealthy Park family. Then, there's an incident that can’t entirely be cleaned up in a cleaning shift. Long after the credits roll, you’ll be questioning the ending and mulling over the tough, important themes. watch The Shining (1980) Director: Stanley Kubrick Stars: Jack Nicholson, Shelley Duvall, Danny Lloyd Rotten Tomatoes Score: 82% For fans of: Stephen King and eerie settings Jack Nicholson is on this list a few times, but this classic horror movie is probably his most well-known role. The Torrance family—husband Jack, wife Wendy, and son Danny—are staying in the Overlook Hotel during the winter. Then, the hotel begins to come alive with a terrible, terrifying evil. Stephen King famously hated this adaptation, because Stanley Kubrick takes out all the empathy from the patriarch (Nicholson, playing crazy like he was born to do it). But it makes the story even more powerful. Viewed through today's lens, it's also a haunting look at the effects of domestic violence. watch Promising Young Woman (2020) Director: Emerald Fennell Stars: Carey Mulligan, Laverne Cox, Bo Burnham Rotten Tomatoes Score: 90% For fans of: feminism and twisted revenge This very dark comedy juxtaposes one woman's insatiable quest to avenge her best friend's tragic assault in front of a backdrop of all things frilly, pink, and sweet. That stark contrast only makes the movie's incredibly intense climax that much more shocking. Promising Young Woman was nominated for five Oscars in 2021, including Best Picture, Best Actress for Carey Mulligan, and a history-making Best Director nod for Emerald Fennell. watch 2001: A Space Odyssey (1968) Director: Stanley Kubrick Stars: Keir Dullea, Gary Lockwood, William Sylvester Rotten Tomatoes Score: 91% For fans of: creepy villains and outer space This movie is trippy and a bit hard to follow, but it's absolutely required viewing. Stanley Kubrick takes us from the dawn of the human species to the dawn of a totally new species in just a few hours, and his view of space and space travel set the standard for a thousand sci-fi films to come. More importantly, it's compelling and totally, totally terrifying. It's aged really well, despite being made over 50 years ago. watch Rear Window (1954) Director: Alfred Hitchcock Stars: Grace Kelly, James Stewart, Wendell Corey Rotten Tomatoes Score: 98% For fans of: taut suspense and chilling endings This early Hitchcock movie boasts an impressive 98% percent Rotten Tomatoes score, and it's still considered one of the best of its time. Starring Princess Grace Kelly and James Stewart, the film revolves around a man confined to his wheelchair whose pastime involves spying on his neighbors (through the rear window—get it?). Things take a turn for the worst when he believes he's witnessed a murder. watch Jurassic Park (1993) Director: Steven Spielberg Stars: Sam Neill, Laura Dern, Jeff Goldblum Rotten Tomatoes Score: 92% For fans of: monster movies and amusement parks It's a little hard to believe that the Schindler's List director also came up with this dino adventure movie, but what's even more impressive is that the two films came out mere months apart. This could not be more different, but if you're looking for a film about these prehistoric creatures, stick to the classic. There's so much loving attention paid to the dinosaurs' look—there isn't a ton of CGI, with a greater reliance on practical effects—but more importantly, the human characters are just as interesting. Samuel L. Jackson, in the best cameo of all time. watch Heathers (1988) Director: Michael Lehmann Stars: Winona Ryder, Christian Slater, Shannen Doherty Rotten Tomatoes Score: 93% For fans of: twisted high school movies and campiness Winona Ryder's always in her element in off-beat dark comedies, and this one sets her in the middle of a high school where her character Veronica gets invited to a join a popular clique of "Heathers" (literally three girls whose names are Heather) until they betray her. Veronica and her partner-in-crime J.D. Dean (Christian Slater) set out to right all the wrongs made against her, in cruel and unusual ways. watch Train to Busan (2016) Director: Yeon Sang-ho Stars: Gong Yoo, Ma Dong-seok, Choi Woo-sik Rotten Tomatoes Score: 94% For fans of: zombie horrors and Korean films In this legendary Korean thriller, a group of travelers on a bullet train have to fight off a car full of zombies as a mysterious infection ravages the country. The pulse-pounding film has a stellar cast and a secret heart, with the characters making touch choices to help their families survive. watch Psycho (1960) Director: Alfred Hitchcock Stars: Janet Leigh, Anthony Perkins, Vera Miles Rotten Tomatoes Score: 96% For fans of: slasher films and horror in the mundane One of the first slasher films (that launched many copycats to come) is Alfred Hitchcock's creepy story of Norman Bates and his hotel on the hill. watch Carrie (1976) Director: Brian De Palma Stars: Sissy Spacek, Piper Laurie, William Katt Rotten Tomatoes Score: 93% For fans of: supernatural horror and revenge stories Sissy Spacek is the one true Carrie—a bullied young woman who develops telekinetic abilities just in time for a prank prom invite to turn into a full-fledged bloodbath. I know we shouldn't condone violence, but it's hard not to root for poor Carrie after her classmates dump pigs blood on her in her prom dress, right? watch Get Out (2017) Director: Jordan Peele Stars: Daniel Kaluuya, Allison Williams, Catherine Keener Rotten Tomatoes Score: 98% For fans of: psychological thrillers and comedic relief It's not often that a movie so perfectly taps into the spirit of the times, but in a year where Trump's presidency sparked tense discussions about police brutality, race, and false liberalism, this was the breakout movie that did the job—in the horror genre, no less. Director Jordan Peele turns the typical horror script on its head with this blend of cultural criticism and horror tropes. watch The Silence of the Lambs (1991) Director: Jonathan Demme Stars: Jodie Foster, Anthony Hopkins, Lawrence A. Bonney Rotten Tomatoes Score: 95% For fans of: Psychological thrillers and charming cannibals Anthony Hopkins' performance in this film made Hannibal Lecter the creepiest villain of the past few decades, who isn't even the actual villain of this film. Lecter's influence is felt in many horror baddies who have come after, but there's nothing like hearing the original say "fava beans and a nice Chianti." watch The Dark Knight (2008) Director: Christopher Nolan Stars: Christian Bale, Heath Ledger, Michael Caine Rotten Tomatoes Score: 94% For fans of: crime thrillers and sinister villains For many (myself included), Christopher Nolan's second installment in his superhero trilogy is the best Batman there is. Equal parts action blockbuster and crime thriller, Nolan is able to expertly combine aspects of both genres into a modern superhero film for the ages. Heath Ledger's go at the Joker is so massive and brilliant, so far no other actor has been able to top it. watch Seven (1995) Director: David Fincher Stars: Brad Pitt, Morgan Freeman, Gwyneth Paltrow Rotten Tomatoes Score: 82% For fans of: detective stories and plot twist finales One of the best crime thrillers of all time has to be David Fincher's Seven. With Brad Pitt and Morgan Freeman at the helm, two detectives investigate a number of grisly murders inspired by the seven deadly sins, and boy, do things get dark. There's plenty of symbolism along the way for you to connect the dots, but still bet you'll be shocked by the now-memeable ending. watch Black Swan (2010) Director: Darren Aronofsky Stars: Natalie Portman, Mila Kunis, Vincent Cassel Rotten Tomatoes Score: 85% For fans of: ballet and jumpscares Who says ballet can’t be scary? Natalie Portman plays Nina, a professional ballerina who increasingly loses her grip on reality as she’s forced to compete with Mila Kunis’ Lily for the lead role in a production of Swan Lake. This psychological thriller explores the (very) dark side of devotion to one’s art, and it won Portman the Best Actress award at the 2011 Oscars. watch The Best Drama Movies of All Time Movies that fall under the drama genre are exactly what the name suggests: dramatic. The list of films that can be considered a drama is long and varied. Anything from period pieces, teen dramas, war movies, movies for girls' night, biopics, etc, fall under the drama category, but what they all have in common is emotionally driven characters and plenty of conflict. Life is Beautiful (1997) Director: Roberto Benigni Stars: Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini Rotten Tomatoes Score: 81% For fans of: World War II stories and bittersweet humor While this Italian film is about the horrors of the Holocaust, it has plenty of comic moments as well—and it works. Roberto Benigni gives a breathtaking performance as a family man who, as a Jew, is sent with his family to a concentration camp in northern Italy, but uses his imaginative powers to convince his young son that it's all a game. watch Erin Brockovich (2001) Director: Steven Soderbergh Stars: Julia Roberts, Albert Finney, Aaron Eckhart Rotten Tomatoes Score: 85% For fans of: legal dramas and uncovering corruption This inspiring drama stars Julia Roberts as Erin Brockovich, a single mom who uncovers an environmental crime and goes after the huge corporation involved. watch Dead Poets Society (1989) Director: Peter Weir Stars: Robin Williams, Robert Sean Leonard, Ethan Hawke Rotten Tomatoes Score: 84% For fans of: inspirational stories Set at a New England private school in 1959, this movie follows an English teacher, played by Robin Williams, and his relationship with his students as he teaches them to live a little more through poetry. The movie gave Williams his second Oscar nominee, and Ethan Hawke said that working on this movie inspired him to continue to be an actor. watch Schindler's List (1993) Director: Steven Spielberg Stars: Liam Neeson, Ben Kingsley, Ralph Fiennes Rotten Tomatoes Score: 98% For fans of: chilling historical periods and brutal atmospheres A movie about the Holocaust is almost guaranteed to be poignant, but under Stephen Spielberg's expert direction, this one surprises with its restraint. That's deliberate—the sadness and symbolism build throughout the film so that you have a full sense of what happened, who did it, and why it matters so, so much. The movie's in black and white, with the smallest pop of color to offer a moment of hope and then (devastatingly) all possible heartbreak in one unforgettable image. watch The Farewell (2019) Director: Lulu Wang Stars: Awkwafina, Tzi Ma, Diana Lin Rotten Tomatoes Score: 97% For fans of: complicated family dynamics and cultural traditions In her Golden Globe-winning role, Awkwafina plays Billi, a woman on a trip to China for a "family wedding" that's actually a final goodbye to her grandmother. While there, Billi struggles to find a deeper connection to the country and tries to understand her family's decision to keep her grandmother's sickness a secret from her. watch Lady Bird (2017) Director: Greta Gerwig Stars: Saoirse Ronan, Laurie Metcalf, Timothée Chalamet Rotten Tomatoes Score: 99% For fans of: coming-of-age stories and mother-daughter drama Greta Gerwig dives into the tricky dynamics of mother-daughter relationships in this coming-of-age story. Saoirse Ronan plays the titular Lady Bird, a teen navigating her last year at her Catholic high school. Gerwig paints a portrait of adolescence that's poignant, genuine, and hilarious. watch The Truman Show (1998) Director: Peter Weir Stars: Jim Carrey, Laura Linney, Noah Emmerich Rotten Tomatoes Score: 95% For fans of: reality TV and cautionary tales If you've ever wondered whether your life is just one big sitcom, The Truman Show illustrates what happens when one man, played by Jim Carrey, realizes that his entire life is scripted for television. While that premise seems pretty straightforward, there's a lot of deeper messaging about narcissism, surveillance, media, and what it means to have free will. watch Moonlight (2016) Director: Barry Jenkins Stars: Mahershala Ali, Alex R. Hibbert, Ashton Sanders Rotten Tomatoes Score: 98% For fans of: Lgbtq+ themes and forbidden love Yes, you've heard the buzz about this movie. But if you haven't seen it yet, make room in your schedule. Moonlight is a beautifully filmed coming-of-age story of a gay black boy growing up in a housing project in Miami. The many-layered film sheds light on aspects of Black identity that are rarely spotlighted on film. watch Daughters of the Dust (1991) Director: Julie Dash Stars: Kaycee Moore, Cora Lee Day, Barbara O. Rotten Tomatoes Score: 94% For fans of: multi-generational families and African culture Quick history lesson: Daughters of the Dust was the first feature film directed by a Black woman distributed in theaters in the U.S. It tells the story of three generations of Gullah women in pre-Civil War times living on Saint Helena Island who are stuck on deciding whether to stay or migrate north for a better life. The film's scenery is stunning, but the real beauty of the film is its complex characters. watch Her (2013) Director: Spike Jonze Stars: Joaquin Phoenix, Amy Adams, Scarlett Johansson Rotten Tomatoes Score: 94% For fans of: unexpected love and sci-fi twists Joaquin Phoenix delivers as the sensitive Theodore, a man who writes personal letters for others. After a bitter divorce, he soon develops a friendly (and later romantic) relationship with an intuitive operating system. It may be an unusual relationship, but the film shows that love comes in many forms. watch Little Women (2019) Director: Greta Gerwig Stars: Saoirse Ronan, Florence Pugh, Timothée Chalamet Rotten Tomatoes Score: 95% For fans of: female leads and double endings Gerwig's adaption of Louisa May Alcott's novel is nothing short of stunning. Each March sister is determined to live their own lives and it's fascinating to see how they each carve their own path. Gerwig's autumnal color palette and New England scenery will make you want to curl up on the couch and get cozy while shedding a tear a two. watch Brokeback Mountain (2005) Director: Ang Lee Stars: Jake Gyllenhaal, Heath Ledger, Linda Cardellini Rotten Tomatoes Score: 88% For fans of: doomed love and tearjerkers Set in 1963 Wyoming, cowboys Jack (Jake Gyllenhaal) and Ennis (Heath Ledger) discover deep feelings for each other while on a sheep herding job on Brokeback Mountain. Over the course of 20 years, the two maintain a secret affair while marrying women and struggle to come to terms with their sexuality. It's a story for the ages that deals with toxic masculinity and homophobia set in a stunning landscape. watch Good Will Hunting (1997) Director: Gus Van Sant Stars: Matt Damon, Robin Williams, Ben Affleck Rotten Tomatoes Score: 96% For fans of: Matt Damon stars as Will, a janitor with a hidden genius-level IQ, who runs into trouble and is forced to get treatment from a therapist (Robin Williams). Damon and Ben Affleck's friendship chemistry is a must-watch, but it's Williams' Oscar-winning performance that's the real draw here. watch The Shawshank Redemption (1994) Director: Frank Darabont Stars: Tim Robbins, Morgan Freeman, Bob Gunton Rotten Tomatoes Score: 91% For fans of: moving stories and satisfying endings There's a reason why some critics claim The Shawshank Redemption is the best drama film of all time. The moving story follows Andy (Tim Robbins), a man sentenced to serve two life terms at the high-security prison Shawshank for murdering his wife and her lover. There he meets friends and enemies and learns a new way of life incarcerated. watch West Side Story (1961) Director: Jerome Robbins, Robert Wise Stars: Natalie Wood, Richard Beymer, Rita Moreno Rotten Tomatoes Score: 92% For fans of: rivalries and impeccable dancing If you liked the Steven Spielberg remake, be sure to also check out the original film adaptation of this Romeo-and-Juliet inspired musical, starring Rita Moreno and Natalie Wood. watch The Big Sick (2017) Director: Michael Showalter Stars: Kumail Nanjiani, Zoe Kazan, Holly Hunter Rotten Tomatoes Score: 98% For fans of: real-life love stories and cross-cultural issues Kumail Nanjiani wrote and stars in The Big Sick, the real-life story of how Nanjiani met and fell in love with his wife, Emily. The film feels familiar in its sincerity but brings a twist to the rom-com with clashing cultures. watch Roma (2018) Director: Alfonso Cuarón Stars: Yalitza Aparicio, Marina de Tavira, Marco Graf Rotten Tomatoes Score: 96% For fans of: hyperrealism and family life This gorgeous black-and-white Mexican film follows an indigenous domestic worker who has to deal with unexpected changes in her own life and that of the family she works for, based on director Alfonso Cuarón's memories of his own nanny from childhood. watch Spirited Away (2001) Director: Hayao Miyazaki Stars: Daveigh Chase, Jason Marsden, Susan Egan Rotten Tomatoes Score: 97% For fans of: breathtaking visuals and fantastical adventures This celebrated Studio Ghibli film about a young girl traveling through a spirit world is one of the best-animated movies of all time. While it may not exactly fall under the category of drama, it does feel like a fairy tale full of eerie spirits. watch Everything Everywhere All At Once (2022) Director: Dan Kwan, Daniel Scheinert Stars: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan Rotten Tomatoes Score: 95% For fans of: the multiverse and emotional family moments This irreverent action comedy movie will have you both laughing at Michelle Yeoh's multiverse adventures and crying at its poignant, universal theme. (Trust me, it's best to go in blind and be pleasantly surprised.) watch Trainspotting (1996) Director: Danny Boyle Stars: Ewan McGregor, Ewen Bremner, Jonny Lee Miller Rotten Tomatoes Score: 90% For fans of: dark comedies and controversial subject matters Considered one of the best British films of all time, Trainspotting follows a group of heroin addicts in Edinburgh, Scotland who try and fail to integrate themselves into "normal" society. It's dark, sure, but it's also an ode to youth and economic insecurity that you won't be able to stop thinking about. watch Forrest Gump (1991) Director: Robert Zemeckis Stars: Tom Hanks, Robin Wright, Gary Sinise Rotten Tomatoes Score: 71% For fans of: sentimental stories and underdogs Whether you love it or hate it, you can't deny Forrest Gump pulls at your heartstrings. Tom Hanks stars as the titular Gump, a slow-witted man waiting on a bench for the bus that will reunite him with his childhood sweetheart. During his wait, he tells his life story to willing strangers, which includes meeting the president (twice), serving in the Vietnam War, and becoming a millionaire. It's a film full of memorable lines and charming anecdotes. watch Fruitvale Station (2013) Director: Ryan Coogler Stars: Michael B. Jordan, Octavia Spencer, Melonie Diaz Rotten Tomatoes Score: 94% For fans of: true stories and tragic endings Directed by Ryan Coogler and starring Michael B. Jordan, this heart-wrenching film follows the last day of Oscar Grant, a man who was killed by police at a BART station on New Year's Eve 2009. watch Pulp Fiction (1994) Director: Quentin Tarantino Stars: John Travolta, Samuel L. Jackson, Uma Thurman Rotten Tomatoes Score: 92% For fans of: interwoven storylines and dark humor Quentin Tarantino's second feature film holds up as one of the best films of the '90s and for good reason. With storylines between two hitmen, gangsters, a mob wife, a boxer, and a pair of nervous robbers, Pulp Fiction is a rollercoaster of a film, in the best way possible. watch Saving Private Ryan (1998) Director: Steven Spielberg Stars: Tom Hanks, Edward Burns, Matt Damon Rotten Tomatoes Score: 94% For fans of: war movies and history Saving Private Ryan opens with an extremely visceral and violent image: the Allied invasion of Normandy Beach, AKA D-Day. Thus sets the tone for Spielberg's epic war film and sets the standard for the genre moving forward. It tells the story of Captain John Miller (Tom Hanks) and his team of men who go behind enemy lines to find Private James Ryan and return him home. watch Aftersun (2022) Director: Charlotte Wells Stars: Paul Mescal, Frankie Corio, Celia Rowlson-Hall Rotten Tomatoes Score: 96% For fans of: childhood vacations and father-daughter relationships You’ll never hear Queen and David Bowie’s “Under Pressure” the same way again after watching Aftersun, in which a woman sifts through her memories of the last vacation she took with her enigmatic father when she was 11 and he was 30. It’s bittersweet, charming and subtly devastating—honestly, a recipe for a perfect movie. watch Remember the Titans (2000) Director: Boaz Yakin Stars: Denzel Washington and Will Patton Rotten Tomatoes Score: 93% For fans of: sports movies and heartwarming true stories Set in the 1970s and based on a true story of a Southern HS football team's integration, Remember the Titans is (unfortunately) still a relevant story over two decades later. Come for the inspiring tale of teamwork, and stay for the cast of future stars who populate the cast (hi young Ryan Gosling!). watch The Social Network (2010) Director: David Fincher Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake Rotten Tomatoes Score: 96% For fans of: origin stories and being extremely online As the founder of the tech empire now known as Meta, Mark Zuckerberg coined the phrase “move fast and break things,” which soon became a rallying cry for the impossible-to-sustain growth mindset of Silicon Valley startup culture in the aughts and 2010s. That mantra is on stark display in The Social Network, which charts the meteoric rise of Facebook from Zuckerberg’s Harvard dorm room to billions of devices around the world—and the relationships that broke down along the way.
7961	dbpedia	0	57	https://iep.utm.edu/filmcont/	en	Philosophy of Film: Continental Perspectives	https://iep.utm.edu/wp-c…png?v=XBrrnd5baw	https://iep.utm.edu/wp-c…png?v=XBrrnd5baw	[ "https://iep.utm.edu/wp-content/media/iep-logo-1.png", "https://iep.utm.edu/wp-content/media/Facebook.png", "https://iep.utm.edu/wp-content/media/X-1.png", "https://iep.utm.edu/wp-content/media/Feed.png" ]	[]	[]	[ "" ]	null	[]	null		en	/wp-content/media/fbrfg/apple-touch-icon.png?v=XBrrnd5baw		https://iep.utm.edu/filmcont/	This article introduces the most important perspectives on film (movies) from the continental philosophical perspective. “Continental” is not used as a geographical term, but as an abstract concept referring to nineteenth and twentieth century European philosophical traditions exemplified by German idealism, phenomenology, existentialism, hermeneutics, structuralism, post-structuralism, French feminism, and the Frankfurt School. The continental-friendly philosophy of film that has emerged in Anglophone countries since the 1980s also is taken into account in this article. If one considers only contributions by well known philosophers, the philosophical output on film might appear relatively meager. Books that deal with the philosophy of film are equally rare. If, however, one considers the scholarly contributions from the entire field of humanities, specifically in the form of film aesthetics and film theory, the body of reflections on film inspired by philosophical ideas (in the most general sense) is impressive. Most of these works are linked to the European philosophical tradition of philosophy of film, which developed from the 1920s onward. Henri Bergson (1859-1941) was the first philosopher to show interest in film, though his influence on continental philosophy of film remained minor – though not inexistent – before the publication of Gilles Deleuze’s two volumes on cinema (1983 and 1985). In the 1980s, two French philosophers, Jean-Louis Schefer and Gilles Deleuze, decided to devote their attention to film studies. These studies began a continuous line of European philosophical works on film that stretched through to today’s writings by Jacques Rancière and Slavoj Žižek. In the English-speaking world, philosophical concepts entered the discourse on film at around the same time. Stanley Cavell’s work The World Viewed: Reflections on the Ontology of Film (1971) was a notable precursor of this tendency. In 1988, Noel Carroll published a critique of contemporary film theory (Mystifying Movies) which he criticized as being overly determined by Psycho-Semiotic Marxist paradigms. In the same year he published Philosophical Problems of Classical Film Theory that examined pre-semiotic theorists like Bazin and Arnheim in an analytical fashion. Both representatives of the analytical and the continental tradition see thinkers that were active before the analytical-continental divide (for example, Münsterberg, Kracauer) as being central to their film studies; however, the interpretations of such thinkers differ considerably in both traditions. A significant amount of continental work developed around the British journal Screen, which was very influential in the 1970s and has laid many of the foundations of Lacanian and neo-Marxist film theory. Analytical philosophy of film has profited greatly from its rich tradition of analytical aesthetics. A significant part of this philosophy has attempted to push its studies in the direction of evidence-based scientific models. Continental thought has typically been inspired by the softer fields of humanities and has displayed a solid amount of political engagement. In the former Soviet Union, a complex discourse on the semiotics of film, inspired by a Russian formalist heritage that has a natural affinity with film, has made numerous philosophical statements. Table of Contents What Is Philosophy Of Film? Continental vs. Analytical French Philosophy of Film Philosophy of Film in Other European Countries An Overview Of Theories Henri Bergson Hugo Münsterberg Formalist Approaches The Russian Formalism Tradition Sergei Eisenstein Vsevolod Pudovkin Lev Kuleshov Yuri Lotman Béla Balász: Film as Language Mikhail Bakhtin: Dialogicity and Reception Rationalism: Galvano Della Volpe Semiotics/Semiology Gilbert Cohen-Séat Roland Barthes Christian Metz Pier Paolo Pasolini Cinematographic Ontology and Phenomenology Phenomenology Maurice Merleau-Ponty Amédée Ayfre Realism: André Bazin Siegfried Kracauer Dziga Vertov Existentialism Alexandre Astruc’s Caméra-Stylo Film as Thought Jean Epstein: Film as Artificial Intelligence Jean Mitry Gilles Deleuze Filmosophy Film as Poetic Art: Susanne Langer Psychology/Psychoanalysis Rudolf Arnheim Psychoanalysis vs. Cognitive Science The Mindscreen Theory Slavoj Žižek Walter Benjamin and the Frankfurt School Hermeneutic Film Analysis Future Perspectives References and Further Reading 1. What Is Philosophy Of Film? Many studies of film do not necessarily claim a specific philosophical heritage, but can be considered as philosophical inasmuch as their approaches are methodologically sophisticated and transgress empiricism. Though it is very difficult to establish positive standards for what is ‘’philosophical’’ and what is not, it can be concurred that an approach is “philosophical” as soon as it uses references to philosophers and some abstract concepts that are not merely technical. A degree of argumentation and claim-making supported by reasons, some sort of evidence, and analysis or interpretation, on the other hand, are not particular to philosophy but are followed by all (human) sciences. Film Theory Para-philosophical studies have also been conveniently labelled as ‘film theory’. Strictly speaking, film theory, which develops concepts like ‘narrativity’, ‘diegesis’, ‘genre’ or ‘authorship’ is not a unique philosophy, but is very often part of it. Although parts of film theory and philosophy of film do overlap in both traditions (and since Münsterberg and Arnheim many film theorists have maintained that what they do is also related to the philosophy of film), it is wrong to characterize every “theoretical” reflection on film as philosophical because film theory can also be limited to the analysis of mere technicalities or textual analysis. Here, film theory is not different from literary theory where reflections on authorship or analyses of narrative and genre occur most typically without necessarily receiving the label “philosophy” unless they are imbedded in more “philosophical” considerations. The contemporary Anglophone philosophy of film sees this perspective slightly differently since longstanding reflections on these subjects (by Cavell, Carroll, Bordwell, Gaut, and Branigan) are usually classified as philosophy. While the degrees of “philosophicality” vary within different interpretations of films, it is safe to assume that any reflective study of the nature of film is philosophical. Whenever scholars attempt to spell out what film is (Is film an art? How is film different from other arts?), their discourse becomes necessarily philosophical. This reflective study is not limited to film, but is true for any academic field (it becomes most obvious in philosophy of science). Film Aesthetics Philosophy of film cannot be seen only as a subfield of aesthetics or of the philosophy of art. Philosophy of film also should not be labeled as ‘film aesthetics’. Philosophy of film is able to approach a spectrum of questions so broad that its link with aesthetics can sometimes be maintained only by purely formal reasons. Bergson’s philosophy of film, which has attained a central position in contemporary philosophy of film, was not developed out of an aesthetic interest at all; but film would have served Bergson as merely an illustration for his general philosophical ideas. It is even possible to say that the philosophy of film, just because of its readiness to undertake paradoxical fusions that contrast aesthetics against fields other than aesthetics, develops a discourse that stands out in the entire body of philosophy. Treating, for example, psychoanalytical or cognitive problems as aesthetical phenomena bears an immense critical potential that does not exist to the same extent in other sub-disciplines of philosophy. Film and Philosophy Philos-sophia, the ancient Greek term for ‘’love of wisdom’’, can be understood as an immense attempt at interpreting or questioning human existence and the world in its entirety. Logically, film can be one of its subjects. When this is the case, the approach towards film usually exceeds the label of mere interpretation and places film in a relationship with classical philosophical questions such as (its own) essence, truth, or beauty. Philos-sophia can see film as one of its subjects, but film can also be its object, that is, film can be a philosophy through which a thinker attempts to see the world In other words, film can establish its own stances about essence, truth, or beauty. Theoretically, this can be done with any art form: it is also possible to see painting, literature, or dance as philosophical activities. However, film has been found much more apt for such models because its integrative mode of time, space, images, and movement brings it much closer to thinking (as will be developed below). The idea of “philosophy of film” is a little like Kant’s “Critique of Pure Reason” because it implies two ideas at the same time. Kant’s title can be understood as (1) “pure reason being criticized” and as (2) “pure reason doing the criticizing.” In the first case, pure reason is a passive object of research undergoing the scrutiny of critical thought while in the second case pure reason is actively imposing its standards on this critical thought. The same is true for the phrase “philosophy of film,” which can mean (1) that film is undergoing a philosophical examination and (2) that film itself helps to develop a certain type of philosophical thinking that will subsequently be imposed upon various subjects of research. Strictly speaking, any outline of the philosophy of film should be divided into two parts: (1) a philosophy about film and (2) film as an philosophy. The latter occupies a prominent place in many recent continental and Anglo-American discourses, and has been defended by Wartenberg (2006), Mulhall (2002), Frampton (2006), and Smuts (2009), and has been criticized by Russell (2000), Murray Smith (2006), Livingston (2009), and Davies (2009). However, in the practice of much of philosophy of film, both approaches often intermingle. Film as a philosophic experience or philosophy as a filmic experience often appear as two sides of the same coin. Films are similar to dreams and much of what the philosophical tradition has said about the “reality of the outer world” and its skeptical evaluation can be demonstrated through reflections on film. Here film theory maintains a strong contact with philosophy. The distinction between appearance (that is, dream and poiesis) and reality has been on the agenda of film theory for almost eighty years. The “reality and dream” problem is not limited to the subjectivist approach that perceives film as a manifestation of fantasies and hallucinations. However “realists” like André Bazin have classified film as real, because film is able to capture an authentic reality independent of human subjectivity (see below). Comparisons of films and dreams can reveal new concepts of space and time because dreams seem to take place in an intermediary domain of abstractness and concreteness. Film is not, according to Amédée Ayfre, a thesis about the world; rather it presents the world. Any abstractly existential stance contained in this presentation makes film a philosophical phenomenon.Psychoanalysis represents another approach towards dreams and has a status within the philosophy of film which will be explained below. a. Continental vs. Analytical Analytical philosophy of film has been unwilling to identify psychoanalytical elements and some sociological elements, in particular approaches of critical theory or ideology critique, as “philosophical” because it deems that this theory does not satisfy more scientific standards. While a continental film scholar like Christian Metz would find the results of the French school of filmology relevant for the most scientific forms of experimental psychology, analytical philosophy usually rejects continental models based on language. These models are usually derived from the Saussurean model of signification and are present in poetics, semiotics or Lacanian psychology. Instead analytical philosophy favors either cognition-based models or more “classical” questions related to problems such as the ontology of film, analyses of movement, realism, the nature of filmic representation, and explanations of our emotional engagement with fiction. Further, there is in analytical philosophy a strong desire to limit work on the philosophy of film from critical theory and cultural studies practiced in English departments. This problem never occurred in the more eclectic and naturally open field of continental philosophy of film. Still, in many cases, the distinction between continental and analytical is not easy and does not always pass smoothly along the lines of a European and an American tradition. Although David Bordwell is a cognitive philosopher, initially he was inspired by Russian formalist terminology and was himself a subject of interest for European semioticians. Though he is one of the most scathing critics of the continental paradigm in film theory (together with Carroll he coined the term “SLAB theory” to refer to theories that use the ideas of Saussure, Lacan, Althusser, and Barthes) (Bordwell & Carroll 1996), his early work is “structuralist” or “Foucaultian” in spirit as it analyzes the rules governing the practice of institutional film criticism/theory. b. French Philosophy of Film French philosophy has played an outstanding role in the development of a philosophy of film. Henri Bergson was the first philosopher who adopted film as a conceptual model for philosophical thought. Cinema helped him to imagine the distinction between spatialized time and duration, an idea that would remain essential for his entire philosophy. Though Bergson’s ideas bear no relation with the more contemporary language-based models of reason (and his interpreter Gilles Deleuze never used them in that way), Bergson’s thought fused with the remaining field of French philosophy of cinema in an often paradoxical fashion. Though French philosophy of film is composed of diverse elements, French or even continental philosophy of film can appear as amazingly coherent. Deleuze’s Bergsonian concept of the “time-image,” for example, is very much compatible with ideas elaborated by the Russian director Andrei Tarkovsky who derived his insights not from Bergson, but from a critical evaluation of Russian formalist film theory. In 1946, Gilbert Cohen Séat published the first monograph on the philosophy of film (Essai sur les principes d’une philosophie du film). Jean Epstein’s L’Intelligence d’une machine, a truly philosophical book on film, appeared in the same year. In 1948, the interdisciplinary Parisian École de Filmologie began approaching film from a sociological, psychological, and philosophical angle. Filmology can be considered as a precursor of the semiology of cinema. In the 1960’s and 1970’s, many principal theoretical discussions (such as auteur theory and genre theory) were developed in the Parisian journal Les Cahiers du cinéma, co-founded in 1951 by André Bazin. It was in this journal that French philosophy of film began to produce its characteristic mixtures of structuralism, semiotics, psychoanalysis, and Marxism. Paradoxically, the affiliation of filmology with semiotics and psychology – provocative as it might have seemed – provided the philosophy of film access to academia in the 1960’s. For European state-financed universities, film studies could never have been the economic boon as they have been in the United States. French philosophy departments remain resistant in the 21st century and permit the teaching of the philosophy of film only in institutions that are considered off the mainstream or within the newly founded – relatively small – discipline of aesthetics. While the “sociological temptation” exists, overall, French philosophy of film has remained very distinct from the sociology of cinema. c. Philosophy of Film in Other European Countries French philosophy of film is a unique phenomenon; no other European country has produced a similarly philosophical output on film. In Italy, Umberto Eco and Pier Paolo Pasolini published writings on film in the 1960s that would quickly be integrated into the French discourse. In Germany, the journal Filmkritik (launched in 1957), was the German equivalent of the Cahiers du cinema, though earlier writings by Frankfurt School members Siegfried Kracauer and Walter Benjamin turned out to be most compatible with French philosophy of film. Different from French and American postwar developments, in Germany, film studies never became institutionalized nor have they developed a consistent link with the praxis of film. German Filmwissenschaft (filmology) – most prominently represented by Thomas Elsaesser – developed along the lines of comparative literature, theater science, and art history rather than plunge into an adventurous speculative discourse. It would be absorbed into academia through the disciplines of Media- and Communication Science. The activities of Filmwissenschaft are diverse though its dominant tendency may be characterized as sociological whereas systematical film analysis is highly empirical. Aestheticians working in German philosophy departments (where the main tendency is analytical) continue the philosophical considerations of film, though hermeneutic film analysis has had some impact. 2. An Overview Of Theories a. Henri Bergson In the early 1900’s, Henri Bergson (1859-1941) developed the concepts of “movement-image” and “time-image” (in Matière et memoire), both of which anticipated the development of film theory. Bergson declares the image to be superior to the concept because the image is able to evoke thought content in a more fluent and less abstract fashion. In lectures held at the College de France between 1902-03, Bergson briefly refers to the possibility of “comparing the mechanism of conceptual thought with that of the cinematograph” (now in L’Evolution créatrice, 1991, p. 725, note 1). Bergson’s main philosophical theme is that temporality should be thought of as independent from concepts of spatiality. Bergson contrasts duration, as it is experienced by the human consciousness, with scientific definitions of time, the latter of which, in his view, tends to “spatialize” time. Ironically, Bergson would later reject any possibility of using film as an exemplification of his ideas, in an essay entitled “The Cinematographic Illusion” (also in L’Evolution créatrice). Subsequent developments of Bergson’s ideas on duration by Epstein, Sartre, or Deleuze go, strictly speaking, against the grain of his original thought on cinema. b. Hugo Münsterberg The German-American philosopher and psychologist Hugo Münsterberg (1863-1916) wrote the first book on the philosophy of film entitled Photoplay: A Psychological Study (1916, German: Das Lichtspiel: eine psychologische Studie, 1916). Active during the silent film era, Münsterberg attempted to establish cinema as an art form that is different from theater or photography. Coming to America at the age of thirty-four, Münsterberg had clearly been under Neo-Kantian influence in Germany. Photoplay is divided into two parts, the first of which is inspired by experimental psychology dealing with the mental functions of the spectator. This first part is a precursor to the cognitive theory of film. The second part bears clear traits of Neo-Kantian aesthetics as it analyzes, in a formalist fashion, film’s form and function. The Neo-Kantian input became obvious through Münsterberg’s conviction that film is the mirror of the mind and not that of the world; the goal of cinema is not to reproduce reality, but to materialize emotions. Münsterberg theorized about how close-ups and flashbacks parallel acts of consciousness (that is affect, memory) and formulated the ‘film/mind’ analogy that was much explored and criticized by other philosophers (for example Carroll, 1988b). c. Formalist Approaches i. The Russian Formalism Tradition Russian Formalism designates a school of innovative linguists and literary critics. It developed out of modernist movements such as Russian symbolism and constructivism. From 1915 to 1930, both the Moscow group (led by Roman Jakobson) and the St. Petersburg Society for the Study of Poetical Language (OPOJAZ), which included notorious members like Viktor Shklovsky, Osip Brik, Boris Eikhenbaum, and Vladimir Propp, applied newly invented formalist linguistic methods to the study of literature and poetry. Rediscovered in the West in the 1960’s, the work of the Russian Formalists has had an important influence on structuralist theories of literature, and on some of the more recent varieties of Marxist literary criticism. Several Russian Formalists wrote on film mainly by establishing analogies between film and language. The idea to interpret film as language goes back, among other things, to Shklovsky’s reaction to the writings of the Ukrainian linguist Alexander Potebnja (1836-1891) who thought of poetry as “thinking in images.” According to Shklovsky, this leads to the false assumption that the creation of symbols is the main cognitive occupation. Shklovsky suggested seeing the activity of thinking as a more abstract and relational way of thinking. This model of thinking comes close to a formalist idea of film. Finally, all artistic activity should be seen as a creative reorganization of pre-aesthetic materials: art need not express new content but should make a strange habitualized form. For formalism, cinematic time (or cinematic reality altogether) is incompatible with naturalist representations. It is not staged, nor does the director transfer reality on the screen by means of intuition (as does, for example, impressionist painting). For the formalists, time is created through montage. Technical terms such as ‘defamiliarization’ (ostranenie) or the ‘story’ (fabula) as opposed to the ‘plot’ (sjuzhet), have become important in Western European and American film studies. Both Christian Metz (1975) and David Bordwell (1985) borrowed heavily from formalism. 1. Sergei Eisenstein The director Sergei Mikhailovich Eisenstein remains a central figure in formalist film theory and by helping to develop the above idea of time created through montage. One of Eisenstein’s aims was to overcome, in a formalist fashion, “intuitive creativity” through “rational constructive composition of effective elements” (1988a, I, p. 175). Eisenstein designated artistic activity as the process of organizing raw material. A large part of this cinematic theory is based on a principle similar to what Russian Formalists called ostranenie (alienation, estrangement, German: Verfremdung). According to Eisenstein, within every shot there is a conflict between an object and its spatial nature or between an event and its temporal nature. As a consequence of this conflict, cinematic time does not exist as “real time,” but must be experienced as an artistic-technical device. For Eisenstein, montage will never produce a “rhythm” or regularly patterned series of shots because such series would still rely too much on “artistic feeling” or empathy. Eisenstein was the first person who attempted to see cinema as a thinking process. Recognizing that film reconstructs the actions of the human mind, Eisenstein perceived montage form as “a reconstruction of the laws of the thought process” (1988c, p. 236). His theory of dialectical montage (directly referring to Hegel and Marx) suggests that a third idea can emerge from the presentation of two conflicting shots. Related to this is his concept of “shock to thought” which occurs when the conflict between two shots forces us to think its synthesis (1988b, p. 45). Deleuze takes this idea up in Image-Temps and explains that this shock forces thinking to think itself as well as to think the whole (p. 207). Another famous concept is Eisenstein’s idea of cinema as a revolutionary ‘kino-fist’ formulated in reaction against his rival Dziga Vertov’s Kino Eye group (see below). It is difficult to summarize the entire body of Eisenstein’s writings as they teem with unpredictable insights and can certainly not be reduced to formalist recipes towards technicality. 2. Vsevolod Pudovkin Vsevolod Illarionovitch Pudovkin (1893-1953) elaborated in the late 1920s and early 1930s on a theory of film based on narrative and spatiotemporal continuity. In Kinorezhisser i kinomaterial (1926), Kinoszenarii: Teoria szenarija (1926), and Akter v fil’me (1934) (published in English as Film Technique and Film Acting), Pudovkin examines such devices as contrast, parallelism, and symbolism. Several of Pudovkin’s formulations influenced Rudolf Arnheim (see below). 3. Lev Kuleshov The idea that editing constitutes the “essence” of film art originated with the Russian director and theoretician Lev Kuleshov (1899-1970) who experimented with montage in the 1920s in an almost scientific fashion and is also one of the key exponents of the ‘film as language’ idea. Thoughts on montage are expressed as early as 1920 in his study “The Banner of Cinematography” (Engl. in Selected Works, 1987, Moscow). Kuleshov was able to show with the help of experiments that an isolated shot has no meaning (the famous Kuleshov effect). 4. Yuri Lotman The Russo-Estonian semiotician Yuri Mikhailovitch Lotman (1922-1993) set out to reformulate the Saussurean notion of the sign by establishing a relationship of necessity between the signified and the signifier (which Saussure believed to be arbitrary). Lotman was the main proponent of the Tartu-Moscow School and his work is directly linked to the Russian Formalist tradition. He is perhaps most noted for the coinage of the term “semiosphere.” In his Semiotika kino i problemy kinoestetiki (1973) (Semiotics of Cinema), Lotman distinguished between the different levels of illusion and reality in film by analyzing the cinematic shot, narration, as well as the ideological function of cinema as mass-media. His distinction between pictorial/iconic signs used in the visual arts and conventional signs (words, letters) as used in literature had a central position in his work. Lotman also insisted that the cinematic language of a film is always related to exterior cultural codes. ii. Béla Balász: Film as Language Béla Balász (1949-1984) was a Hungarian film aesthetician who wrote in Hungarian and German. His books, Der sichtbare Mensch (The Visible Man, 1924) and Der Geist des Films (The Spirit of Film, 1930) were the first theoretical books on film after Münsterberg’s Photoplay. They remain the founding stones of modern film theory though they have been translated into English only in 2010. Balász’s book Theory of the Film (Hungarian, 1948, English 1953) picked up threads from the earlier books and brought him posthumous international fame. In general, Balász strove to offer to modern man possibilities of overcoming his particular state of estrangement by designing a utopian visual culture in which film plays an essential role. Balász’s ambition to describe film as a language brought him close to the Russian Formalists; he was actually able to advance views on montage that would be too mechanistic even for Eisenstein’s standards. However, a genuinely philosophical component enters his work through complex reflections on cinematic “reality.” In Theory of the Film, Balász wrote: “Although objective reality is independent of the subject and his subjective consciousness, beauty is not merely objective reality, not an attribute of the object entirely independent of the spectator, not something that would be there objectively even without a corresponding subject even if there were no human beings on earth” (p. 33). Malcolm Turvey classifies Balász (together with Jean Epstein, Dziga Vertov, and Siegfried Kracauer) as a “revelationist” because for all these theorists, the cinema is a means of enlightenment: it escapes the limits of human sight and reveals the true nature of reality. To some extent, the particular way of tackling the reality problem in film was determined by Balász’s interest in dreams. Two of Balász’s prose works are entitled Youth of a Dreamer and Fairytale, Ritual, and Film, the latter of which testified to his interest in film as “otherworldliness.” Without giving in to mystification and decidedly refusing fades or dissolves, Balász remained fascinated by film’s “ability to transform all things in space into bearers of expressions” and interpreted some original scenes psychoanalytically, such as substantial dream images (cf. Loewi, p. 318). iii. Mikhail Bakhtin: Dialogicity and Reception The ‘Bakhtin School’ theorists Mikhail M. Bakhtin, Pavel N. Medvedev, and Valentin N. Voloshinov developed elements of formalism by emphasizing the dialogical and polyphonic character of texts and cultural phenomena. Though the Bakhtin School did not write explicitly on film, it should be mentioned here for two reasons. First, Mikhail Bakhtin’s (1895-1975) writings had indirect influence on the film semiotics of Julia Kristeva and Tzvetan Todorov. Bakhtinian concepts of dialogism and polyphony are crucial because they can help to address fundamental questions about film form and reception. Second, film is an extremely good example for polyphony. While in the novel we most typically encounter the monologic narrator, in the film, the narrative, the character’s appearance, the dialogues, and several other elements appear simultaneously within one time frame (cf. Vice, p. 142). Also, Bakhtin’s central notion of the chronotope exemplifies the fusion of time and space that is typical for film. iv. Rationalism: Galvano Della Volpe The Italian Marxist philosopher Galvano Della Volpe (1895-1968), who in 1954 published a book called Il verosimile filmico e altri scritti di estetica, designed a rational aesthetics of film emphasizing unity, coherence, and harmony. Della Volpe formulated an organic theory of literature affirming the rational instead of the sentimental value of the work of art. Art is not distinct from science because both are based on the unity of the concept (in Critica del gusto). Central is Della Volpe’s critique of Crocean idealism, but also of materialism. Della Volpe established an epistemology of art that voluntarily remains indifferent towards social contexts or contents and excels in the analysis of technical, structural or formal processes in art. Della Volpe drew greatly from Aristotle’s Poetics. Emphasizing the analysis of formal aspects, Della Volpe pointed out film’s capacity to present the world symbolically as well as its ability to express abstract concepts. The latter happened for him mainly through montage. Similar to Jean Mitry, Della Volpe criticized the reduction of film to language; furthermore he was inspired by Pudovkin’s distinction between ‘plasticity’ and ‘concreteness’ of filmic images. Finally, Della Volpe established cinematic verisimilitude as non-equivalent to reality. v. Semiotics/Semiology Semiotics is the study of signs and symbols and examines how meaning is created and communicated through signifying processes. In France, the term sémiologie is more often used than the term sémiotique, though there does not seem to be a clear distinction between the terms. The discipline of semiology goes back to Ferdinand de Saussure whereas semiotics was founded by Charles Sanders Peirce, who was later taken up by Deleuze (rather than Saussure). 1. Gilbert Cohen-Séat In 1946, Gilbert Cohen-Séat published the first monograph on film which bears the word “philosophy” in its title (Essai sur les principes d’une philosophie du film). The Revue internationale de filmologie was founded soon afterwards and Cohen-Séat’s name remains linked to filmology. Arguably, his most important contribution to film studies was the distinction between “filmic facts” and “cinematic facts”: “The filmic fact consists of the expression of life (the life of the world, the spirit, the imagination, of beings and things) through a system of combined images (visual-natural or conventional- and auditory-sounds and words). The cinematic fact, instead, consists of social circulation of sensations, ideas, feelings, and materials that come from life itself and that cinema shapes according to its desires,” (Essai…, p. 57). Cohen-Séat’s scientific approach made him a precursor of the semiotics of cinema. 2. Roland Barthes Roland Barthes’ influence on film theory is similar to that of the Bakhtin school. Though having written almost nothing on film, his narratology that strives to see theatre, photography, and music as texts has deeply influenced our ways of seeing film as the interplay of voices or codes. Paradoxically, this thinker who mused so much about “floating signifiers,” found very disturbing the fact that in films, signifiers are in motion: “The filmic, very paradoxically, cannot be grasped in the film ‘in situation’, ‘in movement’, in its natural state’, but only in that major artifact, the still” (1977, p. 65). 3. Christian Metz Christian Metz (1931–1994) was the initiator of a film analysis that relies in the most outspoken way on semiotics and is, like Barthes, what the French call a “sémiologue.” In general, Metz’s approach towards cinema has become the prototypical example of a quasi-scientific form of film theory. Apart from linguistic structuralism, Metz borrowed from psychoanalysis, in particular from Jacques Lacan and his writings on the mechanisms of dreams and voyeurism. This allowed him to explain perceptual phenomena of the filmic narrative from the point of view of the perceiving subject and take into consideration the unconscious processes of desire that allegedly position the spectator ideologically. Metz is particularly renowned for his “grand synagmatics” (grande syntagmatique) through which he categorized the most frequent codes and signifying units (called ‘syntagmes’) in cinema. Metz established the single shot as the smallest unit and the entire film as the largest one. He classified all syntagmes in distinct categories, distinguishing, for example, between chronological and a-chronological syntagmes. According to Metz, cinematic language (langage) is not constituted by all elements that appear in a film, but only by those things that can only appear in film. Film analysis should highlight only those signifying figures that are truly cinematographic. Metz questioned Eisenstein’s vision of cinema as a langue because a langue is a highly organized code, whereas language covers a much broader area. Film should not be seen as langue because cinematic signs are reinvented or are updated in every film (Essais sur la signification, p. 47). Some might find Metz’s approach anti-philosophical because it so vehemently denies the possibility of phenomenological considerations. On the other hand, Metz’s work can be considered as philosophical because it deals with ethical implications (employing Marxist themes) and it extensively discusses the matter of reality and of dreams through a Freudian perspective. 4. Pier Paolo Pasolini Pier Paolo Pasolini (1922-1975) was, and remains, a relatively little known as a theorist in the United States, but he held a central position in European film theory. Under the influence of Barthes, Metz, and Gramsci, Pasolini’s essays on cinema collected in the book Empirismo Eretico (1972) are exercises in semiotics that raised, in the 1960’s, a debate involving Umberto Eco (1967) and Metz (1968). When Pasolini postulated that cinema is the “written language of reality,” he was not intending to establish cinematic reality as a sort of cinematic language, nor is he preaching realism. Pasolini wants to conceive the real as cinematic. Reality is the discourse of things that cinema re-narrates. This project is highly philosophical and, famously, in 1967 Pasolini remarked, in the Journal of the Communist Party, that “semiotics has not taken the step which would lead it to become a Philosophy.” d. Cinematographic Ontology and Phenomenology i. Phenomenology Phenomenology is a philosophy that goes back to Edmund Husserl and takes as a point of departure a sort of “experience” that is strictly designed as the sensible intuition of phenomena. On the basis of this prescription, phenomenology attempts to understand the essence of what is experienced. Martin Heidegger, though influenced by Husserl, interpreted phenomenology as an ontology, that is, as a discipline attempting to understand the Being of ourselves as Dasein (existence) and preparing for an understanding of the meaning of Being as such. His version is called “existential phenomenology.” Both Husserl’s and Heidegger’s phenomenology remain critical towards metaphysics. In the philosophy of film, the phenomenological, “synthetic” approach has often been opposed to the “analytical,” semiotic one. 1. Maurice Merleau-Ponty Like Bergson, Merleau-Ponty (1908-1961) criticized all attempts of representing the world in a purely scientific fashion as reductive. In film, the meaning of an image depends on the preceding image and their succession creates a new reality. Merleau-Ponty has had a considerable influence on Cohen-Séat (see Andrew 1978: p. 46). In 1945, Merleau-Ponty devoted a lecture to the possibilities of phenomenological interpretations of cinema (“Le cinéma et la nouvelle psychologie” in Sens et non-sens) where he depicted film not as a sum of images, but as a temporal phenomenon. The central term in Merleau-Ponty’s musings on film is the idea of immersion. For the phenomenologist, humans are thrown into a life world to which they remain attached in the most natural and inconspicuous way. Film provides a phenomenological experience par excellence because in the cinema the human consciousness is consistently immersed in a world. Merleau-Ponty’s ideas never developed into a phenomenological theory of film, but have inspired theorists of Neo-Realism, such as Ayfre and Bazin and have been developed by Vivian Sobchack (1992). 2. Amédée Ayfre Amédée Ayfre (1895-1963), a student of Merleau-Ponty, rejected formalist components such as style as essential characteristics of cinema and attempted to establish a “phenomenological realism” (Ayfre, 1964: 214) in film studies. In his Conversion aux images (written together with Henri Agel) Ayfre explicitly referred to the phenomenological ambition of strictly adhering to mere descriptions of experience without being influenced by either scientific or psychological considerations of causes (pp. 212-13). Ayfre’s notion of écriture as it appears in the cinéma d’auteur, designated “neither a content nor a style” (1969, p. 162), but attempted to go beyond the division of film into form and content. Phenomenological existence transgresses constructive devices as well as stylization and Ayfre’s sympathies clearly went towards Neo-Realist cinema (see below). As a Jesuit priest, Ayfre strove to reconcile his existentially-minded phenomenology with his Catholicism. Ayfre’s phenomenological realism is meant to depict a “spiritual” reality and not just a “real” one; it creates an illusion due to a “prodigious asceticism of means.” Ayfre’s concept of realism is diametrically opposed to formalist ideas about “realistic” narrative modes. David Bordwell, for example, believed that realistic expressions can be grasped best through norms and codes which vary according to different criteria, but remain formalizable in the last instance. “Realistic” motivations will be applied according to what the given narrative mode defines as realistic. For Bordwell, “verisimilitude in a classical narrative film is quite different from verisimilitude in the art cinema” (Narration in the Fiction Film, 1985, pp. 153-54). Ayfre, on the other hand, saw cinematic reality as the internal logic of a universe created by the director. Ayfre’s realism was also opposed to psychological interpretations because the reality we encounter in a film is more than merely the subconscious emanation or the reverie of a director. Ayfre’s younger collaborator Henri Agel (1911-2008) pursued a long publishing career and never abandoned the initial tendency, defining himself until the end as a “humanist and a spiritualist”. ii. Realism: Realism attempts to recreate life in art by relying on realistic presentation while minimizing controlling devices in the process of artistic production. In literature, realism has been developed by Balzac, Flaubert, and Zola. In film, Italian Neo-Realism is the most important realist movement. 1. André Bazin The establishment of neo-realist film theory was mainly been the task of André Bazin (1918-1958) and Ayfre. Bazin’s realism was similar to Ayfre’s phenomenological realism, more so since he accepted Merleau-Ponty’s idea of reality as “the pure appearance of everything that is in the world” (“la pure apparence des êtres au monde” (Questions IV, p. 62). In 1957, Bazin openly adopted Ayfre’s expression “phenomenological realism” in order to label the kind of films in which “reality is not modified according to psychological functions or dramatic requirements” (Questions IV, p. 138). Dudley Andrew writes that “Bazin saw in realism a kind of style which reduced signification to a minimum. In other words, he saw the rejection of style as a potential stylistic option” (Andrew, 1976, p. 143). Together with Alexandre Astruc, Bazin was also responsible for the so-called “auteur theory,” which grew mainly out of the two writers’ works and since has been central for French New Wave cinema. François Truffaut and other Cahiers authors joined later on, as well as Andrew Sarris in the USA. Bazin’s realism had a metaphysically significant backdrop. Like Ayfre’s phenomenological realism, Bazin’s phenomenological ontology was strongly marked by religious convictions. Sometimes terms like “real presence” or “revelation of reality” appear to have almost religious connotations. In this sense, Bazin’s philosophy was essentialist, in spite of the existentialist stances to which he was submitted. Bazin remains one of the most anti-formalist theoreticians. In his opinion, neo-realist films “aim to reduce montage to zero and to transport to the screen reality in its continuity” (p. 146). 2. Siegfried Kracauer Siegfried Kracauer’s (1889-1966) writings on film were based on sociology and psychology. His conviction that film has a realist character made him a main proponent of cinematic realism and brought him close to Bazin (whom he never mentions). Kracauer based his realism on the resemblance that he perceived between film and photography. For post-surrealists critics such as Bazin and Kracauer, cinema should look for its genuine expression within a kind of realist expression that can be described as the exact opposite of the surrealist cinema of dreams and symbolisms. Interestingly, in the end, Kracauer defined an alternative form of dreamlike realism able to transmit reality “as if it were a dream”. In his Theory of Film he wrote: “Perhaps films look most like dreams when they overwhelm us with the crude and unnegotiated presence of natural objects—as if the camera had just now extricated them from the womb of physical existence and as if the umbilical cord between image and actuality had not yet been severed. There is something in the abrupt immediacy and shocking veracity of such pictures that justifies their identification as dream images” (p. 224). Like Ayfre, Kracauer was opposed to any stylization of reality: the realistic character of dream elements is compared to those objects that we can find in nature. Kracauer’s realism was not based on calculations with possibilities of literal reproductions, but on the director’s ability to capture a certain spiritual quantity that is supposed to be enclosed to reality. Ayfre’s phenomenological realism, which strove to depict a “spiritual” reality, and not just a “real” one is echoed by Kracauer’s distinction between “photographic reality” and “camera reality” (Theory of Film, p. 150). For Kracauer, it was important that the “the form giving tendency does not rise above the realistic one” (p. 67). Ayfre, Bazin, and Kracauer engaged in paradoxical projects: Ayfre attempted to apply an aesthetic asceticism on reality without applying stylization; Bazin attempted to retrieve style by rejecting style; Kracauer attempted to establish a paradoxical balance between realistic and formalizing tendencies. 3. Dziga Vertov Dziga Vertov’s theory of the “cinema of fact” can be considered a form of cinematic realism. In 1919, Vertov founded the group Kino-oki (“cinema-eyes”) insisting, in various manifestos, that the cinema of the future will not be that of stars and of fiction, but a cinema of facts. Vertov developed a concept of cinema as “life caught in awareness,” in which the camera eye innocently captures reality “as it is” without stylizing it. This clearly joins the ambitions of the neo-realists. The Russian director Andrei Tarkovsky, who was strongly influenced by Vertov and by Russian “Documentary Aesthetics” in the 1960’s, has indeed been likened to Bazin and neo-realism. Jon Beasley-Murray points out that Tarkovsky restored the “actuality of time” by constructing a subjectivity by which this reality is inhabited (1997, p. 47). iii. Existentialism 1. Alexandre Astruc’s Caméra-Stylo A disciple of Bazin, Alexandre Astruc (1923-) established in his essay “La Caméra-stylo” (1948) an aesthetics of cinema that based its expressions on the idea of writing rather than on conventional conceptions of the image. The language of film can be shaped until it becomes as subtle as the language of literature. Cinema is not a consecution of images. Instead, it adopts more abstract characteristics because it is able to integrate abstraction in itself. Abstraction is no longer present as an underlying structure of the film (as is the case with montage), but it expresses itself directly: “By language I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. That is what I would like to call this new age of cinema, the age of caméra-stylo” (Astruc, 1968, p. 18). Like Bazin’s and Kracauer’s, Astruc’s strategy is directed against surrealist cinema. But it is also directed against conventional documentaries because the caméra-stylo intends to grasp “any kind of reality.” In a film “recorded” by a caméra-stylo there is no evocation of subjective, intimate symbols; nothing has been produced by the artist through the direct transposition of an inner reality; nor is there is any objective recording of reality. Film is not a documentation undertaken from a detached point of view located outside the things filmed. This is why the camera works like a pen: it records concrete reality, but then transforms it instantly into an abstraction. A caméra-stylo can produce an “écriture,” but it would be too simple to say that a film is transformed into literature only because the camera is transformed, in a metaphorical way, into a pen. The use of the camera as a pen has more to do with the interplay of realization and abstraction or, to use another term, of stylization. In other words, the writing camera produces style. This makes Astruc’s theory different from “anti-stylization” movements such as realism and (to some extent) phenomenology. However, it is important to understand that the caméra-stylo philosophy does not preach formalist stylization, but attempts to capture style, which makes it, paradoxically, compatible with some realist and phenomenological stances. Marcel Martin goes as far as saying that the “new language” which cinema has discovered makes sense as long as style turns out to be the main protagonist of this medium. “The real main character of this cinema is thus the style (…). The ‘poetic cinema’ (cinéma de poésie) is thus essentially founded on the exercise of style as inspiration” (Martin, 1967, p. 68). iv. Film as Thought Jacques Aumont, in A quoi pensent les films?, insists that “film has the power of thinking”. In the introduction of this article, the idea to see film as a form of thinking has been addressed as an important part of the philosophy of film that begins with Eisenstein. 1. Jean Epstein: Film as Artificial Intelligence The avant-garde director Jean Epstein (1897-1953) remains better known for his theoretical writings than for his films, many of which are no longer extant. Together with Eisenstein, Epstein is a precursor of “cinema as thought” theories. Mixing Eisenstein’s thoughts with Marxism and the intellectual potential flowing out of the French Impressionist School of Film active during the 1920’s, Epstein designs a philosophy that is more reminiscent of Bergson than of formalism and can even be called anti-semiotic. Film is much more than a text or a writing; it is a machine able to produce a dreamlike reality by unhinging the most basic rules of logic and time, and by overcoming human reason. In his major work L’Intelligence d’une machine (1921), Epstein discovered that cinema as a thinking machine is able to liberate us from the constraints of logic in order to produce a poetic and dreamlike reality. Cinema manipulates space and time. Comparing film with the microscope, it seems that Epstein anticipated contemporary computer reality or virtual reality. Cinema is a “robot brain” (p. 71) able to transcend the physical and mental limits of humans. The cinematograph, like the calculator, is the first materialization of “machines for thinking” (p. 48) and more complex ones will follow. Obviously inspired by Bergson, Epstein observes how cinema stretches and condenses duration and lets us feel the variable and relative nature of time. Cinema thinks time is a “partial mechanical brain” that develops a “rich philosophy full of surprises” (p. 71). The reality that cinema thinks is “the sum of many irrealities”. For some, Epstein’s theory might smack a little too much of pseudo-science but he plausibly defines cinema as a “machine for producing dreams” (p. 55). 2. Jean Mitry Some might remember Jean Mitry (1907-1988) as an “anti-semiologist” film thinker because of his harsh criticism of Christian Metz in La Sémiologie en question (1987). Still this theorist and film maker has his own semiotic past. In 1963, the publication of the two volumes of Esthétique et psychologie du cinéma was seen as a major event in the world of French cinema theory. The highly synthetic book deals with all thinkable subjects and accepts some of Bazin’s realism as well as several formalist patterns, but does not – though the title might suggest this – engage in Freudian psychoanalytical elaborations. Mitry’s method was that of perceptual psychology and his refusal of Bazin’s ambition to discover in cinema a “world beyond the world” is absolute. A philosophical input comes from another side. Mitry was asking himself if “filmic language does not reflect thought in the way in which it produces itself [‘en train de se faire’] much better than could do words (…) which only crystallize thoughts in the form of more or less independent ideas by translating a thought that is already achieved” (p. 90). It becomes clear here that Mitry working within the thread of those “Cinema as Thought” theorists presented in the present sub-chapter. Mitry found cinema to be unique in that it signifies only while functioning (p. 63). It is thus consistent that he reproaches, in La Sémiologie en Question, Christian Metz (his admirer) his reductive application of linguistics to film because the language of film is not based on words. Mitry’s position can be summarized as that of a phenomenology of perception and his work often proceeds synoptically with the precision of a historian. 3. Gilles Deleuze Deleuze’s (1925-1995) analysis of cinema was founded on Bergson’s work Matière et memoire and C. S. Peirce’s taxonomy of signs. Deleuze’s engagement with both represents a rupture with the Saussureian linguistic semiotic tradition. Deleuze rejected “linguistic” as well as psychoanalytic models of film theorisation. Like Mitry, Deleuze believed that film, as it represents and reflects on time, is incompatible with language; for him, the pre-signifying ‘signaletic material’ that films are made of was not assimilable to models of semiotics. In this regard, Deleuze anticipated a number of analytic-cognitivist film theorists. Similar to Epstein, Deleuze believed that film can alter our modes of thinking about movement and time. In a Bergsonian way, Deleuze put forward that cinematic experience was as a means to perceive time and movement as a whole. The starting point of Bergson’s philosophy was the distinction between temporal and spatial reality. Bergson modified the traditional relationship between unity and repetition by attributing singularity to time and discontinuity to space. Lived time and measured time should not be confused. Bergson’s thesis is that the human who looks at the clock perceives merely juxtapositions of different positions of the hand, which bear no link among themselves. Only the ‘I’ (consciousness) experiences a time whose essence is duration. Correspondingly, Deleuze held that in cinema, our mind does not need to put together the successive percepts or sensations it perceives; rather it receives them as a whole. Deleuze seemed to be going back in time as he attempted to base his theory of cinema on a point before the semiotic tradition and even before Shklovsky’s formalism which strove to overcome Potebnja’s model of “thinking in images.” More precisely, Deleuze held that films do not think with simple images, but with movement-images and time-images. In his two monumental books on cinema, “Image-Mouvement” (Cinéma I) and “Image-Temps” (Cinéma II), Deleuze engaged the entire history of cinema in order to show a difference between these two types of images. Frequently, we encounter the movement-image, which is based on a sensory-motor scheme (it shows an action, which produces a reaction). In the movement-image, the action imposes itself upon time, it is the action which determines the duration of a scene and the next scene is a reaction to this action (see Deleuze 1984). The time-image, on the other hand, is based on pure thinking. The time-image emerged in cinema after WWII mainly with Italian Neo-Realism and French New Wave cinema. It does not follow the scheme of action-reaction, but it can evoke a time that is prior to movement. Time-images do not simply show us actions and movements, but different layers of time, all of which converge within single points of present. These images can express a present that constantly reaches for the past and for the future. Deleuze brought film studies closer to philosophy. For Deleuze, film was superior to other arts because it combines time and movement in such a necessary fashion. More than that, cinema must be considered as a philosophy because it constructs its own “concepts.” Cinema is not an applied philosophy submitted to traditional philosophical concepts, but it develops “cinematic” concepts. It does not simply represent reality, but is in itself an ontological practice. Therefore cinema is more than simply an art. In this sense, Deleuze was doing neither film theory nor aesthetics, but he thinks of film as a philosophy. In Deleuze’s earlier writings, art is able to draw on concepts and therefore not confined to percepts or ‘blocs of sensation.’ However, even here Deleuze did not recommend extracting as many concepts as possible from cinema: “A theory of cinema is not about cinema but about the concepts sparked by cinema” (p. 365). Later, in What is Philosophy? (1991), Deleuze (and his co-writer Felix Guattari) reserved “concepts” for philosophy only and declared that cinema thinks with affects and precepts. Cinema’s highest objective is nothing other than promoting thought and the functioning that comes from thinking. This is what makes cinema different from mere dreams which, in Deleuze’s view, are not thinking. Bad films do nothing more than induce a dream in the spectators (Image-temps, p. 219), they simply reiterate sensory-motor clichés that provoke neither thought or affect. 4. Filmosophy More recently, Daniel Frampton has added a brick to the wall called “Film as Thought” by insisting that film does not narrate or show things, characters, or actions. Instead, it thinks them. When watching a film we observe a thinking process. In his book Filmosophy (2006) Frampton attempts to grasp this cinematic thinking process with the help of newly coined concepts such as ‘film-thinking’ and ‘filmind’ and assigns to ‘filmosophy’ the task of “conceptualizing all film as an organic intelligence” (p. 7). Film-thinking is not a metaphorical way of arranging reality, but “the filmind has its own particular film-phenomenology, its own way of attending to its world” (p. 91). There is a film-like way of thinking. Philosophers like Bachelard, for example, were able to produce “a flow that weaves discourses together, yet still with rigor and meaning” (p. 179). Although philosophers can learn from film-thinking, Frampton insists that “film has its own kind of thinking” (p. 23), that it “cannot show us human thinking, [but that] it shows us ‘film-thinking’” (p. 47). Thinking is radically removed from the activity of merely processing data. v. Film as Poetic Art: Susanne Langer Susanne Langer’s philosophy of film drew very much upon the analogy of film and dream. Langer was an American pragmatist philosopher close to the continental tradition. She was also a frequent reference point in analytic philosophy of film (for example, in Carroll). For Langer, cinema is an art that has introduced the “dream mode” as its main artistic expression, a mode that finally enables cinema to establish itself as an independent medium. Still, film is not a daydream – which is but a wilful imitation of a dream. In her essay “A Note on Film,” Langer wrote: “[Film] is not any poetic art we have known before; it makes the primary illusion—virtual history—in its own mode. This is, essentially, the dream mode. I do not mean that it copies dream, or puts one into a daydream. Not at all, no more than literature invokes memory, or makes us believe that we are remembering’’ (p. 200). e. Psychology/Psychoanalysis Psychological film theory began with the publication of Münsterberg’s Photoplay, in which the first part is inspired by experimental psychology. In remainder of the twentieth century, more philosophical approaches would use psychoanalysis for the decoding of unconscious elements that were supposed to contain truth by reading films through schemes of symbolization and representation. These approaches are current in the continental tradition. i. Rudolf Arnheim Rudolf Arnheim (1904-2007) published Film als Kunst (Film as Art) in 1932, defending film as a form of art distinct from the productions of the entertainment industry. Historically, Arnheim’s main writings on film can be situated between Münsterberg and Balász. Later Arnheim founded a full-fledged aesthetics on the theory of perception and gestalt theory (especially in Art and Visual Perception, 1954). Comments on film are sparse in Arnheim’s later work, but the following quotation, which links film interpretation to Freudian psychology, is remarkable because it addresses a possible extension of the Freudian vision of dream into Arnheim’s own domain. In Visual Thinking (1969), Arnheim pointed to a fundamental link between film and dream that psychology should follow: “Freud raises the question of how the important logical links of reasoning can be represented in images. An analogous problem, he says, exists for the visual arts. There are indeed parallels between dream images and those created in art on the one hand, and the mental images serving as the vehicle of thought on the other; but by noting the resemblance one also becomes aware of the differences, and these can help to characterize thought imagery more precisely” (p. 241). 1. Psychoanalysis vs. Cognitive Science Reflections on the relationship between the spectator and the film have become particularly central in French film theory since the publication of Christian Metz’s Le signifiant imaginaire: psychoanalyse et cinéma (1977) and Metz’s Lacanian developments as well as the writings of Jean Louis Baudry. For psychoanalysis, the proximity between film and dream is essential because film interpretation is seen as a sort of Freudian dream interpretation. Almost half a century after Arnheim’s above remark, psychoanalytical film theory is still struggling to explain the ways in which unconscious elements obstruct the reception of films and to understand how films spark unconscious or irrational processes. This approach can be understood as diametrically opposed to that of cognitive science which is also interested in how spectators make sense of and respond to films, but which observes the viewer’s conscious processing of films. ii. The Mindscreen Theory Bruce F. Kawin began his book Mindscreen: Bergman and First-Person Film (1978) with the question: “Film is a dream—but whose?” (p. 3). Kawin claimed that dreamlike films are self-conscious artworks in which narrative voices have been “generalized” up to a point that we perceive the artworks themselves as if they appear on a “dream screen.” Kawin adopted the idea of the dream screen from the American Psychologist Bertram D. Lewin (1950) whose ideas had, in their time, contributed in an outstanding way to an increasing interest in dreams in post-Freudian America. In an article entitled “Interferences from the Dream Screen,” Lewin declared: “In a previous communication, a special structure, the dream screen was distinguished from the rest of the dream and defined as the blank background upon which the dream picture appears to be projected. The term was suggested by the action pictures because, like the analogue in the cinema, the dream screen is either not noted by the dreaming spectator, or it is ignored due to the interest in the pictures and actions that appear on it’’ (p. 104). Kawin’s contribution to film theory consists of examining the validity of the dream screen (or mindscreen) in cinema providing clues to particularities of the narrative structure of film. In Bergman’s Persona, for example, there is “an impression of the mindscreen’s being generalized,” so that the film’s self-consciousness appears to originate from within. Being identified neither with a specific character nor with the filmmaker, the “potential linguistic focus” takes on the characteristics of a mindscreen: “The film becomes first-person, it speaks itself” (Kawin, pp. 113-14). Kawin anticipates Frampton’s ‘filmind’. iii. Slavoj Žižek Given his use of psychoanalysis and Marxism, the extremely influential Slovenian philosopher Slavoj Žižek (1949-) is a typical representative of continental film theory, the more so since he has explicitly opposed Anglo-American, empirical approaches (see “Introduction to 2001”). Žižek uses Lacanian concepts and insights (most importantly his notion of the Other) and works with concepts derived from the philosophies of Derrida and Deleuze, such as a decentralized notion of the subject. The value of his philosophy of film, developed in numerous books, seems to reside mainly in his consistent and original application of abstract theories to films though he has also submitted various concepts to original developments. His writings do not represent philosophy of film as such; rather they are attempts to read ideology by analyzing contemporary popular films. f. Walter Benjamin and the Frankfurt School Like Siegfried Kracauer, Walter Benjamin (1892-1940) belongs to the Frankfurt School of philosophy. Benjamin believed that the techniques of reproduction can be used for the reproduction of traditional works only, and also as new modes of representation. Benjamin’s theory of film is sometimes associated with that of cinematographic realism. Most famously, in his essay Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit [The Work of Art in the Age of Mechanical Reproduction] (1935), Benjamin interpreted modifications of the original through the process of reproduction, as a loss of the work’s aura. Benjamin favored an allegorical kind of photography (that is definitely opposed to the art of montage), examples of which he found in early photography because it can be perceived something like an aura: “In the fleeting expression of a human face seen in early photographs, the aura shows itself for the last time. This is what makes their melancholic and thus incomparable beauty” (I, 2, p. 445). Like Epstein, Benjamin believed that cinema can provide us with extraordinary access to reality: the details that are produced by the close-up or the forms that are revealed by slow motion can “give us access to the experience of an optical unconscious just like psychoanalysis offers us the experience of the instinctive unconscious” (p. 460). In this sense, knowledge about the world is a matter of a sudden “awakening” to the world and this world can be a cinematic world. Theodor W. Adorno (1903–1969), another member of the Frankfurt School, would transform Benjamin’s notion of “mass culture” into that of the “Kulturindustrie,” in which he saw as a systematized commodification encompassing ‘high’ and ‘mass’ art. This stands in contrast to Benjamin’s view of popular or mass culture as concealing a certain emancipatory potential to be unleashed by dialectical criticism. In their book Dialectic of Enlightenment (1972), Adorno and Max Horkheimer (1895–1973), developed a cultural critique that contains some dispersed but pertinent references to the culture industry of film excelling in standardized production techniques and catering for commercial and not for cultural purposes. g. Hermeneutic Film Analysis The hermeneutic approach is based on the interpretation of texts and detects the semantic potential of a text as well as its different levels of meanings. Hermeneutics can be seen as a branch of phenomenology and many of Ayfre’s and Agel’s texts bear traces of hermeneutic thinking. Still, in film analysis its method has mainly been developed in proximity with the interpretation of literature. Though hermeneutics of film explains the semiotic status of iconic signs, it never engages in the construction of semiotic systems because it is constantly aware of the historicity of any analysis. Today, hermeneutic film analysis is mainly practiced in German academic departments of Media and Communication Science. Moreover, such analysis has been brought to a point by Anke-Marie Lohmeier. h. Future Perspectives The future of continental philosophy of film will probably be developed in several areas. Žižek’s Lacanian approach, as long as it does not entirely enter the stream of cultural studies, will attract philosophers who deem that ideology should be the primary focus of cinema studies. Another area that might develop is the one pioneered by Bruce Kawin and Daniel Frampton, who provide a vocabulary for describing our aesthetic experience of film that transcends both Deleuze’s conceptual analyses of movement and time and phenomenological approaches. It clearly opens up philosophy to new ways of thinking. Equally promising is a whole range of “crossovers,” such as those that combine semiotic and cognitive paradigms of which Warren Buckland’s The Cognitive Semiotics of Film (2000) is an example. Other crossovers synthesize Deleuzian film theory and phenomenology (Shaw 2008), or the Cavellian-Wittgensteinian approach with continental philosophy (of which Stephen Mulhall is an example). 3. References and Further Reading Agel, Henri. Esthétique du cinéma. Paris: Presses Universitaires de France, 1957. Aitken, Ian. European Film Theory and Cinema: A Critical Introduction. Bloomington: Indiana University Press, 2001. Allen, Richard and Murray Smith. Film Theory and Philosophy. Oxford: Oxford University Press, 1997. Andrew, Dudley J. Major Film Theories: An Introduction. Oxford: Oxford University Press, 1976. Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Astruc, Alexandre. “The Birth of a New Avant-Garde: La Caméra-Stylo,” in Graham, Peter, ed., The New Wave. London: Secker and Warburg, 1968. Aumont, Jacques. A quoi pensent les films? Paris: Séguier, 1996. Ayfre, Amédé. Conversion aux images? Paris: Cerf, 1964. Ayfre, Amédé. Le Cinéma et sa vérité. Paris: Cerf, 1969. Bakhtin, Mikhail. The Dialogic Imagination. Austin: University of Texas Press, 1981. Balász, Béla. Theory of the Film. New York: Arno Press, 1972. Balázs, Béla. Early Film Theory: Visible Man and The Spirit of Film (trans. Rodney Livingstone, ed. by Erica Carter). New York: Berghahn, 2010. Barthes, Roland. Image-Music-Text. New York: Hill and Wang, 1977. Bazin, André. Qu’est-ce que le cinéma? Vol. I-IV. Paris: Cerf, 1985 [1958]. Beasley-Murray, Jon. “Whatever Happened to Neorealism? Bazin, Deleuze, and Tarkovsky’s Long Take,” in D.N. Rodowick, ed., Gilles Deleuze, philosophe du cinéma/Gilles Deleuze, philosopher of cinema, special issue of Iris 23 (Spring 1997), 37-52 Benjamin, Walter. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit [1935] in Gesammelte Werke 1:2, ed. by R. Tiedemann and H. Schweppenhäuser. Frankfurt: Suhrkamp, 1980., p. 431-469. Engl.: The Work of Art in the Age of its Technological Reproducibility, and other Writings on Media. Boston: Belknap Press of Harvard University Press, 2008. Bergson, Henri. L’Evolution créatrice Paris: Alcan,1991 [1907]. Bergson, Henri. Matière et memoire. Paris: Presses universitaires françaises, 1939. Bordwell, David and Noël Carroll, (ed.). Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press, 1996. Bordwell, David. Narration in the Fiction Film. London: Methuen, 1985. Branigan, Edward. Projecting a Camera: Language-Games in Film Theory. New York: Routledge, 2006. Buckland, Warren. The Cognitive Semiotics of Film. Cambridge University Press, 2000. Carroll, Noël. “Film/Mind Analogies: The Case of Hugo Munsterberg“ in Journal of Aesthetics and Art Criticism 46:4, 188, pp. 489-499. Carroll, Noël. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988. Carroll, Noel. Philosophical Problems of Classical Film Theory. Princeton: Princeton University Press, 1988. Carroll, Noël. Philosophical Problems of Classical Film Theory. Princeton University Press. Casetti, Francesco. Theories of Cinema 1945-1995. Austin: Texas University Press, 1999. Cohen-Séat, Gilbert. Essai sur les principes d’une philosophie de cinéma. Paris: Presses Universitaires de France, 1958. Curran, Angela & Thomas Wartenberg (eds.). The Philosophy of Film. London: Blackwell, 2005. Davies, David. The Thin Red Line. London: Routledge, 2009. Deleuze, Gilles & Felix Guattari. Qu’est-ce que la philosophie? Paris: Minuit, 1991. Engl.: What Is Philosophy? (trans. Tomlinson and G. Burchell) Columbia University Press, 1994. Deleuze, Gilles. Cours de G. Deleuze du 31/01/84, voir www.webdeleuze.com Deleuze, Gilles. L’Image-mouvement. Cinéma 1. Paris: Minuit Paris, 1983. Deleuze, Gilles. L’Image-temps. Cinéma 2. Paris: Minuit, 1985. Engl. transl. of both volumes: Cinema (trans. H. Tomlinson and B. Habberjam). Minneapolis : University of Minnesota Press, 1986-1989. Della Volpe, Galvano. Il verosimile filmico e altri scritti di estetica. Rome: Filmcritica, 1954. Eagle, Herbert. Russian Formalist Film Theory. Ann Arbor: Michigan Slavic Publications, 1981. Eco, Umberto. “Sulle articolazioni del codice cinematografico” [1967] in Per una nuova critica. Venezia: Marsilio Editori, 1989, p.389-396. Eisenstein, Sergei. 1988c. Selected Works 1: Writings 1922-34. London: BFI. Eisenstein, Sergei. On Disney (trans. A. Upchurch). New York: Methuen, 1988b. Eisenstein, Sergei. Writings. Bloomington and Indianapolis: Indiana University Press, 1988a. Epstein, Jean. L’Intelligence d’une machine. Paris: Jacques Melot, 1946. Frampton, Daniel. Filmosophy. London, New York: Walflower, 2006. Gaut, Berys. A Philosophy of Cinematic Art. Cambridge University Press, 2010. Goodnow, Katherine J. Kristeva in Focus: From Theory to Film Analysis. Fertility, Reproduction & Sexuality. New York: Berghahn, 2010. Kawin, Bruce F. Mindscreen: Bergman, Godard and First-Person Film. Princeton: Princeton University Press, 1975. Kracauer, Siegfried. Theorie des Films. Frankfurt: Suhrkamp, 1973. Engl.: Theory of Film: The Redemption of Physical Reality. Oxford: Oxford University Press, 1960. Langer, Susanne. “A Note on Film” in R. D. Maccann (ed.), Film: A Montage of Theories. New York: Dutton, 1966. Lemon, L. and Reis, M. Russian Formalist Criticism: Four Essays. Lincoln: University of Nebraska Press, 1965. Livingston, Paisley. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford University Press, 2009. Loewy, Hanno. Béla Balázs – Märchen, Ritual und Film. Berlin: Vorwerk 8, 2003. Lohmeier, Anke-Marie. Hermeneutische Theorie des Films. Tübingen: Niemeyer, 1996. Lotman, Yuri. Semiotika kino i problemy kinoestetiki. Tallinn: Eesti Raamat 1973. Engl.: Semiotics of Cinema (Michigan Slavic Contributions 5.) Ann Arbor: University of Michigan Press, 1976. Martin, Marcel. “Ingmar Bergman’s Persona” in Cinema, 119, 1967. Merleau-Ponty, Maurice. Sens et non-sens. Paris: Nagel, 1948. Metz, Christian. “Le signifiant imaginaire” in Communications 23, pp. 3-55, 1975. Metz, Christian. “Fiction Film and its Spectator: A Metaphysical Study” in New Literary History 8:1, 1976. Metz, Christian. Essais sur la Signification au Cinéma, Vol. I. Paris: Klincksieck, 1968. Metz, Christian. Psychoanalysis and Cinema: The Imaginary Signifier. London: Macmillian, 1983. Mitry, Jean. Esthétique et psychologie du cinéma, 2 Vol. Paris: Éditions Universitaires, 1963. Engl.: The Aesthetics and Psychology of the Cinema. Bloomington: Indiana University Press, 2000. Mitry, Jean. La Sémiologie en Question. Paris : Cerf, 1987. Mulhall, Stephen. On Film: Thinking in Action. London: Routledge, 2002. Peirce, C. S. Peirce on Signs: Writings on Semiotic (ed. James Hoopes). Chapel Hill: University of North Carolina, 1994. Polan, Dana B. “Roland Barthes and the Moving Image” in October 18, 1981, 41-46. Pudovkin, Vsevolod. Film Technique and Film Acting. New York: Bonanza Books, 1949. Rancière, Jacques, La Fable cinématographique. Paris: Le Seuil, 2001. Rancière, Jacques, Le Destin des images. Paris: La Fabrique, 2003. Engl.: The Future of the Image. London: Verso, 2007. Rancière, Jacques, Le Spectateur émancipé. Paris: La Fabrique, 2008. Engl.: The Emancipated Spectator. London: Verso, 2010. Read, Rupert and Jerry Goodenough (eds.). Film as Philosophy: Essays on Cinema after Wittgenstein and Cavell. New York: Palgrave Macmillan, 2005. Rushton, Richard & Gary Bettinson. 2010. What is Film Theory? London: Open University Press. Russell, Bruce. “The Philosophical Limits of Film” in Film and Philosophy, Special Edition, 2000, pp. 163-167. Shaw, Daniel. Film and Philosophy: Taking Movies Seriously. London: Wallflower Press, 2008. Shaw, Spencer. Film Consciousness: From Phenomenology to Deleuze. Jefferson, NC: McFarland, 2008. Smith, Murray & Thomas Wartenberg (eds.). Thinking through Cinema: Film as Philosophy. Malden, MA: Blackwell, 2006. Smuts, Aaron. “Film as Philosophy: In Defense of a Bold Thesis” in Journal of Aesthetics and Art Criticism 67:3, 2009, pp. 409-420. Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton University Press, 1992. Stam, Robert. Film Theory: An Introduction. Oxford: Blackwell, 1999. Todorov, Tzvetan. Poétique. Paris: Seuil, 1973. Engl.: Introduction to Poetics. Minneapolis: University of Minnesota Press, 1981. Turvey, Malcolm. Doubting vision: Film and the Revelationist Tradition. Oxford: Oxford University Press, 2008. Vice, Sue. Introducing Bakhtin. Manchester: Manchester University Press, 1997. Wartenberg, Thomas E. Thinking on Screen: Film as Philosophy. London: Routledge, 2007. Žižek, Slavoj. Everything You Always Wanted to Know about Lacan (But were Afraid to ask Hitchcock). London: Verso, 1992. Žižek, Slavoj. Gaze and Voice as Love Objects. Durham: Duke University Press, 1996. Žižek, Slavoj. The Fright of Real Tears: Krszystof Kieślowski Between Theory and Post-Theory. London: British Film Institute, 2001. Author Information
7961	dbpedia	0	41	http://www.musicweb-international.com/film/britlist.htm	en	British Film Composers complete listing A			[ "http://www.musicweb-international.com/film/project6.gif" ]	[]	[]	[ "" ]	null	[]	null					null	TEMPLE ABADY This Year-London (1951), Work in Progress (1951), Away for the Day (1952)All documentary shorts. RICHARD ADDINSELL Addinsell (London 13 January 1904 - 14 November 1977) wrote the so-called Warsaw Concerto (orchestrated by Roy Douglas). There are many recordings of this piece. Was a product of the RCM in London. In 1933 he visited the USA and wrote film music in Hollywood. His greatest success was music for the film Dangerous Moonlight, which included the Warsaw Concerto for piano and orchestra. In the film soundtrack this is played by Louis Kentner with the London Symphony Orchestra conducted by Muir Mathieson. His films include Amateur Gentleman (1936 for Korda), Fire Over England (1937), South Riding (1937), Goodbye Mr Chips (1939), Gaslight (1940), The Lion Has Wings (1940), Men of the Lightship (1940), Love on the Dole (1941), Suicide Squadron (1941), The Avengers (1942), Blithe Spirit (1945), A Diary for Timothy (1945), Passionate Friends (1949), Under Capricorn (1949), The Black Rose (1950), A Christmas Carol (aka Scrooge - 1950 - a score warmly praised and recommended by Bill Huelbig for its fresh re-inventive use of well-known Christmas carols), Highly Dangerous (1951), Tom Brown's School Days (1951), Encore (1952), Sea Devils (1953), Beau Brummel (1954), Out of the Clouds (1957), The :Prince and the Showgirl (1957), A Tale of Two Cities (1958), Loss of Innocence (1961), Macbeth (1961), The Roman Spring of Mrs Stone (1961), Waltz of the Toreadors (1962), Life at the Top (1965 - his last film). JOHN ADDISON Addison was born in 1920 in Surrey. He was on the RCM staff 1951-58 but since 1975 has been based in Los Angeles. Occasional skier and mountaineer in the French Alps. During a BBC radio interview with Carl Davis in 1995, he recounted his introduction to the world of film music. The then Private Addison met Roy Boulting in the army and they became good friends. He had done one year at the RCM before being extracted for National Service. He returned to the RCM with a government grant after one year. Boulting kept in touch and came to a concert at which one of Addison's works was performed. Boulting thought Addison would be good at film music and took him along to the studios having him play piano for actors to get them into the mood of a particular scene. This got him hooked and he is sure that this started him off his film music career. He did the opening and closing title music for Brandy for the Parson, the plot of which involved some innocents unknowingly smuggling brandy into Britain. He adopted a slightly dissonant style but was still able to conjure up a fine vivid sea picture. He has covered a very wide range of films. There is the patriotic Reach for the Sky. The March for A Bridge Too Far is a devastatingly fine piece which some argue was of such a quality that its slightly ironic-heroic tone rather swamped the film. It has been recorded by Marcus Dods and the City of Birmingham Symphony Orchestra on EMI. There was also the Cold War thriller the Man Between by Carol Reed. This is tougher sombre tragic stuff. The score has James Mason as the man between. The music is full of drums tolling and a classically wailing saxophone. There are crashing dissonances but we are spared a sustained assault. The score is replete with a certain commercial angst. Addison recalls that some directors ask film composers not to be too modern. He is firmly committed to film music providing scores for more than sixty English and U.S. films. Scores include Seven Days to Noon (1950), Pool of London (1951), High Treason 91952), The Hour of Thirteen (1952), The Man Between (1953), Terror on a Train (1953), The Black Knight (1954), High and Dry (1954), The Paratrooper (1954), That Lady (1955), The Cockleshell Heroes (1956), The Light Touch (1955), Make Me An Offer (1956), Private's Progress (1956), Three Men in a Boat (1956), Reach for the Sky (1957), Lucky Jim (1958), I Was Monty's Double (1959), Look Back in Anger (1959), The Entertainer (1959), A French Mistress (1960), The Loneliness of the Long Distance Runner (1962), A Taste of Honey (1962), Tom Jones (1963), The Loved One (1963), The Girl with the Green Eyes (1964), Guns at Batasi (1964), The Amorous Adventures of Moll Flanders (1965), A Fine Madness (1966), I Was Happy Here (1966), The Torn Curtain (1966), The Honey Pot (1967), Smashing Time (1967), The Charge of the Light Brigade (1968) a film offered to Malcolm Arnold but declined, Brotherly Love (1970), Start the Revolution Without Me (1970), Mr Forbrush and the Penguins (1972), Sleuth (1972), and The Seven Per Cent Solution (1976). LARRY ADLER World famous harmonica player whose classic harmonica-led score graces one of the lighter British film classics: Genevieve (1953), a Cry from the Streets (1959), The Hellions (1962), The Great Chase (1963), The Hook (1963), A High Wind in Jamaica (1965), King and Country (1965). KENNETH ALWYN Conductor - born London 1928. At the forefront of the revival of British film music. Has recorded extensively with Silver Screen. WILLIAM ALWYN. Alwyn was made a fellow of the British Film Academy in 1958. His list of scores is long and distinguished: Odd Man Out, The Fallen Idol, Mandy, A Night to Remember are amongst the highlights. He is another composer who is at ease with the same idiom in both concert hall and film auditorium. His first symphony leans heavily on his film scores. His income from film music royalties allowed him to launch a very full (though not complete) series of LP recordings of his orchestral music. These Lyritas recordings have now been reissued on compact disc and a parallel set of recordings has been produced by Chandos. It is to Chandos we are indebted for a wonderful recording with the LPO and Richard Hickox of a selection of his film music. Silva Screen have recently recorded a brief selection from his Burt Lancaster film The Crimson Pirate on FILMXCD188 (2 CD set). After Alwyn left the Royal Academy he played flute in cinema and theatre orchestras in London's East End. At the invitation of J.B. McEwen he joined the staff of the Royal Academy in 1927 and remained on the strength until 1955. He moved to Lark Rise, Blythburgh in Suffolk in 1960. His major break into the film world came with a rush job to produce music for a documentary film on air travel. This was called The Future is in the Air. There was then a trail of documentary music commissions establishing his name. The Army Film Unit and the Ministry of Information soon noticed Alwyn when the war broke out and naturally looked to him to provide music. The scores dating from the war years include: Fires Were Started (1942), Desert Victory (1943) and Our Country (1944) the latter with words written and narrated by Dylan Thomas. However of all his war films it is the Carol Reed directed The Way Ahead (1944) which achieved great fame. Even the Nazis saw his qualities as a morale booster and Alwyn's name was on Hitler's hit list in the event of occupation of the British isles The cinema achieved new heights during the war and retained them afterwards. Alwyn benefited from this. He wrote landmark scores for Odd Man Out (1946), The Fallen Idol (1948) and The Ship that Died of Shame (1955). Commission followed commission and the rewards were substantial and continued as royalties continued to benefit the estate as the films made the transition from big to small screen with multiple showings. A phenomenal technique coupled with inspired ideas were a strong combination. And amongst the work that came his way was music for three Disney epics including Swiss Family Robinson. Alwyn became fascinated with the film medium and its relationship with music. He wrote with sensitivity to the counterpoint between music, dialogue and action. Hans Keller also a friend and supporter of another film composer Benjamin Frankel considered Alwyn's theory and its practice in an article on Film Music - Speech Rhythm. Film music composers active in the concert forum as well have always suffered from a snobbism which suggests that because they wrote successful film music they cannot be worthwhile writers of 'serious' music. Alwyn was the target of such criticism. He continued his production of concert works alongside his film activities and the two inter-acted. Musical style of the two areas of practice is largely indistinguishable. It was an easy gibe when his concert works came out at a time when heroic romanticism was out of fashion to condemn the material as 'film music'. But for Alwyn's private resources it is dubious that his symphonies and other orchestral works (available now on Lyrita) would have been recorded as early as the 1970s. Alwyn's score for The History of Mr Polly was revived by Carl Davis in 1995. The first movement is popular fairground entertainment - carefree and uncomplicated. There are great drunken slides amongst the strings and a wild quasi-Korngoldian waltz. This is very much music hall material. The second movement is pure romance with a gentle quiet string theme and a long solo violin section. The playful mood returns for the third movement and the final movement opens with a stolid Irish plod and closes in a triumphant glow. For contrast you should hear the brief episode of the Scarlet Pirate film music on Silva Screen 188 as played by the Prague Philharmonic Orchestra conducted by Paul Bateman. Swashbuckling at its prime. The following quotes from the writing of Hubert Culot provide further helpful background:- "Among his best film scores mention must be made of 'Odd Man Out ' (1947) and 'Shake Hands with the Devil' (1959). Both scores contain impressively powerful music which sometimes rises to symphonic proportions, e.g. the title music from the former and 'Dublin 1921' from the latter. His film music very often contains highly characteristic features generally found in his concert works. A striking example can be heard in the score for 'The Crimson Pirate (1952), although the film in itself may not be altogether distinguished. Nevertheless, it provided Alwyn with many opportunities to write some fine music and especially some sea music mainly as a splendid horn melody reminiscent of the magnificent horn theme from the scherzo of the 1st Symphony. On the other hand, some of the music for 'Shake Hands with the Devil' shares the same dramatic intensity and dark eloquence as the 3rd Symphony. Other excerpts from film scores, e.g. 'The Punting Sequence' from 'The History of Mr Polly' (1949), might have found their way into a concerto grosso or some short orchestral suite. "In fact, writing for films was as serious a task as composing a major symphony. Alwyn approached the film score with the same earnestness of purpose and the same artistic integrity as he did his concert works, and he always tried to meet all the requirements of the film while writing music of high quality. He did his own orchestrations with the exception of the three Disney films, which were scored by Muir Mathieson who, incidentally, conducted most film scores by Alwyn. As the composer says in his autobiography, "each film score I had written was an opportunity for experiment and an exceptional chance, given the splendid orchestras who played my scores, to improve and polish my technique and widen my dramatic range". Although he enjoyed writing for films, Alwyn was never interested in having his scores re-recorded or reworked. [when it was] once suggested, rather naively, that he should make concert suites from some of his best film scores in order to preserve some fine music, which he countered by saying that the scores had been destroyed along with Pinewood Studios in the fifties! In this he shared the late Sir Arthur Bliss' defiant attitude towards his own film music, which is a pity given the musical excellence of some of it." ALWYN - LIST OF FILM SCORES 1936 Air Outpost The Birth of the Year The Future's in the Air Monkey into Man The Zoo and You Zoo Babies 1937 These Children are Safe Wings over Empire 1938 New Worlds for Old (Paul Rotha) 1939 Roads Across Britain 1940 S.O.S. Steel Goes to Sea W.V.S. 1941 The Harvest shall Come (Marc Anderson) Kipps Penn of Pennsylvania 1942 Spring on the Farm Crown of the Year The Countrywomen Life Begins Again They Flew Alone Wales Western Isles Winter on the Farm World of Plenty (Paul Rotha) The Young Mr Pitt 1943 Border Weave Citizens of Tomorrow Desert Victory (Roy Boulting) Escape to Danger Fires were Started Medal for the General On Approval The Proud City Squadron Leader X There's a Future in it 1944 French Town Lost Illusion Our Country Soldier-Sailor Summer on the Farm Tunisian Victory , with Dimitri Tiomkin The Way Ahead (Carol Reed) Welcome to Britain 1945 Great Day The Rake's Progress (Sidney Gilliat) Today and Tomorrow Total War in Britain The True Glory (G. Kanin and C. Reed) 1946 Green for Danger (Sidney Gilliat) I See a Dark Stranger (Frank Launder) Land of Promise 1947 Approach to Science Captain Boycott A City Speaks October Man (Roy Ward Baker) Odd Man Out (Carol Reed) Take my Life (Ronald Neame) Your Children and You 1948 Daybreak in Udi Escape The Fallen Idol (Carol Reed) So Evil my Love with V. Young (Lewis Allen) Three Dawns to Sydney The Winslow Boy (Anthony Asquith) 1949 The History of Mr Polly The Rocking Horse Winner 1950 The Cure for Love The Golden Salamander ( Ronald Neame) Madeleine (David Leane) The Magnet (Charles Frend) The Mudlark (Jean Negulesco) Morning Departure ( Roy Ward Baker) State Secret (Sidney Gilliat) 1951 Henry Moore The House in the Square Lady Godiva Rides Again The Magic Box ( Roy Boulting) Night without Stars (Paul Rotha) No Resting Place Royal River 1952 The Card ( Ronald Neame) The Crimson Pirate (Robert Siodmak) Mandy (Alexander Mackendrick) Royal Heritage 1953 The Long Memory The Malta Story (Brian Desmond Hurst) Master of Ballantrae (William Keighley) A Personal Affair Powered Flight 1954 Black on White The Million Pound Note The Rainbow Jacket The Seekers Svengali 1955 Bedevilled The Constant Husband (Sidney Gilliat) Geordie The Ship that Died of Shame 1956 The Black Tent (Brian Desmond Hurst) Safari (Terence Young) Smiley (Anthony Dimmings) 1957 Fortune is a Woman (Sidney Gilliat) Manuela (Guy Hamilton) The Smallest Show on Earth (Basil Dearden) Zarak (Terence Young) 1958 Carve her Name with Pride (Lewis Gilbert) I Accuse! A Night to Remember ( Roy Ward Baker) The Silent Enemy 1959 Shake Hands with the Devil ( Michael Anderson) Third Man on the Mountain (Ken Annakin) 1960 The Killers of Kilimanjaro Swiss Family Robinson (Ken Annakin) 1961 In Search of the Castaways The Naked Edge (Michael Anderson) 1962 Life for Ruth Night of the Eagle 1963 The Running Man Alwyn's film music is now best represented on compact disc by Chandos CHAN Archive recordings include:- Calypso Music ( 'The Rake's Progress') (1945) LSO/Mathieson (mono) Ariel CBF 13 Punting Sequence (1949) (The History of Mr Polly) RPO/Mathieson ( mono) Citadel CT-OFI-1 Paul's Last Ride (1949) ('The Rocking Horse Winner') RPO/Mathieson ( mono) Citadel CT-OFI - 1 Main Title ('The Card') (1952), Orch., Mathieson (mono) Citadel CT-OFI-1 Shake Hands with the Devil (1959) UNITED ARTISTS UAS 4043 Sinfonia of London/Mathieson UAS 5043/UASF 5043 ARMSTRONG GIBBS Film Music: Lorna Doone (1934) RICHARD ARNELL Arnell in addition to being a composer is also a film-maker and he has also written much distinctive music for films. He was born in London in 1917 and studied at the Royal College of Music 1935-9 with Ireland. During his time in the USA his music was conducted by Stokowski and film music doyen Bernard Herrmann and by Beecham. In 1941 Arnell wrote his first film score to Robert Flaherty's documentary, The Land. Though the film was not immediately released, Arnell made a suite from the music. Arnell wrote a film for the British transport film unit: Wires Over the Border (Sticky George Group - 1974) Films: The Land (1941); The Third Secret (1963); The Visit (1964); The Man Outside (1966); Topsail Schooner (1966); Bequest For A Village (1969); Second Best (1972); Stained Glass (1973); Wires Over The Border (1974); Black Panther (1977); Antagonist (1980); Dilemma (1981); Doctor In The Sky (1983); Toulouse Lautrec (1984). MALCOLM ARNOLD Arnold was born in Northampton on 21 October 1921. Incidentally Northampton is also the birthplace of Rubbra and William Alwyn. He has written more than 80 film scores, including his most famous 'The Bridge on the River Kwai' which received an Oscar. Arnold is one of the great composers of British or any film music. His range is very wide. The music is always approachable and touches off deep responses. If people associate him with buffoonery they miscalculate very seriously. The diversity of his approach and achievement is just as evident from his film music as it is from the concert works. His initiation came in 1947 when his friend John Swain invited him to provide music for Avalanche Patrol. This was a documentary and he was to produce music for another twenty of these before his first feature film: Badger's Green. His early feature film scores arrived at the same time as prime scores from Alwyn and Frankel. His key scores from this era are The Captain's Paradise (1953), Albert RN (1953), The Sea Shall Not Have Them (1954), I Am a Camera (1955), The Constant Husband (1955), The Deep Blue Sea (1955), several early Hammer productions and The Sound Barrier (1952). The rhapsody from the latter was recorded on 78. Hobson's Choice was one of his classic scores. It was written in 1953 and some sections were written before filming so that the music could make maximum impact. It was written in dance hall style with a 25 string band and much music for wallowing boozy brass instruments. The tuba takes the part of drunkard Henry Hobson and the love theme is associated with Hobson's daughter. This Lean film was not their last collaboration. The Bridge on the River Kwai came in 1957. This was a big production in every way. It (the score) was written and recorded in just ten days. It revived Kenneth Alford's march Colonel Bogey used as a contrasting strand to Arnold's own River Kwai march. Due to some strange copyright issue the two are not now permitted to be played together except on the film soundtrack itself. Some years earlier his uproarious score for The Belles of St Trinians is just as important and enjoyable in a much lighter way. The scoring is for twelve players. Dunkirk has impressive title music including a principal theme that has an Elgarian nobility to it and also a great degree of memorability. Other films followed: Trapeze (1956), 1984 (1956), Island in the Sun (1957), The Roots of Heaven (1958), Dunkirk (1958), The Key (1958) a score much prized by Arnold, The Angry Silence (1959) and The Inn of the Sixth Happiness (1958). This last follows the story of Gladys Aylward and her trek with hundreds of Chinese children to reach safety from the Japanese. It was a close thing but he almost scored Lawrence of Arabia (1962) on which the conductor Myer Fredman worked but it was eventually Maurice Jarre who wrote the score. Totally affecting in much more tender way is the film for which he did provide totally apt music: Whistle Down the Wind (1961). The score is devastatingly sensitive with a slightly chilly innocence well projected. The whistling on the soundtrack is by the film's producer, Richard Attenborough. After this came scores for The Chalk Garden (1964), The Heroes of the Telemark (1965 - a cracking score which could do with a fresh re-recording complete), and The Reckoning (1969). Arnold also orchestrated, assisted generally and conducted the Walton music for the film Battle of Britain (1969) a score sacrificed in favour of Ron Goodwin's. In 1970 his final feature came in the shape of the score for David Copperfield. Interviewed in 1996 by Carl Davis on BBC Radio, he explained that he got into films to give himself experience in conducting. He became a composer used to working very fast and meeting deadlines. Alan Rawsthorne was deeply impressed by his speed of production. He ran his career in both films and the concert side by side. He was also a composer whose film music vocabulary was no different than his concert language. Listen to the final pages of the Fifth Symphony if you want to compare the two. The composer calls this an 'organic unity'. Arnold was also phenomenally successful, in the film music world. Arnold's work on the John Huston film Roots of Heaven produced a super-romantic prelude revived by Carl Davis and the BBC Concert Orchestra. As was not unusual he only met Huston once during the making of the film. The music used African rhythms and elephant hoots emulated by the horns using two octaves - quite a bold effect as the composer readily stated. As the expertise and fluency of his brass writing demonstrates, his background was in the London Philharmonic as third trumpeter from which he moved directly to principal. He then gave this up to conduct. His method of writing demanded every line of dialogue before he would write the music. In Arnold's words 'Film music writing is a lonely job' although he was often assisted by Dorothy Payne but there was never any doubt who the composer was. The revived 'Overture' to The Roots of Heaven was an example of a very strange genre. Overtures to films were written both for the opening credits (the title music) but specifically for the gala launch of the film. They are confections, usually about 5 minutes long, based on themes from the film. They were played at the gala premiere then put away. Korngold did same for premieres of his films. In the case of The Roots of Heaven this one had not been heard since 1958. The music opens with a blundering, clashing brass and exultant horns. The language is familiar from symphonies 4-6. There is a sinuous relaxed jazzy clarinet theme moving into a swooping string tune. The piece ends in much heaven-storming and sky-trumpeting: Love and Africa triumphant! As a contrast he also wrote music for documentaries such as Report on Steel. This music he reshaped into 'Machines' a concert piece dating from 1954 which has been championed by the composer himself, by Charles Groves and Carl Davis. Alarmingly it is scored for brass, strings and percussion - no woodwind. In fact it is not as percussive as you might think. There is a fine Arnold melody in the middle section plus the occasional recollection of Bliss's Things to Come. Another film, You Know What Sailors Are, produced the scherzetto for clarinet and orchestra (recorded on Hyperion). The film The Reckoning was the quarry for themes for the neglected Eighth Symphony much overshadowed by its large-scale successor and predecessor. The film The Sound Barrier yielded a concert rhapsody which has been broadcast by the Ulster Orchestra and Yannis Daras. What a pity it is that Arnold has retired from the film music scene. We can draw consolation from the fact that it will be years before his many film scores will be excavated and re-recorded. MALCOLM ARNOLD - THE FILMS The Forbidden Street (1949) Women in Our Time (1949) Eye Witness (1950) The Sound Barrier (1952) The Captain's Paradise (1953) Channel Islands (1953) Hobson's Choice (1954) You Know What Sailors Are (1954) The Belles of St. Trinian's (1955) The Deep Blue Sea (1955) The Night My Number Came Up (1955) A Prize of Gold (1955) 1984 (1956) Port Afrique (1956) Trapeze (1956) The Bridge on the River Kwai (1957) Island in the Sun (1957) Value for Money (1957) Wicked as They Come (1957) Blue Murder at St. Trinian's (1958) Dunkirk (1958) The Inn of the Sixth Happiness (1958) The Key (1958) The Roots of Heaven (1958) Suddenly Last Summer (1959) The Angry Silence (1960) Tunes of Glory (1960) No Love for Johnnie (1961) The Lion (1962) Lisa (1962) Whistle Down the Wind (1962) Nine Hours to Rama (1963) The Chalk Garden (1964) Tamahine (1964) The Thin Red Line (1964) Heroes of the Telemark (1965) Operation Snafu (1965) The Great St Trinian's Train Robbery (1966) Sky West and Crooked (1966) Africa - Texas Style (1967) The Reckoning (1969) David Copperfield (1970) EDWIN ASTLEY Apparently active only in the realms of film music. His scores include many documentaries: 1959 Diesel Train Ride, 1959 Broad Waterways, 1960 What a Day, 1960 Speaking of Freight, 1962 The Signal Engineers. Scotland for Sport used Hebridean 'Puirt a'Beul' (mouth music). Terminus was the cinema debut of John Schlesinger in 1961 showing a day in the life of Waterloo Station. Astley's feature films included To Paris with Love (1955), Kill Her Gently (1958), Wishing Well Inn (1958), The Giant Behemoth (1959), The Mouse That Roared (1959), Woman Eater (1959), The Day They Robbed the Bank of England (1960), In the Wake of a Stranger ()1960), Passport to China (1961), A Matter of Who (1962), The Phantom of the Opera (1962). GEORGES AURIC Auric, one of Les Six was a writer of film scores long before sound came onto the scene. His bright music was a surprising counterpoint to many a typically English frolic in the 40s and 50s. He became particularly known for his music for the Ealing Comedies including Passport to Pimlico. This music was bright, vif, always colourfully chiming and brimming with bustle and activity. Bliss was commissioned to write the music for Caesar and Cleopatra (1944) but it was Auric also provided the score for The Galloping Major (1951). Little could be more English than the plot and setting of the Ealing comedy The Titfield Thunderbolt yet once again it was Georges Auric who provided the music. His roster of films is long indeed and runs from 1930 (Blood of a Poet) to 1969 (The Christmas Tree) - in total 52 scores. The list includes Beauty and the Beast (1946), The Eagle Has Two Heads (1948), The Queen of Spades (1948), The Storm Within (1949), The Lavender Hill Mob (1951), Moulin Rouge (1952), Roman Holiday (1953), The Wages of Fear (1955), Rififi (1956), Bonjour Tristesse (1958), SOS Pacific (1960) and Therese and Isabelle (1968). EDGAR BAINTON This fine British born composer who emigrated to Australia wrote a number of very impressive works some of which exist in recordings which desperately now need reissue. The most important is the 1950s recording of the visionary Third Symphony. Bainton wrote the music for one film while in Australia. This was a short documentary film on the Australian Bush Police. CHRIS BARBER Better known in the jazz world Barber's British Transport film Holiday was made in 1957. JOHN BARRY Born 1933 in York. Very extensive list of film scores including a number of James Bond films (re-recorded on Silva Screen FILMCD007), A Doll's House, Love Among the Ruins and Mary Queen of Scots. STANLEY BATE Stanley Bate was a British composer, born in Plymouth who seems to have had more recognition abroad than he ever had in his home country. During the early 1940s Bate was chosen by the British Library of Information in New York to provide music for a documentary film about the progress of the War in the fifth year of fighting. This commissioned score was wedded to the film The Fifth Year and the music was written during 1944. Later the Arabian American Oil Company commissioned from him a documentary film: Careers in Oil. Amongst the commissions from this era is a score for the film Jean Helion. The film was made jointly by The Museum of Modern Art, New York City and The Sorbonne. Bate even appeared in the film. Bate was engaged to write the music for the film The Pleasure Garden sponsored by the British Film Institute and produced by James Broughton. This was completed on 1 January 1953 and was shown at the Edinburgh Festival the same year. The film won an award at Cannes that year. The film was described as "an unclassifiable but entertaining glimpse of individual happiness triumphing rudely over official misery." The scoring is for voice, flute, clarinet, bassoon, cello and harpsichord. He also completed in 1953 a further film score for a documentary Light through the Ages. HUBERT BATH Bath was a pioneer in the field of film music though his reputation is virtually non-existent with one very late exception. In 1933 Bath was employed by Louis Levy's at Gaumont-British as composer and arranger. His work was uncredited and it was Levy's name which appeared on the titles. During the war he composed a number of scores for the RAF Film Unit. Later he worked on the film Love Story. This was the key to his moment of fame,. The score required a concerto for piano and orchestra in the spirit of the popular tabloid film concertos of the day. It needed to be hyper-romantic. At the same time composers like Jack Beaver, Richard Addinsell and Hubert Bath were turned to for the necessary product. In Love Story the music was to intensify the emotion of the story. The heroine pianist was played by Margaret Lockwood who falls for the composer played by Stewart Granger. Granger produces the concerto brimming with emotionalism and catching some of the stark Atlantic atmosphere and stormy brilliance of the Cornish cliffs. The work became very popular and gained the title Cornish Rhapsody. The filming was in Cornwall though the concert performance of Cornish Rhapsody was given in the Royal Albert Hall. On the soundtrack it is Harriet Cohen who must have recollected her days with Arnold Bax in North Cornwall some 30 years previously as she played this emotionally supercharged work. He also composed some of the music for the first full-length British 'talkie' Blackmail (1929). This was directed by Alfred Hitchcock. He was working on the score of The Wicked Lady when he died. There were many others for the Gaumont-British and Gainsborough (and other) studios of which I remember particularly the 1935 Donat version of The Thirty-Nine Steps, Rhodes of Africa (1936) and The Passing of the Third Floor Back (1935). He also conducted music for film recordings. Other of his film scores include: Kitty (1929); Rhodes of Africa (1936); Silent Barriers (1937); Love Story (1944, incorporating The Cornish Rhapsody for piano and orchestra); The Wicked Lady (1945). ARNOLD BAX Bax (1883-1953) is better known as an imaginative symphonist. His works have a distinctive touch and magic is never far from his music. Bax scored three films. The only feature film is David Lean's 1948 Oliver Twist. Bax was not an enthusiastic collaborator and quickly came to regard the writing of the music as a terrific chore and this also applies to the other two scores he had to write. However even third rate Bax is often better than the first rate material produced by other composers in this genre and era. The music certainly does not have the power of the symphonies or best tone poems. However it is bright and adds a valuable dimension to the film as a whole. The score survives complete. Bax was lured into writing film music by Muir Mathieson. This began with the film Malta GC. The film was to celebrate the endurance of the people of the island of Malta who had sustained intense bombing during the second world war by Axis planes based in Sicily. The film was a joint production between the three services film units - obviously a major exercise. Mathieson approached Bax who had been going through a slack period. Bax's inspiration, from the late 1930s inwards, had burned low and he suffered bouts of depression. He had just accepted, probably against his better judgement, the ultimate accolade of Master of the King's Musick and felt under some duty to do this war work. For a fee of £50 he agreed and set to work on a score which was longer than most of his tone poems. He completed the music in September 1942. The soundtrack recording was made by the RAF Symphony orchestra conducted by Muir Mathieson. The narration was provided by Laurence Olivier. It was premiered at the Gaumont in Haymarket on 22 January 1943. The original manuscript was presented to The People of Malta who were collectively awarded the George Cross in recognition of their endurance during the bombing. The score is now kept in the National Library of Malta in Valletta. The music rather goes for nothing on the soundtrack. It is much obscured by sound effects and the narration - all of which was a further frustration to Bax and hardly inclined him to write further for films. When Olivier asked Bax if he was unhappy about the talking that went on simultaneously with his music, Bax replied: 'Yes I jolly well am - chattering away all over my music. Bombs falling in all directions, planes crashing right and left, my music is faded down to make way for some fatuous remark like 'an air raid is in progress; it is a time of danger for the population'.' Against all the signs Bax was inveigled and pressurised by Mathieson to contribute a further score. This time it was to be for David Lean's Oliver Twist. Bax found the novel antipathetic and out of sympathy with his natural inspiration. This picture of Bax as a composer who was open to being pressurised is not one which is entirely convincing. There must have been a part of him which recognised that through the medium of film he would have a far greater chance of reaching a very large audience than any of his concert works would. This was particularly the case during the 1940s into the 1950s when his inspiration was damped and his works were suffering from the onset of a change in fashion. He wrote the music for the film over ten weeks in The White Horse pub at Storrington where he lived for the remaining years of his life. The composing of the music was hard work but Bax retained a boyish fascination with the techniques of co-ordination of music with picture and dialogue. He held Mathieson in very high regard. The music was recorded at Denham with Harriet Cohen as the pianist. The orchestra was the Philharmonia. Bax no doubt felt morally obliged to use Harriet Cohen who was also associated with a number of other film concertos including the Cornish Rhapsody. Cohen would have been prescribed by Bax to the studio. The piano represented Oliver. The film itself was made at Pinewood Studios and with a cast which included Alec Guinness, the very young Anthony Newley and Robert Newton quickly became a UK success and a classic of the time. Its portrayal of Jews as 'represented' by Fagin however caused distress and protest when the film reached Berlin and US audiences. To give the music a concert life Mathieson made a seven movement concert suite which was performed widely in concerts, broadcasts and parts of which were recorded on 78. There were a total of eleven movements in the suite recorded by Eric Parkin (piano), Kenneth Alwyn and the Royal Philharmonic in 1986. This was released on LP Cloud Nine CN7012 (since reissued on CD) with full notes by Bax authority Graham Parlett. His last film was made in 1951 for British Transport Films. Journey Into History was a short documentary about British figures from the 18th century. The film music especially for Oliver Twist had a concert vogue and enjoyed some coverage on the back of not the film music revival but the Bax boom traced from the early 1970s and peaking in the mid 80s around the time of the Bax centenary. The music is not top-drawer Bax but fine stuff in the field of film music. The highest tribute is that Bernard Herrmann chose a couple of tracks from this Oliver Twist when recording his classic British film music collection. JACK BEAVER Beaver (1900-63) was a product of the Royal Academy of Music. He wrote extensively for the British film industry especially Gaumont-British (1934 onwards). There are numerous scores in his name. These include The Wife of General Ling (1938), This Was Paris (1942), Showtime (1948). THE BEATLES Songs and albums for several films including Yellow Submarine and Hard Day's Night. Biographical details will be very well known already. ARTHUR BENJAMIN Arthur Benjamin though an Australian by birth spent most of his creative life in England and made a very strong and distinctive contribution to the world of British film music. In an increasingly complex field film companies recognising the key role of music began to appoint music directors. Gaumont-British had Louis Levy. London Films had Kurt Schroeder. When Schroeder returned to Germany Muir Mathieson was engaged. If people like Bliss and Walton and a number of others made their own reputations as film composers and enhanced them in the concert hall, Mathieson stood behind them and played a key role in opening up the film world to composers. he also acted to intercede between the alien worlds of creative artist and studio accountants and directors. The clashes of culture are notorious and it is surprising that so much good work was done against an often inimical atmosphere. Arthur Benjamin had taught Mathieson at the RCM and was now offering Benjamin an entre into the film world with a commission. The first film was The Scarlet Pimpernel (1934). This was followed later the same year by Alfred Hitchcock's The Man Who Knew Too Much with its Storm Clouds Cantata. The cantata returned in the 1955 Hitchcock remake in which the conductor was Bernard Herrmann. The next year Gaumont-British made The Clairvoyant. There was also Turn of the Tide a film shot in Robin Hood's Bay with Benjamin's melodious music matching the beauty of the Yorkshire coast. The next project was the first Technicolor film made in Britain: Wings of the Morning (1936), with Henry Fonda. Muir Mathieson commissioned him to score The Return of the Scarlet Pimpernel (1937) and again later the same year a swashbuckler Under the Red Robe. There was a pause during his time in Canada then on his return he wrote the music for the Master of Bankdam. This included an aria, The Fire of Your Love (sung in the picture by Maria Var) which was later recorded on 78. An Ideal Husband was the next film and the waltz and other music from this film have been recorded several times by Herrmann and by Marcus Dods. The music has uncanny pre-echoes of Richard Rodney Bennett's style in e.g. Murder on the Orient Express. The Benjamin music yielded a Hyde Park Galop. Steps of the Ballet was a documentary presenting in 20 or so minutes an introduction intended for schools of the ballet writing, producing and dancing process. Benjamin appears in the film and it is his music which makes the ballet itself. It represented a partner to Britten's Instruments of the Orchestra Coronation Year coincided with the British ascent of Everest which was portrayed in The Conquest of Everest. The style is epic as befits the subject. In 1955 Benjamin wrote the music for the Rank picture Above the Waves. Two years later saw his final essays in the field with the feature films, Naked Earth and Fire Down Below. The latter had to be completed by Douglas Gamley and Kenneth V Jones. ARTHUR BENJAMIN'S FILMS 1934 The Man Who Knew Too Much The Scarlet Pimpernel 1935 Wharves and Strays (short) The Clairvoyant Turn of the Tide (available on the Connoisseur Video label) 1936 Lobsters (short) Wings of the Morning The Guv'nor 1937 Under the Red Robe Return of the Scarlet Pimpernel 1947 Masters of Bankdam The Cumberland Story An Ideal Husband 1948 Steps of the Ballet (short) 1953 The Conquest of Everest 1954 Under the Caribbean (short) 1955 Above the Waves 1957 Naked Earth Fire Down Below RICHARD RODNEY BENNETT He was born in Kent in 1936. A skilled and sensitive pianist he has recorded Constant Lambert's Piano Concerto for Polydor. He studied at the RAM with Lennox Berkeley and Howard Ferguson. He also spent some time with Boulez in Paris having previously been much influenced by the music of Elizabeth Lutyens. Bennett was recently (1998) knighted for his services to music. He writes in both lighter (Little Suite, Diversions and film music) and tougher (Piano Concerto, Sonnets to Orpheus - the latter recorded by Continuum) veins. His styles in concert hall and in cinema are quite different although since the 1980s the two styles have moved closer together with a less severe spirit entering the bones of the concert works. The Third Symphony (1987 - on Koch 3-7341-2 H1) was noted by the critic Stephen Walsh as an example of a decided thaw in his musical language. For years the two worlds lived dangerously side by side but neither compromised the other; Bennett enjoying success in both fields unlike Alwyn whose styles remained constant whether in serious music or for celluloid. His first score was contributed when he was 21 and was for a documentary. He has a sure touch for film scores of which he has written at least 35 and is much in demand. He has received no less than three Oscar nominations for his film scores. The music for Far From the Madding Crowd is an object lesson in the perfectly judged film score marrying precisely with the atmosphere of the film and plot. The music has a simplicity and the full orchestra is rarely used. The simple theme has a wide ranging epic nature with an undercurrent of tragic loss. The music occasionally drifts in its more raucous moments into Malcolm Arnold territory. This however is one of the finest scores to come out of British cinema. The music for Nicholas and Alexandra is amongst his finest film inspirations. His score for Murder on the Orient Express with its steam train evocation launching out from mysterious beginnings into a full flowing waltz is a classic which has already taken its place alongside such light music classics as Vivien Ellis's Coronation Scot. The music for Lady Caroline Lamb was issued on LP as both a 'straight' film score and as an Elegy for viola and orchestra (EMI LP CSD 3728). Again this music is magically touching. It is interesting to note that the Murder on the Orient Express music has remarkable echoes of Arthur Benjamin's An Ideal Husband. His films include: 1956 The Angry Hills The Devil's Disciple The Man Who Could Cheat Death 1957 Pickup Alley 1958 Indiscreet The Man Inside Menace in the Night The Safecracker 1960 Chance Meeting 1961 The Mark 1962 Only Two Can play Satan Never Sleeps 1963 Billy Liar 1965 The Nanny One Way Pendulum 1966 The Witches 1967 Billion Dollar Brain The Devil's Own Far From the Madding Crowd 1968 Secret Ceremony 1970 The Buttercup Chain 1971 Nicholas and Alexandra 1972 Lady Caroline Lamb 1994 Four Weddings and a Funeral LENNOX BERKELEY This fine composer contributed two film scores to the genre: Hotel Reserve (1944) and Out of Chaos (1944). JAMES BERNARD Bernard was born in Pakistan in 1925. He studied with Howells at the RCM. He served briefly (1950-51) as Britten's amanuensis, assisting him with Billy Budd. Bernard described his year with BB as "a wonderful baptism as a working composer." Tonal music came naturally to him but at a time when it was not wanted in many circles. He wrote instead for radio and it was as a result of his score for The Duchess of Malfi that he was recommended to Hammer Films who commissioned a number of scores starting with the music for The Quatermass Xperiment (1955). There were to be more than 20 Hammer scores (a selection of which is to be found on Silva Screen FILMCD174 and 714). He is one British composer who in recent years has been accorded a complete score on CD. The music was commissioned from him years after he had retired to Jamaica. The score in question is for Nosferatu A Symphony of Horrors. This is played by the City of Prague PO conducted by Nic Raine (Silva Screen FILMCD192). The music is fully symphonic and in keeping with the edgy, neurotic atmosphere of the film. There is a great deal of tense and dark music with moments of variety, if not relaxation, provided by Hutter's innocent music and the swirling romanticism of Ellen's fine theme (obstinately memorable) on the strings. The music is tonal with occasional reminiscences of Janá¹ek. The booklet reflects great care in design; a feature of this company's CDs though I wish we could have been told something about the score originally used when the film was shown in the 1920s. It would be interesting to compare this score with Hans Erdmann's original music for Nosferatu. The complete restored version has been re-recorded by Gillian B Anderson conducting the Brandenburg Philharmonic Orchestra on RCA/BMG 09026 68143 2. Horror films are a genre in their own right. In them we see one example where a degree of dissonance in music is acceptable to the watching/listening public which would not be acceptable in the concert hall. Hammer Productions needed a great deal of music and were prepared to try out composers. The company became a source of income for many otherwise struggling British composers. James Bernard's Dracula (1959) prelude was recorded by the Philharmonia conducted by Neil Richardson. The score is all blackness - gong, cymbal and deep brass dominate. The massed strings have a sharp steely edge to them. The music itself is jagged. Bernard's scores include: 1957 Across the Bridge Enemy from Space X The Unknown 1958 Windom's Way 1959 Elephant Gun The Hound of the Baskervilles 1960 The Stranglers of Bombay 1961 Terror of the Tongs 1963 Kiss of the Vampire 1965 The Gorgon Secret of Blood Island She These Are the Damned 1966 Dracula - Prince of Darkness The Plague of the Zombies 1967 Frankenstein Created Woman 1968 The Devil's Bride Dracula Has Risen from the Grave Torture Garden 1969 Frankenstein Must be Destroyed 1970 The Scar of Dracula Taste the Blood of Dracula 1997 Nosferatu LORD BERNERS Berners the eccentric peer, composer and novelist was born in 1883 and died in 1950. He penned two film scores. In 1943 he wrote the music for the Ealing Studios production of The Halfway House. His lively music for his second and final film was written for the 1947 Nicholas Nickleby based on the novel by Charles Dickens and directed by Charles Cavalcanti. The orchestration was by Ernest Irving to whom the score is dedicated. The final section of Nicholas Nickleby was according to Berners as little theme for the producer and director, a trill, or two for the cast and then a massive fanfare for the title board 'Music by Lord Berners'. The 9 minute score is available on EMI originally released in 1986 as CDC 7 47668 2. It has since been reissued at mid-price. We can perhaps hope that Marco Polo's ongoing series of recordings of Berners' orchestral music will include Halfway House. RONALD BINGE Born Derby in 1910. His film scores include Desperate Moment (1953), The Runaway Bus (1954), The Adventures of Sadie (1955) and Dance Little Lady (1955). STANLEY BLACK Black, well known as a conductor also wrote prolifically in the field of film music: Lili Marlene (1961), Mr Potts Goes to Moscow (1954), White Fire (1954), Tonight's The Night (1954), High Terrace (1956), An Alligator Named Daisy (1957), As Long As They're Happy (1957), Two Grooms for the Bride (1957), Blood of the Vampire (1958), Cross-Up (1958), Dangerous Youth (1958), Mailbag Robbery (1958), Your Past is Showing (1958), Broth of a Boy (1959), The Circle (1959), City After Midnight (1959), The Battle of the Sexes (1960), Hand in Hand (1960), Hell is a City (1960), The Man Who Wouldn't Talk (1960), Double Bunk (1961), Five Golden Hours (1961), Stop Me Before I Kill (1961), Sword of Sherwood Forest (1961), The Day the Earth Caught Fire (1962), Wonderful to be Young (1962), Maniac (1963), Rattle of a Simple Man (1964), Crossplot (1969) also Wonderful Life, Hindle Wakes, Summer Holiday. HOWARD BLAKE Born in 1938 and active as pianist, conductor and composer. He studied at the Royal Academy of Music. Has written extremely attractive film music, e.g. for The Riddle of the Sands, Agatha (about Agatha Christie's disappearance, though incredibly Blake's score was not used) and The Snowman. The suite from his music for The Duellists is included on Silver Screen FILMXCD188(2 CD set). The full orchestral score for The Riddle of the Sands (1978) is extremely atmospheric and very much marine impressionistic. With a minimal approach - despite full orchestra - he produced one of the finest British cinema scores. A number of the scenes suggest Blake had been listening to the then recently issued Dilkes and Boult LPs of the E J Moeran Symphony. Well past time that this score was freshly produced in suite form for CD. WILLIAM BLEZARD Born 1921. Film music for documentaries and arranged Noel Coward's music for The Astonished Heart. ARTHUR BLISS Arthur Bliss was born in London in 1891 and died there in 1975. He was, in his music, a man of (at least) two worlds: the concert hall and the cinema. He is an important figure as a film composer because although by no means the first 'serious' composer in the arena his entry into the field was a momentous event. The score for the 1936 film Things to Come was a turning point for the British film industry and for British composers. Although Walton entered the industry at the same time it was the Bliss score which opened the way for serious composers to make their way in the field of film either as a career or by way of the occasional excursion. Bliss seemed to have had no fears about entering a field which was then still comparatively novel. He had much to lose. His revolutionary 1920s were behind him and he was beginning to make a very major respected name for himself in this country and on the continent. In taking this risk he courted the snobbery which film composers still suffer. In fact he scored a great triumph. Not only was the film of Things to Come popular despite being an abomination to H G Wells but also the music and especially the March which sported a crackling energy and a broad nobility quickly became concert favourites. He also arranged John Gay's Beggar's Opera for the 1952--3 British Lion film. Muir Mathieson recalled in a radio interview that Bliss's credo was that every film needs a different colour of music. This certainly accounts for the variety across the range of his film music. Things to Come This film was made in 1936 by Alexander Korda. It gradually grew to be recognised as a classic though the effects no look decidedly creaky. The commission came about as a result of Wells approaching Bliss after he attended one of Bliss's lectures. Score and plot, music and dialogue were seen and treated as a unity each relying on the other. The aim was for a fusion of sound and vision. Bliss wrote of the score. 'It should he judged solely as music - that is to say by the ear alone. and the question of its value depends on whether it can stand up to the test." The music has proved more enduring than the film although this still gets the occasional TV showing. The concert suite was a success in the 1935 Proms and entered the regular repertoire. Christopher Palmer has reconstructed some passages missing from the suite and these have been recorded. In 1936 the Decca ignoring the suite recorded five segments from the score. There are many recordings both of the concert suite and the extended extracts from the score. Still there is no complete score recording. As a break from the commercial pressures and compromises forced on Bliss by the film he also wrote one of his most famous concert works: the Music for Strings. The film music also provided a quarry for other Bliss works: e.g. The. Entry of the Red Castles in the ballet Checkmate derives from Building the New World. It is interesting that when Primary Source Media had to select full scores for inclusion in their microfilm series they selected the score of Things to Come to feature alongside other Bliss concert works. Caesar and Cleopatra Bliss wrote a full orchestra score for this Pascal directed film. Tragically he pulled out because of his lack of sympathy with Pascal. Auric was then drafted in and it is his music which you hear on the soundtrack. Bliss's music survives and deserves as much exposure as many a discarded but recorded orchestral score. Christopher Columbus Gainsborough commissioned this score in 1949. Bliss provided a full length and full-blooded score. Sections of it were recorded by EMI in a collection of film music with the CBSO conducted by Marcus Dods. Latterly it has been included on a Marco Polo CD. Conquest of the Air This documentary was made in 1937 by Alexander Korda. Release was delayed until 1940. The concert suite was premiered before the film in 1938. The concert suite has six sections: 1. The Wind; 2. The Vision of Leonardo da Vinci; 3. Stunting; 4. Over the Arctic; 5. Gliding; 6. Conquest of the Air. Men of Two Worlds A 'Two Cities' film dating from 1945, the story concerns Kisenga, an African scholar and concert pianist/composer, who returns to his homeland in a teaching capacity and as a local government official. 'Baraza' is a Swahili word for the discussion in council between a chief and his head man. In the score it becomes a movement of a piano concerto written by Kisenga and played by him at a National Gallery concert. The concerto has three short movements with piano cadenza . and a male voice choir singing, in Swahili - a stirring work. Baraza was recorded by Decca with the original performers. Eileen Joyce with Muir Mathieson conducting the National Symphony Orchestra. Présence au Combat The score of this Anglo-French propaganda film dates from 1946. The only surviving part of the score is the section: Supply Sequence. Some of the material was recycled in the music for the 1949 documentary film Faster than Sound. Seven Waves Away, or Abandon Ship This film was made in 1956. Only three sections of the score have survived. DENNIS BLOOD Composer for documentary films. Including The True Story of Lili Marlene (1944), Crofters (1944), Farmer's Boy (1945) and Power in the Land (1947). JOHN BLORE Composer for Welcome Mr Washington (1944) and The Butler's Dilemma (1944). CAREY BLYTON Born 1932. Nephew of Enid Blyton. Has written some film music. RUTLAND BOUGHTON Aylesbury, Buckinghamshire, 23.1.1878 - London, 25.1.1960. Boughton was an English composer who with the patronage of Lady Battersea studied at the RCM with Stanford and Walford Davies (1900-01). From 1904 to 1911 he was on the staff of the Birmingham Midland Institute of Music teaching singing. Film: Lorna Doone (1934). Lorna's Song from the film (director, Basil Dean of Flecker/Delius Hassan fame). The song was recorded by Victoria Hopper (Basil Dean's wife), Associated Talking Pictures Studio Orchestra conducted by Ernest Irving (HMV B.8249). Does this film survive I wonder? Also can anyone let me have a cassette of this song? This was Boughton's only film essay. The rest of the film score was provided by Armstrong Gibbs. Lorna was played by Hopper. John Loder played John Ridd. Boughton's fee for the one song was £30. This was one quarter of the composer's income for the year 1934. It was written overnight and posted off the next morning only the day after it had been commissioned by telegram. ADRIAN BOULT Made appearance conducting LPO in Battle for Music (1944). DEREK BOURGEOIS A prolific composer Bourgeois wrote two scores for the British Transport film unit: Thirty Million Letters 1963 and The Driving Force 1966. PHILIP BRAHAM Early talkie music director at Wembley Studios. Died circa 1934. Musical director for the following Wembley films: City of Song (1930), Wedding Rehearsal (1932), The First Mrs Fraser (1932). WARWICK BRAITHWAITE His distinctive beard and rostrum manner lead to some comments about physical similarity with Henry Wood. He made a screen appearance in the Strand Studios film Battle for Music (1944) conducting the LPO. LUDWIG BRAV Active as composer for silent films then for documentary scores. War Front and House We Live In date from 1941. TONY BREMNER Born 1939 in Australia. Has spent some time in UK. Scores for The Everlasting Secret Family (1988), A Halo for Athuan (1986), Kindred Spirits (1984). Southern Cross SCCD1020. In 1978 reconstructed Hugo Friedhofer's wonderful score for The Best Years of Our Lives (Preamble PRCD 1779). LESLIE BRIDGEWATER He was born in Halesowen in 1893; died in 1975. His Piano Concerto was recorded on Paxton 78s. Conductor and leader of own orchestra. His sole feature film score is Train of Events (1949). There are scores for Merton Park Studios documentaries: Progress, Looking Through, Down to Earth and The Village That Found Itself. CHARLES BRILL Composed music for Charter Films Pastor Hall in 1940. Also for Paul Rotha documentary Battle of the Books (1940). Extensive radio broadcasting with eponymous orchestra. They also recorded Britten's Irish Reel from Village Harvest since reissued on Beulah CD. BENJAMIN BRITTEN Britten's film music was a phenomenon of the 1930s. he wrote prolifically for documentaries; many for the GPO Film Unit. A number of these scores rank as classics of the genre. For years these scores have lain neglected. Since the mid-1980s however this music is receiving increased attention. The Britten Estate has allowed Colin Matthews to revive various scores in the form of concert suites. Britten came to film through his friend the poet W.H, Auden ('a terrific bully' according to Peter Pears). Auden wrote the texts of a number of these GPO films and Britten wrote the music. He quickly established himself as a masterful and resourceful composer. Technically he was an exceptional composer able to use the prescribed six or seven players to create a very wide palette of effects. The scores were often, written played and recorded in the space of three days. Night Mail and Coal Face are quintessential scores. All of scores exist in Britten-Pears library indeed Britten has been fortunate in having his heritage preserved with such diligence and care. So many composers have suffered in later years because of the dispersal of their music. Britten's mo e into film music coincided with Bliss's involvement with Korda at Denham Studios. Britten's were very small scores but very effective. For Night Mail Britten wrote the title music and then the track was without any music for the next 20 minutes. The music returns for the last 4 minutes. The words of Auden are intoned by Stuart Legge. Howard Ferguson recalls assisting during the GPO music sessions. He played piano duet or rattled chains or on one occasion emptied a bucket of water into another bucket. These sounds were all carefully annotated into the score. To achieve just the right result at the correct rhythm I he had a row of buckets ready for use. The Spanish Civil War began to dominate the life of many people during the 1930s. Which side did one support? Should one go and fight and join the International Brigade or stay? Paul Rotha recalled his own decision to make films and warn about the imminent war and the onslaught of world fascism. He made the film 'People of Britain' (1938) and commissioned Britten to write and direct the music. The money ran to an orchestra of five players from the LSO with Britte
7961	dbpedia	3	14	https://www.britannica.com/biography/Julius-Rosenberg-and-Ethel-Rosenberg	en	Julius and Ethel Rosenberg \| Biographies & Facts	https://cdn.britannica.c…e-trial-1951.jpg	https://cdn.britannica.c…e-trial-1951.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/33/71333-004-6798E805/Julius-and-Ethel-Rosenberg-espionage-trial-1951.jpg", "https://cdn.britannica.com/41/149841-004-4D3EC534/Julius-Rosenberg-1950.jpg", "https://cdn.britannica.com/42/149842-004-83E69A32/Ethel-Rosenberg-arrest-August-1950.jpg", "https://cdn.britannica.com/04/79904-131-6DCAD337/Elizabeth-II-speech-throne-Parliament-state-opening-1958.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/42/149842-131-25856DB0/Ethel-Rosenberg-arrest-August-1950.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/52/242652-050-EB37F33D/summer-reading-bingo-card.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/195145-131-784B0AED/hammer-sickle-star-Ukraine-Pavilion-All-Russia.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/142355-131-EFF621AF/books-Stack-literature-pile-reading-entertainment-society-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/23/176123-131-94DCF6F8/Aphrodite.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/06/200006-131-ABB681CF/Leonardo-da-Vinci-Italian-Renaissance-Florence-Engraving-1500.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/51/212551-131-CCA62CB1/Shadow-man-spooky-building-knife.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/30/119830-131-D828BB6C/Encyclopaedia-Britannica-First-Edition-Volume-1-Figure.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/146735-131-A32336AF/lawyers-Belgian-officials-war-crimes-charges-military-officers-January-1961.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/68/194168-131-CFE3851A/Anastasia.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/142355-131-EFF621AF/books-Stack-literature-pile-reading-entertainment-society-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/33/71333-050-00CFCBE1/Julius-and-Ethel-Rosenberg-espionage-trial-1951.jpg?w=300", "https://cdn.britannica.com/41/149841-004-4D3EC534/Julius-Rosenberg-1950.jpg?w=300", "https://cdn.britannica.com/42/149842-004-83E69A32/Ethel-Rosenberg-arrest-August-1950.jpg?w=300" ]	[]	[]	[ "Julius Rosenberg and Ethel Rosenberg", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "John Philip Jenkins" ]	1999-10-27T00:00:00+00:00	Julius Rosenberg and Ethel Rosenberg were the first American civilians to be executed for conspiracy to commit espionage and the first to suffer that penalty during peacetime. Ethel Greenglass worked as a clerk for some years after her graduation from high school in 1931. When she married Julius	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Julius-Rosenberg-and-Ethel-Rosenberg	Julius Rosenberg and Ethel Rosenberg (respectively, born May 12, 1918, New York, New York, U.S.—died June 19, 1953, Ossining, New York; born September 28, 1915, New York City—died June 19, 1953, Ossining) were the first American civilians to be executed for conspiracy to commit espionage and the first to suffer that penalty during peacetime. Ethel Greenglass worked as a clerk for some years after her graduation from high school in 1931. When she married Julius Rosenberg in 1939, the year he earned a degree in electrical engineering, the two were already active members of the Communist Party of the United States of America (CPUSA). In the following year Julius obtained a job as a civilian engineer with the U.S. Army Signal Corps, and he and Ethel began working together to disclose U.S. military secrets to the Soviet Union. Later, Ethel’s brother, Sgt. David Greenglass, who was assigned as a machinist to the Manhattan Project to build the atomic bomb, provided the Rosenbergs with data on nuclear weapons. The Rosenbergs turned over this information to Harry Gold, a Swiss-born courier for the espionage ring, who then passed it to Anatoly A. Yakovlev, the Soviet Union’s vice-consul in New York City. Julius Rosenberg was discharged by the army in 1945 for having lied about his membership in the Communist Party. Gold was arrested on May 23, 1950, in connection with the case of the British spy Klaus Fuchs, who had been arrested for giving U.S. and British nuclear secrets to the Soviet Union. The arrests of Greenglass and Julius Rosenberg followed quickly in June and July, and Ethel was arrested in August. Another conspirator, Morton Sobell, a college classmate of Julius Rosenberg, fled to Mexico but was extradited. The Rosenbergs were charged with conspiracy to commit espionage and brought to trial on March 6, 1951; Greenglass was the chief witness for the prosecution. On March 29 they were found guilty, and on April 5 the couple was sentenced to death. (Sobell and Gold received 30-year prison terms, and Greenglass, who was tried separately, was sentenced to 15 years in prison.) For two years the Rosenberg case was appealed through the courts and before world opinion. The constitutionality and applicability of the Espionage Act of 1917, under which the Rosenbergs were tried, as well as the impartiality of the trial judge, Irving R. Kaufman—who in pronouncing sentence had accused them of a crime “worse than murder”—were key issues during the appeals process. Seven different appeals reached the Supreme Court of the United States and were denied, and pleas for executive clemency were dismissed by Pres. Harry Truman in 1952 and Pres. Dwight Eisenhower in 1953. A worldwide campaign for mercy failed, and the Rosenbergs were executed in the electric chair at Sing Sing Prison in Ossining, New York. Ethel became the first woman executed by the U.S. government since Mary Surratt was hanged in 1865 for her alleged role in the assassination of Abraham Lincoln.
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forms, while eight more contributors highlight a dozen influential milestone essay films, from Jean Vigo to Chris Marker.	en	https://www2.bfi.org.uk/sites/all/themes/bfi2013/favicon.ico	British Film Institute	https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/essay-film	from our August 2013 issue I recently had a heated argument with a cinephile filmmaking friend about Chris Marker’s Sans soleil (1983). Having recently completed her first feature, and with such matters on her mind, my friend contended that the film’s power lay in its combinations of image and sound, irrespective of Marker’s inimitable voiceover narration. “Do you think that people who can’t understand English or French will get nothing out of the film?” she said; to which I – hot under the collar – replied that they might very well get something, but that something would not be the complete work. To take this film-lovers’ tiff to a more elevated plane, what it suggests is that the essentialist conception of cinema is still present in cinephilic and critical culture, as are the difficulties of containing within it works that disrupt its very fabric. Ever since Vachel Lindsay published The Art of the Moving Picture in 1915 the quest to secure the autonomy of film as both medium and art – that ever-elusive ‘pure cinema’ – has been a preoccupation of film scholars, critics, cinephiles and filmmakers alike. My friend’s implicit derogation of the irreducible literary element of Sans soleil and her neo-Godardian invocation of ‘image and sound’ touch on that strain of this phenomenon which finds, in the technical-functional combination of those two elements, an alchemical, if not transubstantiational, result. Mechanically created, cinema defies mechanism: it is poetic, transportive and, if not irrational, then a-rational. This mystically-minded view has a long and illustrious tradition in film history, stretching from the sense-deranging surrealists – who famously found accidental poetry in the juxtapositions created by randomly walking into and out of films; to the surrealist-influenced, scientifically trained and ontologically minded André Bazin, whose realist veneration of the long take centred on the very preternaturalness of nature as revealed by the unblinking gaze of the camera; to the trash-bin idolatry of the American underground, weaving new cinematic mythologies from Hollywood detritus; and to auteurism itself, which (in its more simplistic iterations) sees the essence of the filmmaker inscribed even upon the most compromised of works. It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built. In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”. Here, claimed Bazin, “a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.” Thus the very thing which makes Letter “extraordinary”, in Bazin’s estimation, is also what makes it not-cinema. Looking for a term to describe it, Bazin hit upon a prophetic turn of phrase, writing that Marker’s film is, “to borrow Jean Vigo’s formulation of À propos de Nice (‘a documentary point of view’), an essay documented by film. The important word is ‘essay’, understood in the same sense that it has in literature – an essay at once historical and political, written by a poet as well.” Marker’s canonisation has proceeded apace with that of the form of which he has become the exemplar. Whether used as critical/curatorial shorthand in reviews and programme notes, employed as a model by filmmakers or examined in theoretical depth in major retrospectives (this summer’s BFI Southbank programme, for instance, follows upon Andréa Picard’s two-part series ‘The Way of the Termite’ at TIFF Cinémathèque in 2009-2010, which drew inspiration from Jean-Pierre Gorin’s groundbreaking programme of the same title at Vienna Filmmuseum in 2007), the ‘essay film’ has attained in recent years widespread recognition as a particular, if perennially porous, mode of film practice. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition. It is crucial to note that the ‘essay film’ is not only a post-facto appellation for a kind of film practice that had not bothered to mark itself with a moniker, but also an invention and an intervention. While it has acquired its own set of canonical ‘texts’ that include the collected works of Marker, much of Godard – from the missive (the 52-minute Letter to Jane, 1972) to the massive (Histoire(s) de cinéma, 1988-98) – Welles’s F for Fake (1973) and Thom Andersen’s Los Angeles Plays Itself (2003), it has also poached on the territory of other, ‘sovereign’ forms, expanding its purview in accordance with the whims of its missionaries. From documentary especially, Vigo’s aforementioned À propos de Nice, Ivens’s Rain (1929), Buñuel’s sardonic Las Hurdes (1933), Resnais’s Night and Fog (1955), Rouch and Morin’s Chronicle of a Summer (1961); from the avant garde, Akerman’s Je, Tu, Il, Elle (1974), Straub/Huillet’s Trop tôt, trop tard (1982); from agitprop, Getino and Solanas’s The Hour of the Furnaces (1968), Portabella’s Informe general… (1976); and even from ‘pure’ fiction, for example Gorin’s provocative selection of Griffith’s A Corner in Wheat (1909). Just as within itself the essay film presents, in the words of Gorin, “the meandering of an intelligence that tries to multiply the entries and the exits into the material it has elected (or by which it has been elected),” so, without, its scope expands exponentially through the industrious activity of its adherents, blithely cutting across definitional borders and – as per the Manny Farberian concept which gave Gorin’s ‘Termite’ series its name – creating meaning precisely by eating away at its own boundaries. In the scope of its application and its association more with an (amorphous) sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction. The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period (no matter that the temporal goalposts are continually shifted), the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the 1940s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both. “Here is a form that seems to accommodate the two sides of that divide at the same time, that can navigate from documentary to fiction and back, creating other polarities in the process between which it can operate,” writes Gorin. When Orson Welles, in the closing moments of his masterful meditation on authenticity and illusion F for Fake, chortles, “I did promise that for one hour, I’d tell you only the truth. For the past 17 minutes, I’ve been lying my head off,” he is expressing both the conjuror’s pleasure in a trick well played and the artist’s delight in a self-defined mode that is cheerfully impure in both form and, perhaps, intention. Nevertheless, as the essay film merrily traipses through celluloid history it intersects with ‘pure cinema’ at many turns and its form as such owes much to one particularly prominent variety thereof. The montage tradition If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction. No less than the mystics, however, the montagists were after essences. Eisenstein, Dziga Vertov and Pudovkin, along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images – the general made powerfully, viscerally immediate in the particular. Here, says Eisenstein, in the umbrella-wielding harpies who set upon the revolutionaries in October (1928), is bourgeois Reaction made manifest; here, in the serried ranks of soldiers proceeding as one down the Odessa Steps in Battleship Potemkin (1925), is Oppression undisguised; here, in the condemned Potemkin sailor who wins over his imminent executioners with a cry of “Brothers!” – a moment powerfully invoked by Marker at the beginning of his magnum opus A Grin Without a Cat (1977) – is Solidarity emergent and, from it, the seeds of Revolution. The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. So, too, the former’s fierce ideological certainty and cadre spirit contrast with that free play of the mind, the Montaigne-inspired meanderings of individual intelligence, that so characterise our image of the latter. Beyond Marker’s personal interest in and inheritance from the Soviet masters, classical montage laid the foundations of the essay film most pertinently in its foregrounding of the presence, within the fabric of the film, of a directing intelligence. Conducting their experiments in film not through ‘pure’ abstraction but through narrative, the montagists made manifest at least two operative levels within the film: the narrative itself and the arrangement of that narrative by which the deeper structures that move it are made legible. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society. And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic – whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage – was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality. Midway on their Marxian mission to change the world rather than interpret it, the montagists actively made the world even as they revealed it. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself. Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control. At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles – to exhaust its wealth of surfaces, meanings, implications, resonances – collides with awe (or fear) before a plenitude that can never be encompassed. Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability. The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. While Leni Riefenstahl’s Triumph of the Will (1935) and Olympia (1938) amply and chillingly demonstrated that montage, like any instrumental apparatus, has no inherent ideological nature, hers were more the exceptions that proved the rule. (Though why, apart from ideological repulsiveness, should Riefenstahl’s plentifully fabricated ‘documentaries’ not be considered as essay films in their own right?) The overwhelming fact remains that the great majority of those who drew upon the Soviet montagists for explicitly ideological ends (as opposed to Hollywood’s opportunistic swipings) resided on the left of the spectrum – and, in the montagists’ most notable successor in the period immediately following, retained their alignment with and inextricability from the state. Progressive vs radical The Griersonian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities. The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity. The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism. The Soviet montagists had looked to forge a universal, ‘pure’ cinematic language, at least before the oppressive dictates of Stalinist socialist realism shackled them. The Grierson school, evincing a middle-class disdain for the popular and ‘low’ arts, sought instead to purify the sullied medium of cinema by importing extra-cinematic prestige: most notably Night Mail (1936), with its Auden-penned, Britten-scored ode to the magic of the mail, or Humphrey Jennings’s salute to wartime solidarity A Diary for Timothy (1945), with its mildly sententious E.M. Forster narration. What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language (montage) with a traditionally literary one (narration); and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning – as the mediating intelligence that connects the viewer to the images viewed. In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?” It’s a curiously disquieting conclusion: this unsettling, anxious vision of disappearance that takes on an even darker shade with the looming spectre of war – one that rhymes, five decades on, with the wistful search of Marker’s narrator in Sans soleil, seeking those fleeting images which “quicken the heart” in a world where wars both past and present have been forgotten, subsumed in a modern society built upon the systematic banishment of memory. It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. In contrast to the striving culture-snobbery of the Griersonian documentary, the Resnais-Marker collaborations (and the Resnais solo documentary shorts that preceded them) inaugurate a blithe, seemingly effortless dialogue between cinema and the other arts in both their subjects (painting, sculpture) and their assorted creative personnel (writers Paul Éluard, Jean Cayrol, Raymond Queneau, composers Darius Milhaud and Hanns Eisler). This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation. Related to this was the form’s problems with official patronage. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi (1953) for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed. Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence – the whirl of the city, the rhythm of the rain, the workings of industry – to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The African masks preserved in the Musée de l’Homme in Les statues meurent aussi speak of a bloody legacy of vanquished and conquered civilisations; the labyrinthine archival complex of the Bibliothèque Nationale in the sardonically titled Toute la mémoire du monde (1956) sparks a disquisition on all that is forgotten in the act of cataloguing knowledge; the miracle of modern plastics saluted in the witty, industrially commissioned Le Chant du styrène (1958) regresses backwards to its homely beginnings; in Night and Fog an unprecedentedly enormous effort of human organisation marshals itself to actively produce a dreadful, previously unimaginable nullity. To overstate the case, loss is the primary motor of the modern essay film: loss of belief in the image’s ability to faithfully reflect reality; loss of faith in the cinema’s ability to capture life as it is lived; loss of illusions about cinema’s ‘purity’, its autonomy from the other arts or, for that matter, the world. “You never know what you may be filming,” notes one of Marker’s narrating surrogates in A Grin Without a Cat, as footage of the Chilean equestrian team at the 1952 Helsinki Olympics offers a glimpse of a future member of the Pinochet junta. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak. What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes. — Andrew Tracy 1. À propos de Nice Jean Vigo, 1930 Few documentaries have achieved the cult status of the 22-minute A propos de Nice, co-directed by Jean Vigo and cameraman Boris Kaufman at the beginning of their careers. The film retains a spontaneous, apparently haphazard, quality yet its careful montage combines a strong realist drive, lyrical dashes – helped by Marc Perrone’s accordion music – and a clear political agenda. In today’s era, in which the Côte d’Azur has become a byword for hedonistic consumption, it’s refreshing to see a film that systematically undermines its glossy surface. Using images sometimes ‘stolen’ with hidden cameras, A propos de Nice moves between the city’s main sites of pleasure: the Casino, the Promenade des Anglais, the Hotel Negresco and the carnival. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the (then) squalid streets of the Old Town. As often, women bear the brunt of any critique of bourgeois consumption: a rich old woman’s head is compared to an ostrich, others grin as they gaze up at phallic factory chimneys; young women dance frenetically, their crotch to the camera. In the film’s most famous image, an elegant woman is ‘stripped’ by the camera to reveal her naked body – not quite matched by a man’s shoes vanishing to display his naked feet to the shoe-shine. An essay film avant la lettre, A propos de Nice ends on Soviet-style workers’ faces and burning furnaces. The message is clear, even if it has not been heeded by history. — Ginette Vincendeau 2. A Diary for Timothy Humphrey Jennings, 1945 A Diary for Timothy takes the form of a journal addressed to the eponymous Timothy James Jenkins, born on 3 September 1944, exactly five years after Britain’s entry into World War II. The narrator, Michael Redgrave, a benevolent offscreen presence, informs young Timothy about the momentous events since his birth and later advises that, even when the war is over, there will be “everyday danger”. The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business. Within the confines of the Ministry of Information’s remit – to lift the spirits of a battle-weary nation – and the loose narrative framework of Timothy’s first six months, Jennings finds ample expression for the kind of formal experiment that sets his work apart from that of other contemporary documentarians. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Managing to keep to the right side of sentimentality, it still makes for potent viewing. — Catherine McGahan 3. Toute la mémoire du monde Alain Resnais, 1956 In the opening credits of Toute la mémoire du monde, alongside the director’s name and that of producer Pierre Braunberger, one reads the mysterious designation “Groupe des XXX”. This Group of Thirty was an assembly of filmmakers who mobilised in the early 1950s to defend the “style, quality and ambitious subject matter” of short films in post-war France; the signatories of its 1953 ‘Declaration’ included Resnais, Chris Marker and Agnès Varda. The success of the campaign contributed to a golden age of short filmmaking that would last a decade and form the crucible of the French essay film. A 22-minute poetic documentary about the old French Bibliothèque Nationale, Toute la mémoire du monde is a key work in this strand of filmmaking and one which can also be seen as part of a loose ‘trilogy of memory’ in Resnais’s early documentaries. Les statues meurent aussi (co-directed with Chris Marker) explored cultural memory as embodied in African art and the depredations of colonialism; Night and Fog was a seminal reckoning with the historical memory of the Nazi death camps. While less politically controversial than these earlier works, Toute la mémoire du monde’s depiction of the Bibliothèque Nationale is still oddly suggestive of a prison, with its uniformed guards and endless corridors. In W.G. Sebald’s 2001 novel Austerlitz, directly after a passage dedicated to Resnais’s film, the protagonist describes his uncertainty over whether, when using the library, he “was on the Islands of the Blest, or, on the contrary, in a penal colony”. Resnais explores the workings of the library through the effective device of following a book from arrival and cataloguing to its delivery to a reader (the book itself being something of an in-joke: a mocked-up travel guide to Mars in the Petite Planète series Marker was then editing for Editions du Seuil). With Resnais’s probing, mobile camerawork and a commentary by French writer Remo Forlani, Toute la mémoire du monde transforms the library into a mysterious labyrinth, something between an edifice and an organism: part brain and part tomb. — Chris Darke 4. The House is Black (Khaneh siah ast) Forough Farrokhzad, 1963 Before the House of Makhmalbaf there was The House is Black. Called “the greatest of all Iranian films” by critic Jonathan Rosenbaum, who helped translate the subtitles from Farsi into English, this 20-minute black-and-white essay film by feminist poet Farrokhzad was shot in a leper colony near Tabriz in northern Iran and has been heralded as the touchstone of the Iranian New Wave. The buildings of the Baba Baghi colony are brick and peeling whitewash but a student asked to write a sentence using the word ‘house’ offers Khaneh siah ast: the house is black. His hand, seen in close-up, is one of many in the film; rather than objects of medical curiosity, these hands – some fingerless, many distorted by the disease – are agents, always in movement, doing, making, exercising, praying. In putting white words on the blackboard, the student makes part of the film; in the next shots, the film’s credits appear, similarly handwritten on the same blackboard. As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”). In the conjunctions between Farrokhzad’s poetic narration and diegetic sound, including tanbur-playing, an intense assonance arises. Its beat is provided by uniquely lyrical associative editing that would influence Abbas Kiarostami, who quotes Farrokhzad’s poem ‘The Wind Will Carry Us’ in his eponymous film. Repeated shots of familiar bodily movement, made musical, move the film insistently into the viewer’s body: it is infectious. Posing a question of aesthetics, The House Is Black uses the contagious gaze of cinema to dissolve the screen between Us and Them. — Sophie Mayer 5. Letter to Jane: An Investigation About a Still Jean-Luc Godard & Jean-Pierre Gorin, 1972 With its invocation of Brecht (“Uncle Bertolt”), rejection of visual pleasure (for 52 minutes we’re mostly looking at a single black-and-white still) and discussion of the role of intellectuals in “the revolution”, Letter to Jane is so much of its time as to appear untranslatable to the present except as a curio from a distant era of radical cinema. Between 1969 and 1971, Godard and Gorin made films collectively as part of the Dziga Vertov Group before they returned, in 1972, to the mainstream with Tout va bien, a big-budget film about the aftermath of May 1968 featuring leftist stars Yves Montand and Jane Fonda. It was to the latter that Godard and Gorin directed their Letter after seeing a news photograph of her on a solidarity visit to North Vietnam in August 1972. Intended to accompany the US release of Tout va bien, Letter to Jane is ‘a letter’ only in as much as it is fairly conversational in tone, with Godard and Gorin delivering their voiceovers in English. It’s stylistically more akin to the ‘blackboard films’ of the time, with their combination of pedagogical instruction and stern auto-critique. It’s also an inspired semiological reading of a media image and a reckoning with the contradictions of celebrity activism. Godard and Gorin examine the image’s framing and camera angle and ask why Fonda is the ‘star’ of the photograph while the Vietnamese themselves remain faceless or out of focus? And what of her expression of compassionate concern? This “expression of an expression” they trace back, via an elaboration of the Kuleshov effect, through other famous faces – Henry Fonda, John Wayne, Lillian Gish and Falconetti – concluding that it allows for “no reverse shot” and serves only to bolster Western “good conscience”. Letter to Jane is ultimately concerned with the same question that troubled philosophers such as Levinas and Derrida: what’s at stake ethically when one claims to speak “in place of the other”? Any contemporary critique of celebrity activism – from Bono and Geldof to Angelina Jolie – should start here, with a pair of gauchiste trolls muttering darkly beneath a press shot of ‘Hanoi Jane’. — Chris Darke 6. F for Fake Orson Welles, 1973 Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his better-known feature debut. Perhaps the film’s comparative and undeserved critical neglect is due to its predominantly playful tone, or perhaps it’s because it is a low-budget, hard-to-categorise, deeply personal work that mixes original material with plenty of footage filmed by others – most extensively taken from a documentary by François Reichenbach about Clifford Irving and his bogus biography of his friend Elmyr de Hory, an art forger who claimed to have painted pictures attributed to famous names and hung in the world’s most prestigious galleries. If the film had simply offered an account of the hoaxes perpetrated by that disreputable duo, it would have been entertaining enough but, by means of some extremely inventive, innovative and inspired editing, Welles broadens his study of fakery to take in his own history as a ‘charlatan’ – not merely his lifelong penchant for magician’s tricks but also the 1938 radio broadcast of his news-report adaptation of H.G. Wells’ The War of the Worlds – as well as observations on Howard Hughes, Pablo Picasso and the anonymous builders of Chartres cathedral. So it is that Welles contrives to conjure up, behind a colourful cloak of consistently entertaining mischief, a rueful meditation on truth and falsehood, art and authorship – a subject presumably dear to his heart following Pauline Kael’s then recent attempts to persuade the world that Herman J. Mankiewicz had been the real creative force behind Kane. As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic. — Geoff Andrew 7. How to Live in the German Federal Republic (Leben – BRD) Harun Farocki, 1990 Harun Farocki’s portrait of West Germany in 32 simulations from training sessions has no commentary, just the actions themselves in all their surreal beauty, one after the other. The Bundesrepublik Deutschland is shown as a nation of people who can deal with everything because they have been prepared – taught how to react properly in every possible situation. We know how birth works; how to behave in kindergarten; how to chat up girls, boys or whatever we fancy (for we’re liberal-minded, if only in principle); how to look for a job and maybe live without finding one; how to wiggle our arses in the hottest way possible when we pole-dance, or manage a hostage crisis without things getting (too) bloody. Whatever job we do, we know it by heart; we also know how to manage whatever kind of psychological breakdown we experience; and we are also prepared for the end, and even have an idea about how our burial will go. This is the nation: one of fearful people in dire need of control over their one chance of getting it right. Viewed from the present, How to Live in the German Federal Republic is revealed as the archetype of many a Farocki film in the decades to follow, for example Die Umschulung (1994), Der Auftritt (1996) or Nicht ohne Risiko (2004), all of which document as dispassionately as possible different – not necessarily simulated – scenarios of social interactions related to labour and capital. For all their enlightening beauty, none of these ever came close to How to Live in the German Federal Republic which, depending on one’s mood, can play like an absurd comedy or the most gut-wrenching drama. Yet one disquieting thing is certain: How to Live in the German Federal Republic didn’t age – our lives still look the same. — Olaf Möller 8. One Man’s War (La Guerre d’un seul homme) Edgardo Cozarinsky, 1982 One Man’s War proves that an auteur film can be made without writing a line, recording a sound or shooting a single frame. It’s easy to point to the ‘extraordinary’ character of the film, given its combination of materials that were not made to cohabit; there couldn’t be a less plausible dialogue than the one Cozarinsky establishes between the newsreels shot during the Nazi occupation of Paris and the Parisian diaries of novelist and Nazi officer Ernst Jünger. There’s some truth to Pascal Bonitzer’s assertion in Cahiers du cinéma in 1982 that the principle of the documentary was inverted here, since it is the images that provide a commentary for the voice. But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels. To enquire about the essayistic dimension of One Man’s War is to submit it to a test of purity against which the film itself is rebelling. This is no ars combinatoria but systems of collision and harmony; organic in their temporal development and experimental in their procedural eagerness. It’s like a machine created to die instantly; neither Cozarinsky nor anyone else could repeat the trick, as is the case with all great avant-garde works. By blurring the genre of his literary essays, his fictional films, his archival documentaries, his literary fictions, Cozarinsky showed he knew how to reinvent the erasure of borders. One Man’s War is not a film about the Occupation but a meditation on the different forms in which that Occupation can be represented. —Sergio Wolf. Translated by Mar Diestro-Dópido 9. Sans soleil Chris Marker, 1982 There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer Sei Shōnagon. As we hear of Shōnagon’s “list of elegant things, distressing things, even of things not worth doing”, we watch images of a missile being launched and a hovering bomber. What’s the connection? There is none. Nothing here fixes word and image in illustrative lockstep; it’s in the space between them that Sans soleil makes room for the spectator to drift, dream and think – to inimitable effect. Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as Letter from Siberia (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change. While it’s handy to define Sans soleil as an ‘essay film’, there’s something about the dry term that doesn’t do justice to the experience of watching it. After Marker’s death last year, when writing programme notes on the film, I came up with a line that captures something of what it’s like to watch Sans soleil: “a mesmerising, lucid and lovely river of film, which, like the river of the ancients, is never the same when one steps into it a second time”. — Chris Darke 10. Handsworth Songs Black Audio Film Collective, 1986 Made at the time of civil unrest in Birmingham, this key example of the essay film at its most complex remains relevant both formally and thematically. Handsworth Songs is no straightforward attempt to provide answers as to why the riots happened; instead, using archive film spliced with made and found footage of the events and the media and popular reaction to them, it creates a poetic sense of context. The film is an example of counter-media in that it slows down the demand for either immediate explanation or blanket condemnation. Its stillness allows the history of immigration and the subsequent hostility of the media and the police to the black and Asian population to be told in careful detail. One repeated scene shows a young black man running through a group of white policemen who surround him on all sides. He manages to break free several times before being wrestled to the ground; if only for one brief, utopian moment, an entirely different history of race in the UK is opened up. The waves of post-war immigration are charted in the stories told both by a dominant (and frequently repressive) televisual narrative and, importantly, by migrants themselves. Interviews mingle with voiceover, music accompanies the machines that the Windrush generation work at. But there are no definitive answers here, only, as the Black Audio Film Collective memorably suggests, “the ghosts of songs”. — Nina Power 11. Los Angeles Plays Itself Thom Andersen, 2003 One of the attractions that drew early film pioneers out west, besides the sunlight and the industrial freedom, was the versatility of the southern Californian landscape: with sea, snowy mountains, desert, fruit groves, Spanish missions, an urban downtown and suburban boulevards all within a 100-mile radius, the Los Angeles basin quickly and famously became a kind of giant open-air film studio, available and pliant. Of course, some people actually live there too. “Sometimes I think that gives me the right to criticise,” growls native Angeleno Andersen in his forensic three-hour prosecution of moving images of the movie city, whose mounting litany of complaints – couched in Encke King’s gravelly, near-parodically irritated voiceover, and sometimes organised, as Stuart Klawans wrote in The Nation, “in the manner of a saloon orator” – belies a sly humour leavening a radically serious intent. Inspired in part by Mark Rappaport’s factual essay appropriations of screen fictions (Rock Hudson’s Home Movies, 1993; From the Journals of Jean Seberg, 1995), as well as Godard’s Histoire(s) de cinéma, this “city symphony in reverse” asserts public rights to our screen discourse through its magpie method as well as its argument. (Today you could rebrand it ‘Occupy Hollywood’.) Tinseltown malfeasance is evidenced across some 200 different film clips, from offences against geography and slurs against architecture to the overt historical mythologies of Chinatown (1974), Who Framed Roger Rabbit (1988) and L.A. Confidential (1997), in which the city’s class and cultural fault-lines are repainted “in crocodile tears” as doleful tragedies of conspiracy, promoting hopelessness in the face of injustice. Andersen’s film by contrast spurs us to independent activism, starting with the reclamation of our gaze: “What if we watch with our voluntary attention, instead of letting the movies direct us?” he asks, peering beyond the foregrounding of character and story. And what if more movies were better and more useful, helping us see our world for what it is? Los Angeles Plays Itself grows most moving – and useful – extolling the Los Angeles neorealism Andersen has in mind: stories of “so many men unneeded, unwanted”, as he says over a scene from Billy Woodberry’s Bless Their Little Hearts (1983), “in a world in which there is so much to be done”. — Nick Bradshaw 12. La Morte Rouge Víctor Erice, 2006 The famously unprolific Spanish director Víctor Erice may remain best known for his full-length fiction feature The Spirit of the Beehive (1973), but his other films are no less rewarding. Having made a brilliant foray into the fertile territory located somewhere between ‘documentary’ and ‘fiction’ with The Quince Tree Sun (1992), in this half-hour film made for the ‘Correspondences’ exhibition exploring resemblances in the oeuvres of Erice and Kiarostami, the relationship between reality and artifice becomes his very subject. A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt. If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable. The title is the name of the Québécois village that is the setting for The Scarlet Claw (1944), a wartime Holmes mystery starring Basil Rathbone and Nigel Bruce which was the first movie Erice ever saw, taken by his sister to the Kursaal cinema in San Sebastian. For the five-year-old, the experience was a revelation: unable to distinguish the ‘reality’ of the newsreel from that of the nightmare world of Roy William Neill’s film, he not only learned that death and murder existed but noted that the adults in the audience, presumably privy to some secret knowledge denied him, were unaffected by the corpses on screen. Had this something to do with war? Why was La Morte Rouge not on any map? And what did it signify that postman Potts was not, in fact, Potts but the killer – and an actor (whatever that was) to boot? From such personal reminiscences – evoked with wondrous intimacy in the immaculate Castillian of the writer-director’s own wry narration – Erice fashions a lyrical meditation on themes that have underpinned his work from Beehive to Broken Windows (2012): time and change, memory and identity, innocence and experience, war and death. And because he understands, intellectually and emotionally, that the time-based medium he himself works in can reveal unforgettably vivid realities that belong wholly to the realm of the imaginary, La Morte Rouge is a great film not only about the power of cinema but about life itself. — Geoff Andrew
7961	dbpedia	0	36	https://www.artforum.com/features/thinking-through-cinema-the-films-of-jean-epstein-227608/	en	THINKING THROUGH CINEMA: THE FILMS OF JEAN EPSTEIN	https://www.artforum.com…ge-234.jpg?w=650	https://www.artforum.com…ge-234.jpg?w=650	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.artforum.com/wp-content/uploads/2016/01/article00_large-234.jpg", "https://www.artforum.com/wp-content/uploads/2016/01/article00_large-236.jpg?w=300&h=168&crop=1", "https://www.artforum.com/wp-content/uploads/2016/01/article00_large-252.jpg?w=300&h=168&crop=1", "https://www.artforum.com/wp-content/uploads/2016/01/article01_large-73.jpg", "https://www.artforum.com/wp-content/uploads/2024/08/Buchel-Denny-1.jpg?w=1160&h=773&crop=1", "https://www.artforum.com/wp-content/uploads/2024/08/Venice-Opener-1.jpg?w=1160&h=773&crop=1", "https://www.artforum.com/wp-content/uploads/2024/08/Palme-Scheper-1.jpg?w=1160&h=921&crop=1", "https://www.artforum.com/wp-content/uploads/2024/08/Jotta-featured-image.jpg?crop=268px%2C171px%2C602px%2C602px&resize=3000%2C3000", "https://www.artforum.com/wp-content/uploads/2024/08/Venice-Borja-Villel-1.jpg?w=1160&h=773&crop=1", "https://www.artforum.com/wp-content/uploads/2024/08/Stella-Rich-1.jpg?w=1160&h=1160&crop=1", "https://www.artforum.com/wp-content/uploads/2016/01/coversmall_large.jpg", "https://www.artforum.com/wp-content/uploads/2004/01/article00.jpg?w=300&h=257&crop=1", "https://www.artforum.com/wp-content/uploads/2024/05/Haynes-6.jpg?w=300&h=300&crop=1", "https://www.rollingstone.com/wp-content/uploads/2024/09/Mr_McMahon_E5_00_04_39_00.jpg?resize=232,175", "https://variety.com/wp-content/uploads/2023/07/Ramsey-Naito-Approved-Photo-1-e1690469159680.jpg?resize=232,175", "https://www.billboard.com/wp-content/uploads/2024/09/Sabrina-Carptenter-2024-tonight-show-a-billboard-1548.jpg?resize=232,175", "https://www.hollywoodreporter.com/wp-content/uploads/2024/09/Mr_McMahon_E5_00_25_58_05.png?resize=232,175", "https://www.artforum.com/wp-content/uploads/2024/08/AF924_web.jpg?w=244", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Stuart Liebman" ]	2016-02-01T00:00:00+00:00	Jean Epstein, Coeur fidèle (The Faithful Heart), 1923, 35 mm, black-and-white, silent, 84 minutes. Marie (Gina Manès). 1921 WAS AN ANNUS MIRABILIS for Jean Epstein (1897–1953). Born in Warsaw and…	en	https://www.artforum.com…vicon-3.png?w=32	Artforum	https://www.artforum.com/features/thinking-through-cinema-the-films-of-jean-epstein-227608/	1921 WAS AN ANNUS MIRABILIS for Jean Epstein (1897–1953). Born in Warsaw and raised in Switzerland, the twenty-four-year-old former medical student had his first book—an ambitious study of French poetic modernism grandly titled La poésie d’aujourd’hui, un nouvel état d’intelligence (Today’s Poetry: A New Mind-Set)—published by a prestigious vanguard press, Éditions de la Sirène. Its positive reception made him a rising star in the Parisian avant-garde arts scene, and literary luminaries as different as André Gide and Max Jacob expressed disappointment that the hitherto unknown author had not included analyses of their works alongside those by Apollinaire, Jean Cocteau, Louis Aragon, and the young critic’s mentor, the peripatetic Swiss writer Blaise Cendrars. This taste of intellectual celebrity and a promised job at La Sirène encouraged Epstein to move to the French capital, where the range of his acquaintances expanded rapidly. Amédée Ozenfant and Le Corbusier welcomed him to L’Esprit Nouveau, the new international journal they coedited; over the coming months, his articles on poetry and poetics, the latest scientific research, a recent Viennese import called psychoanalysis, current movies, and even kabbalistic mysticism would appear in its pages. In the next couple of years, moreover, other intellectual magazines in France and Western Europe requested contributions from him, and translations of his texts brought Epstein’s distinctive reflections on literature and the other arts to audiences as far away as Soviet Russia and the United States. But if literary criticism and a predilection for intellectual debate had been his initial calling cards, pointing toward a career as a man of letters, Epstein was even more passionate about the medium some in France were beginning to call the Seventh Art. Epstein was a member of the first generation—Béla Balázs, Vsevolod Pudovkin, Dziga Vertov, Sergei Eisenstein, and Lev Kuleshov (born, respectively, in 1884, 1893, 1896, 1898, and 1899) were among his principal peers—to have grown up entranced by moving pictures. As these future filmmakers and film theorists approached maturity at the end of World War I, each began to speculate about the ways in which the new mass medium’s artistic possibilities might be capable of transforming in unique, and indeed utopian, ways the world of shattered political systems, class conflict, war, and mass death that they had inherited. For them, cinema was the art of the present, the camera’s eye a unique tool for seeing the world anew, and the manifold new film techniques a way of reshaping the experience and consciousness of the masses. Epstein, in fact, had already devoted a perceptive chapter to the cinema’s influence on modern letters in La poésie d’aujourd’hui, and the book itself was predicated on an analysis of modern social dynamics that made cinema an important new art form. Even before 1921 was over, La Sirène released Epstein’s strikingly designed second book—what the French call a plaquette—titled Bonjour cinéma. Only a few dozen pages long, it comprised three brashly opinionated, poetically formulated essays, simple verses, and evocative illustrations that succinctly evoked and pushed beyond more than ten years of existing theoretical speculation about the movies in France. Epstein’s very individual formulations, moreover, anticipated some of the most fruitful thinking about the cinema’s appeal and promise—ideas that would become major themes in European filmmakers’ and critics’ writing about the cinema during the next decade. In Paris, his cinematic prescriptions (he championed the use of close-ups to avoid narrational intertitles, endorsed rhythmic editing and bravura camera movements, and shunned static shots and histrionic performance styles) were instantly endorsed by many on the cutting edge of French film production. The industry’s old guard resisted, and the ensuing controversy pushed Epstein into the French cultural limelight for the second time in a year. He would remain in the cinematic fray for much of the 1920s, as he charted his own course through the various isms, industry factions, and art movements making competing claims on cinema while bidding for broader cultural recognition. Epstein fit into none of the diverse camps that emerged. He did not champion—indeed, he dismissed—the prospect of a formalistic cinéma pur espoused by such filmmakers as Henri Chomette, Viking Eggeling, and his friend Fernand Léger; nor was he a Dadaist or Surrealist like Man Ray or Luis Buñuel (who would serve as assistant director on two of Epstein’s films). And he was certainly no cheerleader for standard industry practices. He was an independent who took his own ideas seriously; modified over time, made more complex, reconfigured to encompass wider realms of cultural ramification, the theories he first sketched as a young belle lettriste would serve as touchstones informing both his filmmaking and his theoretical commentaries over the course of a three-decade career. His new Parisian contacts and a dose of good luck propelled Epstein into film production with astonishing speed in 1922, but his thinking about the possibilities of the film medium crystallized before he had even begun to make his first movie. His early writings were elliptically but cogently rooted in principles that may be broadly characterized as modernist. He summarized this core conviction in a lecture just two years after the publication of Bonjour cinéma: For every art builds its forbidden city, its own exclusive domain, autonomous, specific, and hostile to anything that does not belong. Astonishing to relate, literature must first and foremost be literary; the theater, theatrical; painting, pictorial; and the cinema, cinematic. Painting today is freeing itself from many of its representational and narrative concerns. . . . What one might call the high art of painting seeks to be no more than painting, in other words color taking on life. And any literature worthy of the name turns its back on those twists and turns of plot which lead to the detective’s discovery of the lost treasure. Literature seeks only to be literary. . . . Similarly, the cinema should avoid dealings, which can only be unfortunate, with historical, educational, novelistic, moral or immoral, geographical or documentary subjects. The cinema must seek to become, gradually and in the end uniquely, cinematic; to employ, in other words, only photogenic elements. Photogénie is the purest expression of cinema.1 Like Louis Delluc, the leading French film critic in the 1910s and early ’20s, who had been the first to claim photogénie as the foundation of cinema’s appeal, Epstein made only halfhearted efforts to define the term with any precision. It remained mysteriously opaque, open-ended, an intuited aspiration. His attempts at specifying its essence were in any case less important than his enumeration of certain strategies that could supposedly produce it and thereby augment a film’s emotional power. A photogenic—that is, a truly cinematic cinema—could virtually dispense with narrative. “Exposition is illogical,” Epstein wrote: What happens snares us like a wolf trap. The denouement, the unraveling of the plot, can be nothing more than a transition from knot to knot. So that there are no great changes in emotional heights. The drama is as continuous as life. . . . So why tell stories, narratives which always assume a chronology, sequential events, a gradation in facts and feelings? . . . There are no stories. There have never been stories. There are only situations, having neither head nor tail; without beginning, middle, or end, no right side or wrong side . . . without limits in past or future, they are the present.2 However, once employed by the famous Pathé studios, as he was almost immediately after the success of his first film, a commemoration of Louis Pasteur (Pasteur [1922]), Epstein was forced to work in the shadow of his own radical ideas. Inevitably, he was forced into compromises: Producers obliged him to accept scriptwriters’ scenarios reminiscent of the types of “sub-literature” he spurned. Some of the more strenuous advocates of pure cinema regarded such concessions as a kind of betrayal. Epstein, who aspired to make movies for the masses, tried to make the best of his difficult situation by fashioning plots that could be used to maximum cinematic effect. His first film for Pathé, for example, was an adaptation in 1923 of Balzac’s short story “L’auberge rouge” (The Red Inn), whose intricate plot involves complex flashbacks amid growing suspicions that ultimately lead to the unmasking of a criminal. Compared with many routine productions of the day, such a plot knowingly echoed sophisticated literary models Epstein admired. This modernist fragmentation of narrative, with its smooth shifts between past and present and its observation in close-up of the nuanced expressions on characters’ faces, reached a high point in the fractured, multipart storytelling of one of his superbly edited, deeply ambiguous masterpieces, La glace à trois faces (The Three-Sided Mirror, 1927), based on a Paul Morand story. Its “denouement, the unraveling of the plot,” was “nothing more than a transition from knot to knot.” In other films, Epstein reduced his story line to a skeletal melodrama, the better to highlight the impact of certain film techniques. Such is the case with his celebrated Coeur fidèle (The Faithful Heart, 1923), whose scenario, he claimed, was written in a single night. He contrived a spare, banal triangular romance, initially set in a French port bar, which echoed Louis Delluc’s film Fièvre (Fever, 1921) even as it anticipated the locales and melancholy moods of French “poetic realist” films of the 1930s. The simple story becomes a mere pretext for a number of sequences in which Epstein attempted to realize some of the most ambitious imaginative projects he had forecast in Bonjour cinéma. Most famous is one in a fête foraine, or traveling carnival. “I yearn for a drama aboard a merry-go-round,” Epstein had written, “or more modern still, on airplanes. The fair below and its surroundings would be progressively confounded.”3 He achieved this goal by including a scene in which the villain takes the rather abject heroine he wants to seduce on an airplane ride at a fairground. The director perched a camera precariously on a seat in front of the lecherous Petit Paul and the hapless Marie to take two-shots and close-ups of them as they whirled through space, and intercut these with blurred, possibly subjective footage of the surroundings whizzing by. The lengthy scene is among the most exhilarating Epstein ever fashioned. Lauded by progressive filmmakers in France, it was often excerpted and shown at art salons and ciné-club gatherings; it also became quite well known abroad.4 Coeur fidèle illustrated that an emphasis on sheer sensations of speed and motion could supplant, at least temporarily, a plot’s twists and turns. That is because, Epstein insisted, photogénie depended on movement; static shots were anticinematic. As he stated in “Grossissement” (Magnification), the lead essay in Bonjour cinéma: The landscape may represent a state of mind. It is above all a state. A state of rest. . . . But “the landscape’s dance” is photogenic. Through the window of a train or a ship’s porthole, the world acquires a new, specifically cinematic vivacity. A road is a road but the ground which flees under the four beating hearts of an automobile’s belly transports me. The Oberland and Semmering tunnels swallow me up, and my head, bursting through the roof, hits against their vaults. Seasickness is decidedly pleasant. I’m on board the plummeting airplane. My knees bend. This area remains to be exploited.5 Like many of his peers, Epstein—who took delight in driving fast cars—sought opportunities to take shots from inside a racing automobile, as he did in La glace à trois faces to re-create the feelings of thrust and vertiginous speed that express the antihero’s sense of freedom from romantic attachments. Moving cars appear in several of Epstein’s other films, including Le double amour (Double Love, 1925) and L’homme à l’Hispano (The Man with the Hispano-Suiza, 1932). But he was also capable of downshifting to slower rhythms, as in La belle Nivernaise (The Beauty from Nivernais, 1923), which luxuriated in lengthy panning shots taken from a barge floating down canals in the French provinces. Epstein was always particularly alert to shaping a film’s overall rhythm. In L’auberge rouge, he asked the performers to slow down their movements to lend weight to the evolving psychological drama. Later in the decade, he famously made use of actual slow motion in his adaptation of two Edgar Allan Poe stories, under the title La chute de la maison Usher (The Fall of the House of Usher, 1928), which remains his best-known work.6 Such a technique was especially effective when filming close-ups of faces or important objects. “The close-up is the soul of cinema,” he wrote in “Magnification.” Close-ups transported viewers to a more intimate arena, where, as he put it, the drama became “anatomical,” inviting the viewers’ greater analytic scrutiny as well as their absorption in the images as their experience of time palpably slowed. Such was the case in Usher, as slow motion augmented the intensity of Roderick and Madeline Usher’s facial expressions, conveying their mysteriously painful, neurotic relationship. Epstein would continue to use slow (as well as reverse) motion in many of his later films, either to subtly underscore the human drama—this is especially true of the films he made in Brittany, such as Finis Terrae (1929) and his penultimate film, Le tempestaire (The Storm Tamer, 1947)—or to refashion the very identity of the objects he filmed, like the waves he momentarily froze into sculptural objects in Mor’vran (The Sea of Ravens, 1930). On the other hand, Epstein commended the use of close-ups that were brief and involved motion, whether that of the subject or that of the camera recording it, as they lent themselves readily to the fashioning of rhythmic montage sequences. He dreamed of seeing “a dance shot successively from the four cardinal directions,” as he mused in “Magnification”: “Then, with strokes of a pan shot or of a turning foot, the room as it is seen by the dancing couple. An intelligent découpage will reconstitute the double life of the dance by linking together the viewpoints of the spectator and the dancer, objective and subjective, if I may say so.”7 In Le lion des Mogols (1924), a movie made for Les Films Albatros with the famous Russian actor Ivan Mosjoukine in the starring role, Epstein finally realized the dance he had imagined. The film’s convoluted plot could not have been to the director’s liking, but an extended dance sequence permitted spectators a temporary release from the story’s contrivances. Perhaps Epstein’s most striking idea, as original as it can be confusing, involved his conceptualization of the camera and, more generally, of the whole panoply of available cinematic strategies. In his 1921 essay “Le sens I bis” (The Senses I [b]), also from Bonjour cinéma, he wrote: People talked of nature seen through a temperament, or of temperament seen through nature. But now there is a lens, a diaphragm, a dark room, an optical system. The artist is reduced to pressing a button. . . . The Bell and Howell is a metal brain, standardized, manufactured, marketed in thousands of copies, which transforms the world outside it into art. The Bell and Howell is an artist, and only behind it are there other artists: director and cameraman.8 For Epstein, the camera and its related techniques were not simply tools to create art as paintbrushes were for painters. Rather, the camera’s “metal brain” was an instrument of revelation; like a telescope or a microscope, it provided access to realms of insight and knowledge beyond normal human ken. By recording images at extended intervals, it could convey the gestural grace of a growing flower or the poetry of forming crystals; the camera animated what it filmed, endowed phenomena with souls by bringing them to life as transformed entities displaying, as Epstein put it, novel moral personae. His thought was rooted in an epistemophilia that mesmerized him from his earliest encounters with the medium he devoted his life to. The camera could be a microscope of time as well and served him as a philosopher’s stone. In two of his later books—L’intelligence d’une machine (The Intelligence of a Machine, 1946) and Le cinéma du diable (The Devil’s Cinema, 1947)—he applies the lessons of quantum mechanics to a metaphysics of the moving image and probes what he believed to be the revolutionary conceptual implications and dilemmas unleashed by cinema.9 In her theoretical magnum opus of 1946, An Anagram of Ideas on Art, Form and Film, the vanguard American filmmaker Maya Deren reports having received a copy of The Intelligence of a Machine: “I have not yet read it, but the approach implied in the title and the poetic, inspired tone of the style in which Mr. Epstein writes of a subject usually treated in pedestrian, historical terms leads me to believe that it is at least interesting reading for those who share, with me, a profound respect for the magical complexities of the film instrument.”10 Deren never articulated the precise ways in which she found his book compelling, but that she found in its author a kindred spirit is clear enough. Sadly, the leading film critic and film theorist in postwar France—respectively, André Bazin and Jean Mitry—either ignored or rejected Epstein’s philosophical ruminations on the cinema. In the United States, he was virtually invisible in film culture for two decades after his death. His theoretical writings also remained almost entirely unknown to the generation of English-speaking film scholars being trained in the fledgling film-studies programs of the 1960s; those who could read Epstein in French, for their part, didn’t probe deeply into his writings. In any case, the abstractness of his concerns was out of step with the pragmatic aspirations of the first auteurist critics, and by the ’70s, many of the freshly trained Ph.D.s preferred to pursue the novel theoretical approaches afforded by structuralism, semiotics, Lacanian psychoanalysis, and feminism in an effort to extract contemporary meanings from the movies. Epstein’s conceptualization of the cinematic apparatus as a kind of world-structuring device, for example, was overlooked even during the ’70s vogue for “apparatus theory” in film departments. Already by the time of his death in 1953, Epstein’s films were rarely shown in France, and despite a partial retrospective of his films at New York’s Anthology Film Archives in 1971, only his Poe film could be readily seen in the US, because it was distributed by the Museum of Modern Art. Epstein’s star, once so bright, had almost utterly waned. His reputation had descended into that tunnel which the director of the Cinémathèque Française, Henri Langlois (who with Epstein’s sister, Marie, would become the principal guardian of Epstein’s legacy), had posited as the fate of most filmmakers. It took more than a quarter century for Epstein to emerge. His reputation began to recover only after a trickle of scholarly studies of his early film theory and silent films were published in the 1980s.11 Even then, his manifold achievements in both written and cinematic forms were not given the critical attention long accorded his peers’ works. It was not until the late ’90s that he began to receive the recognition he was due, and scholarly attention has accelerated since the opening of his personal archive in the first years of the new century. The availability of a large cache of his notes, scripts, letters, and unpublished texts, including one bearing surprising revelations about his homosexuality,12 has spawned a rising count of critical evaluations and scholarly conferences devoted to his work.13 Plans for a multivolume edition of his writings, which promises to include previously unpublished works, are moving forward, and the Cinémathèque Française’s restorations of a number of his important films have recently become available on DVD, including a substantial box set put out by Potemkine in France. The stage has thus been set for a major reconsideration of Epstein’s place in film history. If the trajectory of his career must unfortunately be described as a descending arc, Epstein nevertheless was able to make more than forty films of varying lengths in an array of genres for companies small and large over the course of thirty years. Some of his movies are disappointingly conventional, yet in almost every one there are moments when his creative intelligence shines through. And the best of his films, particularly some of those made in the ’20s and early ’30s, are spectacular artistic successes: Coeur fidèle, La glace à trois faces, La chute de la maison Usher, Finis Terrae, and Le tempestaire are important, innovative works that can stand comparison with any produced by his contemporaries. Major filmmakers such as René Clair, Jean Renoir, Jean Grémillon, Eisenstein, Robert Flaherty, and Luchino Visconti have testified to the profound impact Epstein’s films and ideas had on their own work. Epstein’s achievements remain resonant and engaging today. That is why the current traveling retrospective of many of his most celebrated films is so welcome. The opportunity to see most of Epstein’s best (as well as, admittedly, some of his lesser) works in 35-mm prints projected on a big screen promises to encourage wider public and critical engagement with this still-underappreciated cineaste. Epstein’s time may finally have come. Organized by Kathy Geritz of the University of California, Berkeley Art Museum and Pacific Film Archive, the traveling retrospective “Young Oceans of Cinema: The Films of Jean Epstein” is playing at the Harvard Film Archive in Cambridge, MA, through Mar. 5; travels to the Pacific Film Archive, Mar. 4–Apr. 10; TIFF Cinematheque, Toronto, dates TBD. Stuart Liebman is professor emeritus of media studies at Queens College and the Graduate Center, City University of New York. NOTES 1. Jean Epstein, “On Certain Characteristics of Photogénie,” trans. Tom Milne, in French Film Theory and Criticism: 1907–1939, ed. Richard Abel, vol. 1, 1907–1929 (Princeton, NJ: Princeton University Press, 1988), 314. First delivered as a lecture at the Salon d’Automne in November 1923, the text appeared in print as “De quelques conditions de la photogénie” in Cinéa-Ciné pour Tous, no. 19 (August 15, 1924): 6–8. 2. Jean Epstein, “The Senses I (b),” trans. Tom Milne, in Abel, French Film Theory and Criticism, 242. 3. Jean Epstein, “Magnification,” trans. Stuart Liebman, in Abel, French Film Theory and Criticism, 237. 4. The Soviet writer Ilya Ehrenburg later took this sequence to the USSR, where, despite criticisms of the film’s lack of class consciousness, it received respectful attention, and the French ambassador Paul Claudel introduced the film in Japan. 5. Epstein, “Magnification,” 237. 6. The two stories are “The Fall of the House of Usher” and “The Oval Portrait.” 7. Epstein, “Magnification,” 237. 8. Epstein, “The Senses I (b),” 244. 9. Christophe Wall-Romana recently translated L’intelligence d’une machine into English as The Intelligence of a Machine (Minneapolis: Univocal, 2014). 10. Maya Deren, An Anagram of Ideas on Art, Form and Film (Yonkers, NY: Alicat Book Shop Press, 1946), 47–48. 11. Stuart Liebman, “Jean Epstein’s Early Film Theory, 1920–1922” (doctoral dissertation, New York University, 1980); Richard Abel, French Cinema: The First Wave, 1915–1929 (Princeton, NJ: Princeton University Press, 1984); Abel, French Film Theory and Criticism. 12. Jean Epstein, Ganymède, essai sur l’éthique homosexuelle masculine, in Écrits complets, vol. 3, eds. Nicole Brenez, Joël Daire, and Cyril Neyrat (Paris: Independencia Éditions, 2014). 13. Sarah Keller and Jason N. Paul, eds. Jean Epstein: Critical Essays and New Translations (Amsterdam: Amsterdam University Press, 2012); Christophe Wall-Romana, Jean Epstein: Corporeal Cinema and Film Philosophy (Manchester, UK: Manchester University Press, 2013); Joël Daire, Jean Epstein: Une vie pour le cinéma (Grandvilliers, France: La Tour Verte, 2014).
7961	dbpedia	3	0	https://en.wikipedia.org/wiki/Intimate_Relations_(1953_film)	en	Intimate Relations (1953 film)	https://upload.wikimedia…2_%281953%29.jpg	https://upload.wikimedia…2_%281953%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/0/05/%22Intimate_Relations%22_%281953%29.jpg/220px-%22Intimate_Relations%22_%281953%29.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-01-22T19:19:48+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Intimate_Relations_(1953_film)	1953 film Intimate RelationsDirected byCharles FrankWritten byCharles Frank (screenplay)Based onthe play Les Parents terribles by Jean CocteauProduced byDavid DentStarringHarold WarrenderCinematographyWilkie CooperEdited byPeter BezencenetMusic byRené Cloërec Production company David Dent Productions (as Advance) Distributed byAdelphi Films Release date Running time 86 minutesCountryUnited KingdomLanguageEnglish Intimate Relations is a 1953 British drama film directed by Charles Frank and based upon the play Les Parents terribles by Jean Cocteau.[1] The film was known in the U.S. as Disobedient.[2] It was entered into the 1953 Cannes Film Festival.[3] Plot [edit] Crisis in a middle-class family when the son falls in love with his father's mistress. Family ties are stretched to breaking point, and the mother fears she'll lose her son as well as her husband. Cast [edit] Harold Warrender as George Marian Spencer as Yvonne Ruth Dunning as Leonie William Russell as Michael (as Enoch Russell) Elsie Albiin as Madeline (as Elsy Albin) Critical reception [edit] The New York Times's review concluded "the film's highlight, one superbly conceived and well-performed scene with the father and girl at loggerheads over the boy. As we contend, the author does know better. He has perceptively hammerlocked youth and age, and until the half-way mark, the above-mentioned encounter, the quandary is genuinely intriguing. But M. Cocteau's triumphant rattling of the Oedipus legend tilts the apple cart, and some of his own dialogue provides the best summary. "What a nightmare!" moans Miss Spencer at one point. Mr. Warrender: "You're telling me" ;[4] and TV Guide wrote "the film is too talky and constricted by stage motifs. Enoch and Albiin, the mistress, do have a nice chemistry, though."[2] References [edit]
7961	dbpedia	0	98	https://www.esquire.com/entertainment/movies/g3476/best-world-war-2-movies-of-all-time/	en	The 28 Best World War II Movies Ever Made	https://hips.hearstapps.…,0&resize=1200:*	https://hips.hearstapps.…,0&resize=1200:*	[ "https://www.esquire.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.esquire.com/_assets/design-tokens/esquire/static/images/logos/logo.20861e6.svg?primary=navLogoColor", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg?primary=%2523FF3A30", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg?primary=%2523FF3A30", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/saved.ad81f1a.svg?primary=%2523000000", "https://hips.hearstapps.com/hmg-prod/images/index1-5-1652459263.jpg?crop=0.502xw:1.00xh;0.250xw,0&resize=640:", 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"https://www.esquire.com/_assets/design-tokens/fre/static/icons/social/youtube.ce3e1ae.svg?primary=%2523000000&id=social-button-icon", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523000000&id=social-button-icon", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523000000&id=social-button-icon", "https://www.esquire.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523000000&id=social-button-icon", "https://www.esquire.com/_assets/design-tokens/esquire/static/images/logos/network-logo.910b3ba.svg?primary=%2523ffffff" ]	[]	[]	[ "ww2 movies", "world war 2 movies", "best ww2 movies", "best world war 2 movies", "world war movies", "ww2 films", "movies about world war 2", "movies about ww2", "world war ii movies", "best world war ii movies" ]	null	[ "Emma Carey", "Josh Rosenberg", "The Esquire Editors" ]	2017-07-13T13:21:00-04:00	From war-torn romances to bloody battles, these are the best films that depict the horrors of World War 2—and the humanity at the center of the conflicts	en	/_assets/design-tokens/esquire/static/images/favicon.9bd3ce0.ico	Esquire	https://www.esquire.com/entertainment/movies/g3476/best-world-war-2-movies-of-all-time/	The way many of us first learned about World War II was inherently cinematic. A black and white dichotomy of “good guys” and “bad guys” laid before us with tales of heroic sacrifice, secrecy, and an evil, inhumane villain at the root of it all. For these reasons, WWII has held tremendous relevance in cinema—both for its compelling narrative and for its fodder as jingoistic propaganda. However, our understanding of this war, and the humanitarian crisis at its root, has greatly expanded. Ironically, so have the films depicting it. As we revisit early cinema’s patriotic depictions of WWII, as well as modern cinema’s more nuanced interpretations, it’s vital that we bear witness to the realities of this era. To let our consumption stop at the American exceptionalism role as “heroes” in this event, without proper context and analysis, is to risk letting history repeat itself.
7961	dbpedia	3	18	https://www.khanacademy.org/humanities/us-history/postwarera/1950s-america/a/women-in-the-1950s	en	Khan Academy			[]	[]	[]	[ "" ]	null	[]	null		en	https://cdn.kastatic.org/images/favicon.ico?logo		https://www.khanacademy.org/humanities/us-history/postwarera/1950s-america/a/women-in-the-1950s
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"https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Peter Debruge", "Owen Gleiberman", "Lisa Kennedy", "Jessica Kiang", "Tomris Laffly", "Guy Lodge", "Amy Nicholson" ]	2022-12-21T13:35:00+00:00	Variety breaks down the best movies of all time, as determined by film critics. From Psycho to Parasite, these are the best films ever made.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/lists/best-movies-of-all-time/	The movies are now more than 100 years old. That still makes them a young medium, at least in art-form years (how old is the novel? the theater? the painting?). But they’re just old enough to make compiling Variety’s first-ever list of the 100 Greatest Movies of All Time a more daunting task than it once might have been. Think about it: You get an average of one film per year. A great deal of ardent discussion and debate went into the creation of this list. Our choices were winnowed from hundreds of titles submitted by more than 30 Variety critics, writers and editors. As we learned, coming up with which movies to include was the easy part. The hard part was deciding which movies to leave out. Variety, which recently celebrated its 117th anniversary, is a publication as old as cinema. (We invented box office reporting, in addition to the words “showbiz” and “horse opera.”) And in making this list, we wanted to reflect the beautiful, head-spinning variety of the moviegoing experience. We don’t just mean different genres; we don’t just mean highbrow and lowbrow (and everything in between). The very spirit of cinema is that it has long been a landscape of spine-tingling eclecticism, and we wanted our list to reflect that — to honor the movies we love most, whatever categories they happen to fall into. Do we want you to argue with this list? Of course we do. That’s the nature of the beast — the nature of the kind of protective passion that people feel about their favorite movies. We invited prominent filmmakers and actors to contribute essays about the movies that are significant to them, and that passion comes across in all that they wrote. No doubt you’ll say: How could that movie have been left off the list? Or this one? Or that one? Trust us: We often asked that very same question ourselves. But our hope is that in looking at the films we did choose, you’ll see a roster that reflects the impossibly wide-ranging, ever-shifting glory of what movies are. We invite you to find out how many films from the list you’ve seen on this poll. These film writers and critics contributed suggestions for movies: Manuel Betancourt, Clayton Davis, Peter Debruge, Matt Donnelly, William Earl, Patrick Frater, Steven Gaydos, Owen Gleiberman, Dennis Harvey, Courtney Howard, Angelique Jackson, Elsa Keslassy, Lisa Kennedy, Jessica Kiang, Richard Kuipers, Tomris Laffly, Brent Lang, Joe Leydon, Guy Lodge, Amy Nicholson, Michael Nordine, Naman Ramachandran, Manori Ravindran, Jenelle Riley, Pat Saperstein, Alissa Simon, Jazz Tangcay, Sylvia Tan, Zack Sharf, Adam B. Vary, Nick Vivarelli, Meredith Woerner.
7961	dbpedia	0	21	https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/heritage-films	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Heritage FilmsGENRE?THE HERITAGE FILM AND THE UNITED STATESNEW UNDERSTANDINGS OFTHE HERITAGE FILMFURTHER READING" ]	null	[]	null	Heritage FilmsGENRE?THE HERITAGE FILM AND THE UNITED STATESNEW UNDERSTANDINGS OFTHE HERITAGE FILMFURTHER READING Source for information on Heritage Films: Schirmer Encyclopedia of Film dictionary.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/heritage-films	Heritage Films GENRE? THE HERITAGE FILM AND THE UNITED STATES NEW UNDERSTANDINGS OF THE HERITAGE FILM FURTHER READING L. P. Hartley's The Go-Between (1953), the novel that inspired what may have been the first contemporary heritage film, offers the perfect epigram for the form: "The past is a foreign country. They do things differently there." Significantly, many of the hallmarks of the heritage film are present in this early example: directed in 1970 by Joseph Losey (1909–1984), a transplanted American (many heritage films emanate from national "outsiders"), The Go-Between is a stately, handsome adaptation of a respected novel set in a pre-war English country house and involving the sexual maturation of its young protagonist. Moreover, many of the questions arising from attempts to define the heritage film are also present in this example. Is it a form that has served to bolster the British film industry? or Does it represent a kind of filmic colonization of British stories and screens by Britain's former possessions? Does the form manifest geographical limitations that mean that it might be better denominated the English heritage film? Film scholars cannot even agree on whether heritage films constitute a genre, partly because such films share only loosely associated tropes or iconographical elements and partly because they so readily appear to collapse into neighboring genres, such as the costume film, the historical film, the war film, and the prestige literary adaptation. In practice, the heritage film ranges widely over source material (from E. M. Forster and Henry James to working-class autobiographies from World War II), era, and nation: there are French heritage films, including La Reine Margot (Queen Margot, Patrice Chéreau, 1994) and Manon des sources (Manon of the Spring, Claude Berri, 1986), and now German heritage films dealing with the Holocaust, such as Aimée & Jaguar (Max Färberböck, 1999). The locus classicus of the heritage film nonetheless remains the narrative of pre–World War I or interwar England; it is often an adaptation of an esteemed literary property and typically invokes what might be termed heritage landmarks, such as Oxbridge colleges and National Trust properties. GENRE? It is in part through their treatment of landscape that heritage films as a group begin to display what might be viewed as generic characteristics. John Hill suggests that the heritage film typically focuses on the relationships among a group of characters rather than on the destiny of a single character; and has a slow pace, a preference for dialogue over action, and an approach to mise-en-scène that exceeds motivations found in the narrative or that does not necessarily express characters' emotions (1999, p. 80). Places and objects are displayed rather than dramatized, leading to what Andrew Higson calls "heritage space"—the film serves as a jewel box for the arrangement and contemplation of heritage properties (Higson in Friedman, p. 117). This approach to technique often emphasizes mise-en-scène over other cinematic elements, such as editing, and is a large part of the pleasure in spectacle to be found in such films. Critical response to this stylistic aspect has been divided, with conservative critics arguing that British film should explore and valorize a glorious past, and left-leaning critics expressing concern over the often limited heritage on display, particularly in terms of the exclusion of working-class experience. Working-class characters may function merely as observers or chorus members in dramas often consumed with the problems of those possessing or seeking an independent income. The Thatcher government's investment in the projection of heritage culture as a manifestation of a revived Britain (witnessed by the National Heritage Acts of 1980 and 1983) added to the ideologically suspect nature of heritage films in the eyes of some critics (Higson, pp. 51–54). Lutz Koepnick has argued that the heritage film produces "usable and consumable pasts … history as a site of comfort and orientation" (p. 51)—hence the occasional dismissal of heritage films as the "Laura Ashley school of filmmaking." A number of critics have noticed that the heritage film's desire for authenticity and its close attention to the look of objects create a kind of break between images and narrative, with objects constituting a conservative commentary on what might have originally been a work of social satire (such as the 1988 adaptation of Evelyn Waugh's A Handful of Dust by Charles Sturridge [b. 1951]). Heritage films' characteristic contest between the consequences of using period objects and the critical projects of their source texts may further intensify the critical uncertainty about whether such films genuinely or reliably constitute a genre. One way of addressing that uncertainty has been to consider what kinds of audiences consume these films, a question considerably complicated by the international flavor of the production and consumption of heritage films. While at first blush the project of the heritage film would appear to be to bring Britain's glorious past to the screen, viewers may be struck by British heritage films' exceptional reliance upon American audiences not only for their ultimate global box-office success but also for access to British audiences. The average Briton attends one film in a theater annually; most film consumption in Britain takes place via the television and VCR—Britons have one of the world's highest rates of VCR use. Consequently, any "British" cinema is necessarily mediated by television and probably influenced by the tastes of other Anglophone audiences. In a pattern that heritage films pioneered but that now transcends genre, theme, and film style, British films are often given only limited or no release at all domestically until an American run has established their marketability, at which point they are re-exported to their country of manufacture. THE HERITAGE FILM AND THE UNITED STATES If British television pioneered the production of handsome adaptations of popular pre-war narratives, American public television trained American audiences to consume them. American series such as Masterpiece Theatre and Mystery! showcased quality British television programming from the 1970s; film and television production reinforced each other (and established a pattern of crossover labor), with, for example, Sturridge's lush Granada Television adaptation of Brideshead Revisited appearing in the same year (1981) that Chariots of Fire took American movie theaters by storm. Less obvious is that success on the small screen should translate to success on the large screen. Nonetheless, the heritage film spoke to the institutional needs of both British and American filmmakers and distributors in the 1980s. The modest budgets by American standards made heritage films attractive to US distributors, who found that the films could be gratifyingly profitable in extended runs at a limited number of well-chosen theaters, such as the Paris in New York City, before going on to stepped releases elsewhere in the nation. In the British context, heritage films operated as a heaven-sent solution to the financing problems created by the introduction of the FilmsBillin1984–1985, which removed earlier government supports to the film industry (Quart in Friedman, p. 23). Because of its connection to a small but reliable niche audience in the United States and in Britain, the heritage film could expect to recuperate its costs outside the UK, which most British films must hope to do to become profitable. The heritage film in fact operated internationally as a kind of highly accessible art film. It was frequently distributed through small art cinemas, promising a kind of reliable upper-middlebrow visual pleasure without necessarily demanding the kinds of interpretive effort typical of films such as L'Année dernier 'a Marienbad (Alain Resnais, 1961). Rapturous acclaim via the Oscars®, such as was received by Chariots of Fire (four Academy Awards®, seven nominations) and for James Ivory's A Room with a View (1985) (three Academy Awards®, seven nominations), coupled with good box office, did not merely add to the films' prestige: on some level, American involvement and reception helped constitute the constellation of characteristics that typified the heritage film. For example, James Ivory (b. 1928), an American director—his collaborators, producer Ismail Merchant (1936–2005) and screenwriter Ruth Prawer Jhabvala (b. 1927), are respectively Pakistani and German by birth—is responsible for seven of the iconic heritage films of the 1980s and early 1990s. NEW UNDERSTANDINGS OF THE HERITAGE FILM So is the heritage film merely light entertainment for export—a kind of film tourism that reflects American expectations about a Britain ossified in a long Edwardian summer? Does it undermine any hope of representing Britain in all its complexity and change? Claire Monk argues that critics who dismiss the heritage film as ideologically suspect, boringly predictable, or merely a creature of American taste approach it too reductively. Part of the problem is indeed the capaciousness of the term "heritage film," coupled with the assumption that it describes a stable, unchanging genre (2002, p. 7). Monk has attempted to periodize heritage films, separating those of the 1980s and early 1990s from later entrants, which she characterizes as "post-heritage" by virtue of their self-conscious foregrounding of strategies designed to subvert the supposed conservatism of the heritage film or to undercut the primacy of the potentially too-dominant mise-en-scène (Monk in Vincendeau, p. 7). She argues that critics too readily assume that heritage films operate in ways entirely analogous to, say, National Trust landmarks—that a heritage film has a unitary, conservative meaning derived exclusively from its setting. As Monk observes, this approach hardly allows for the complexity of the interactions among a film's characterization, narrative, and dialogue, all of which may under-cut the potential conservatism of reviving the past by filming its surviving material manifestations (2002, p. 188). Monk thus sees important distinctions among heritage films—for example, A Room with a View is considerably less conservative than Chariots of Fire, because the former permits its female protagonist to come to an important understanding about her agency and the nature of her sexual desires while the latter offers a less complex story line concerned with the creation and training of the British Olympic team in 1924. Critics such as Monk and Richard Dyer see an exploration of sexuality, including homosexuality, as key to many heritage films. At the very least, it is fair to say that one of the major plot engines of the heritage film is the Bildungsroman, the coming to maturity of the young protagonist, typically dramatized at a moment of difficult self-discovery, as in Maurice (Ivory, 1987), The Wings of the Dove (Iain Softley, 1997), or Elizabeth (Shekhar Kapur, 1998), all of whose protagonists possess desires that are difficult, if not impossible, to reconcile with social expectations. Stories of homosexual desire and illicit female pursuit of agency or control fit very naturally into the framework of the bildungsroman. Characteristically, even the earliest cycle of heritage films offers the spectacle of desire often frustrated but sometimes achieved, causing critics to debate the question of the heritage film's progressivism or lack thereof. Are the films progressive because they offer the spectacle of gay men or women longing for things they ought not to have (but sometimes get)? Are they conservative because they appear to admire the past in which these things were often denied to these people? MERCHANT-IVORY James Ivory, b. Berkeley, California, 7 June 1928 Ismail Merchant, b. Ismail Noormohamed Abdul Rehman, Bombay, India, 25 December 1936, d. London, England, 25 May 2005 Ruth Prawer Jhabvala, b. Cologne, Germany, 7 May 1927 As a production team, Merchant-Ivory was responsible for more than thirty films over 42 years, making the partnership of director James Ivory, producer Ismail Merchant, and novelist/screenwriter Ruth Prawer Jhabvala among the most productive and durable of independent filmmakers. While the team remained active through 2005, Merchant also increasingly directed his own projects, including three features since Cotton Mary (1999). The team's first feature, The Householder (1963), was the first to involve Jhabvala's services as screenwriter; showing the influence of Indian director Satyajit Ray, it led to further projects exploring Indian life and celebrating the sensibility and richness of its cinema. Shakespeare Wallah (1965) narrates the fortunes of a troupe of traveling players, both English and Indian, in the post-Independence, movie-mad 1960s, while Bombay Talkie (1970) analyzes the disastrous association between an English novelist played by Jennifer Kendal and an Indian film star played by her real-life husband, Shashi Kapoor. This sequence of films set in India showcased a number of persistent production strategies, namely the foregrounding of ensemble playing, an ability to enlist the help of more established filmmakers (such as Ray, who wrote the music for Shakespeare Wallah), a feel for identifying up-and-coming talent (when he worked with Merchant-Ivory, Kapoor had not yet become a major star), and an anthropological sense of place and social fabric reflecting not only the team's interests but also Ivory's beginnings in documentary. Possibly as a result of their own disparate national and social backgrounds, Merchant-Ivory consistently pursue the question of what a character experiences when he or she attempts to penetrate a closed social milieu, ranging from the desire to master the mores of a foreign culture to the aspiration to control the hierarchies of theater stage or film screen. The indispensable closed social milieu is the sexual couple or close friendship that becomes a sexual triangle with the arrival of an outsider, permitting the intense exploration of patterns of domination within friendship and amorous coupling. Merchant-Ivory films often concern the failure to read social codes, be they those of privileged pre-war Anglophones (Heat and Dust, 1983; Howards End, 1992; The Remains of the Day, 1993; Savages, 1972), or of modern New York City (Jane Austen in Manhattan, 1980).Refreshingly, Merchant-Ivory films can imagine that defying social codes does not invariably result in happiness; sometimes their films examine the costs of desire for both the desiring character and society at large. RECOMMENDED VIEWING Shakespeare Wallah (1965), Bombay Talkie (1970), Roseland (1977), Jane Austen in Manhattan (1980), Heat and Dust (1983), A Room with a View (1985), Maurice (1987), Howards End (1992), The Remains of the Day (1993), The Golden Bowl (2000), Le Divorce (2003) FURTHER READING Long, Robert Emmet. The Films of Merchant Ivory. (Revised). New York: Harry N. Abrams, 1997 [1991]. Pym, John. The Wandering Company: Twenty-One Years of Merchant Ivory Films. London and New York: British Film Institute and Museum of Modern Art, 1983. Anne Morey Recent heritage films are striking for the large number that foreground activities such as painting (as in Carrington [Christopher Hampton, 1995]) or theater (for instance, Topsy-Turvy [Mike Leigh, 1999] and Finding Neverland [Marc Forster, 2004]) in order to dramatize creative work or activities that might be described as play. In these examples, the heritage film offers the best possible motivations for the minute inspection of mise-en-scène: either it proves to be the very fabric of the narrative, as when Dora Carrington gradually paints every square inch of her cottage in a kind of autobiography of her attachment to Lytton Strachey, or it presents the details of late nineteenth-century theatrical production as part of the exploration of grown men (W. S. Gilbert and J. M. Barrie) sojourning in extended, profitable fantasy. The heritage film here signals one of its major attractions—that the denial of desire can be perversely sexy, even progressive, particularly when coupled with the satisfactions of carefully wrought spectacle and performance. In short, one of the great appeals of the heritage film is that it bridges the fabled divide in English cinema between fantasy and realism. SEE ALSO Great Britain;Historical Films FURTHER READING Friedman, Lester, ed. Fires Were Started: British Cinema and Thatcherism. Minneapolis: University of Minnesota Press, 1993; Revised ed., London: Wallflower Press, 2006. Higson, Andrew. English Heritage, English Cinema: Costume Drama Since 1980. Oxford: Oxford University Press, 2003. Hill, John. British Cinema in the 1980s: Issues and Themes. Oxford: Clarendon Press, 1999. Koepnick, Lutz. "Reframing the Past: Heritage Cinema and Holocaust in the 1990s." New German Critique 87 (2002): 47–82. Monk, Claire, and Amy Sargeant, eds. British Historical Cinema: The History, Heritage and Costume Film. London and New York: Routledge, 2002. Vincendeau, Ginette, ed. Film/Literature/Heritage: A Sight and Sound Reader. London: British Film Institute, 2001.
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]	2020-01-07T19:41:12.480362-05:00	Rom-coms have their place, but if you're looking for a yearning, steamy, swoony love story, new or old, consult this list of the top romantic movies.	en	/_assets/design-tokens/goodhousekeeping/static/images/favicon.8e97a02.ico	Good Housekeeping	https://www.goodhousekeeping.com/life/entertainment/g30416771/best-romantic-movies/	People talk about romantic movies like it's just one genre, but there are actually so many different types of romances. Most attention is given to the great romantic comedies, which get people to laugh as much as they tug on people's hearts. But then there are also the romantic teen movies, which recall the intensity of a first love (and are now becoming franchises, when you think of Netflix series like The Kissing Booth, To All the Boys I've Loved Before and Tall Girl). There are romantic action movies, romantic Christmas movies, romantic noirs — basically you can find romance in any genre you can think of. But when you want a straight-ahead, no-frills romance, these are the best romantic movies of all time. Sure, they may incorporate elements of comedy, action or drama, and some of them may even star teens. But the biggest criteria is that the relationship has to be the most front-and-center focus of the film. These are the films that give you all those yearning feelings, the ones that yank on the heartstrings with all their might. And while they may be fewer and far between these days, there are plenty of them around if you know where to look. Grab a sweetheart and get ready to swoon.
7961	dbpedia	0	17	https://offscreen.com/view/british_new_wave	en	The British New Wave and Its Sources	https://offscreen.com/im…5_6_British1.jpg	https://offscreen.com/im…5_6_British1.jpg	[ "https://offscreen.com/assets/img/logo.png", "https://offscreen.com/images/made/images/articles/_resized/15_6_British1_1000_420_90_c1.jpg", "https://offscreen.com/images/Diary_Rubble.jpg", "https://offscreen.com/images/Diary_Poetic.jpg", "https://offscreen.com/images/Taste_of_Honey_walk.jpg", "https://offscreen.com/images/Passport_RationCard.jpg", "https://offscreen.com/images/loneliness4.jpg", "https://offscreen.com/images/Lambeth_workingclass2.jpg", "https://offscreen.com/images/Lambeth_richboys.jpg", "https://offscreen.com/images/Hue_Cry_rubble.jpg", "https://offscreen.com/images/loneliness1.jpg", "https://offscreen.com/images/saturday2.jpg", "https://offscreen.com/images/saturday3.jpg", "https://offscreen.com/images/Dreamland1.jpg", "https://offscreen.com/images/Lambeth_workingclass.jpg", "https://offscreen.com/images/Lambeth_richboys1.jpg", "https://offscreen.com/images/made/images/contributors/_resized/David-Hanley_200_200_90_c1.jpg", "https://offscreen.com/images/sponsors/Fantasia_2020-promo.jpg", "https://offscreen.com/images/made/images/articles/_resized/15_6_Grant_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/15_6_Spurrell1_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/15_6_Price2_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/15_6_Ventor2_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/Killer_of_Men_Tzvi-small_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/Museum_2b_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/Mystic_River-Warners_bros.2_400_258_90_s_c1.jpg", "https://offscreen.com/images/made/images/articles/_resized/Banner2_1_400_258_90_s_c1.jpg", "https://offscreen.com/assets/img/logo-canada-council.png", "https://offscreen.com/assets/img/logo-funio.png", "https://offscreen.com/assets/img/logo-horschamp-2020.png", "https://offscreen.com/assets/img/logo-zoomout.png" ]	[]	[]	[ "" ]	null	[]	null	A probing overview of the British New Wave and its literary and filmic antecedents.	en			https://offscreen.com/view/british_new_wave	The films associated with the British “New Wave” period that ran roughly between 1959 and 1963 were in some ways a break from what came before it. However, many of the characteristics this cycle of films was noted for were already present in British cinema. Attempts at realistic documentation of the working class can be traced at least as far back as 1930s documentaries by filmmakers such as John Grierson, Paul Rotha, Harry Watt and Basil Wright. In a series of wartime documentaries that included dramatized material, Humphrey Jennings incorporated a poetic treatment of the landscape and people that included the regions outside of London. Comedies produced by Ealing Studios following World War II extended this technique to entirely fictional films, featuring location shooting and the use of regional and working class accents. The Free Cinema documentaries of the 1950s had some formal experimentation and a critical attitude toward working class culture and the class society. What was new about the New Wave is that it added a greater emphasis on the social environment, a franker treatment of sex, a focus on working class youth and their frustrations, and political attitudes that reflected the context in which they were made. In documentaries such as Industrial Britain (1933, Robert Flaherty and John Grierson), Shipyard (1935, Paul Rotha) and Night Mail (1936, Harry Watt and Basil Wright), British filmmakers had attempted to portray the details of working class life. These films can be faulted for ignoring industrial conflict and sacrificing persuasive social analysis in favour of messages acceptable to the government agencies that sponsored them, but they do include aspects that would be picked up by later filmmakers. All three are set outside of London and include images of working class subjects at their jobs. Shipyard also featured a dog racing sequence that showed the lives of workers away from the shipyard, had a narrator who spoke with a working class regional (Lancashire) accent instead of the traditional “received English” of most documentary narrators, and placed the workers’ lives in a social context through shots of the town as the men leave their council houses and walk to work and by emphasizing the economic dependence of Barrow-on-Furness on the shipyard. Night Mail used dramatized recreations, and while some of the clerks talk “proper,” the mail workers themselves sound authentically working class. This predicts the factory floor opening of Saturday Night and Sunday Morning (1960, Karel Reisz), in which Arthur (Albert Finney) greets the audience in the accents of industrial Nottinghamshire, as well as the emphasis on the larger landscape and the lives away from the factory that ran through all the New Wave films. These characteristics were central to the New Wave, which Brian McFarlane argues was distinctive because the films “located their emotional energies in the working classes, hitherto – in British films – predominantly a source of comic relief from the affairs of their social betters” (McFarlane 137). This representation of the industrial north and midlands, as well as the use of regional and class accents also finds an echo in John Hill’s description of the New Wave: “By opting for location shooting and the employment of unknown regional actors . . . it stood opposed to the ‘phony’ conventions of character and place” of mainstream British films in which almost all characters were from London and spoke in the accents of the educated classes, and by “extending cinematic subject matter to include the industrial working class it also opposed the British cinema’s traditional marginalization of such a social group” (Hill 127). A scene in Night Mail that would not be found in any of the New Wave films is the one where a benevolent supervisor wanders down the train offering unsolicited advice, which is cheerfully received. A comparison to the barbed exchanges between Arthur and his foreman in Saturday Night and Sunday Morning shows one of the genuine innovations of the later films. The idealized portrait of happy and industrious workers in the 1930s documentaries would be challenged by Humphrey Jennings, and, as Ian Aitken writes, his “ability to portray the working class literally and authentically often put him at odds with Grierson, who preferred more idealistic images of working class people” (Aitken 63). This lack of didacticism and preference for the type of poetic tone that Grierson had criticized in films like Berlin: Symphony of a Great City (1927, Walter Ruttman) as “pleasant sequences” that avoided real issues (Grierson 41-42) was what later filmmakers found interesting, and prompted Free Cinema theorist and filmmaker Lindsay Anderson to call Jennings British cinema’s “only real poet” (Anderson 236). It was not that Jennings featured negative representations of the working class, but images such as the uniformed women sitting on their bags and sharing a smoke as they wait for a train in Listen to Britain (1941) or firemen making their way through London’s battered East End in Fires Were Started (1943) are more evocative than obviously instructional. This style is what inspired what Anderson described as Free Cinema’s “essential difference,” that its directors “wanted to be poetic – poetic realism, but poetic” (Hill 128). The expressive treatment of setting would become a New Wave characteristic to such an extent that Penelope Houston suggested that British cinema in the early 1960s could be summed up “in a view of a boy and a girl wandering mournfully through the drizzle and mist of industrial Britain” (Houston 119). Like Jennings’ documentaries, the effect is to value the creation of a sense of place over advancing the plot, which Hill describes as the “deployment of actions and, especially, locations which are ostensibly non-functional, which only loosely fit into the logic of narrative development” (Hill 129). Examples of this would include Jo (Rita Tushingham)’s walk along the canal in A Taste of Honey (1961, Tony Richardson), Colin (Tom Courtenay)’s long training run through the woods in The Loneliness of the Long Distance Runner??(1962, Tony Richardson) and Vic (Alan Bates)’s walk through the town in ??A Kind of Loving (1962, John Schlesinger), but variations can be found in almost all of the New Wave films. It became close enough to a cliché that it would be half copied, half parodied in Ringo Starr’s lonely walk through the city in A Hard Day’s Night (1964, Richard Lester), a film that is not considered part of the New Wave, but owes a good deal to it. The intended result of this focus on landscape, what McFarlane calls the “insistent evocation of time and place” (McFarlane 138), is to suggest that the lives of the working class protagonists are inescapably defined and limited by their environment. One aspect of the 1930s documentaries that Jennings did not challenge was the absence of class conflict. However, where Grierson and Rotha avoided the question because of institutional restrictions, Jennings caught the country’s mood by consciously championing the cross-class unity created by the extremities of war. As Roy Armes writes, what Jennings portrayed was “not necessarily . . . the situation as it actually was, but of the way in which Britons felt it to be” (Armes 154). Images that celebrate Britain’s unity run through Jennings’ films, including Listen to Britain??’s cutting from Flanagan and Allen singing “Underneath the Arches” to an audience of workers to Myra Hess playing a classical piece at the National Gallery for an audience that includes the Queen, and the Christmas sequence in ??A Diary for Timothy (1945), where the engine driver, Welsh miner, rural squire and upper class pilot all, in their separate environments, lift their glasses in a toast to absent friends. What plot there is in Fires Were Started concerns an upper class man being absorbed into a fire brigade unit that is otherwise entirely working class. He shows his flexibility by playing both classical music and popular songs on the piano, and of course proves himself in the firefighting sequence. This celebration of unity is also a characteristic of the post-war Ealing comedies. In Hue and Cry (1947, Henry Cornelius), early scenes of public school and working class boys crowding around to read crime magazine stories are followed by a climax where boys of all classes and parts of London join together to rout a gang of crooks. Similarly, while both the local grocer (Stanley Holloway) and bank branch manager (Raymond Huntley) in Passport to Pimlico (1949, Henry Cornelius) could be considered middle class, Holloway’s working class cockney accent and desire to turn a bomb-damaged area into a playground for local children mark him as Labour, just as Huntley’s prim, educated speech and intention to sell the area to a private business show him to be a Tory. Their joining together under crisis is a conscious return to wartime unity. Whisky Galore! (1949, Alexander Mackendrick) goes even further, presenting a classless society unified in the face of outsiders. However, these films also show how much the country had changed. As George Perry writes, the “euphoria of 1945, when Labour rode to power on the votes of much of the middle class who were looking for a new approach to national problems, subsided in the face of nationalization, controls, planning and shortages” (Perry 112). So while Jennings’ Family Portrait (1950) could feature shots of people cheerfully queuing for goods and claim that Britain had been “lucky to learn the trick of voluntary discipline,” the Ealing films tell another story. In Passport to Pimlico, a London East End neighbourhood falls out of British jurisdiction and the residents promptly tear up their ration books and keep the pubs open late, while the area is soon swamped by merchants and shoppers from the rest of the city who also want to escape the extensive government restrictions then prevalent. In Whisky Galore!, a Scots island where whiskey is severely rationed has a boatload of the golden stuff wash up. It is then immediately scavenged by the resourceful islanders, who outwit and humiliate the representatives of British bureaucracy who try to confiscate it. Charles Barr argues that the “prime fantasy” of these films, particularly Passport to Pimlico, was not “the dream of release from rationing and restrictions . . . The more potent dream that takes over from it is of a return to wartime solidarity” (Barr 104). This is true to an extent, subject to an important qualification, made by Christine Geraghty, that “the state can be restored to its wartime role of representing and protecting the people instead of bullying them” (Geraghty 56). A characteristic of Ealing comedies was the deliberately unconvincing twist ending, where “conventionally moral resolutions are imposed in a tongue-in-cheek way, right at the end, without challenging our commitment to their central characters’ single-minded projects” (Barr 96). Examples of this include Pimlico, where the “Burgundians” return to Britain and get new ration books to the accompaniment of a sudden rain storm, Whisky Galore!, where the contraband whiskey runs out and high taxes make it too expensive to buy more, and Kind Hearts and Coronets (1949, Robert Hamer), where the freed and unrepentant killer suddenly remembers he left his diary behind in prison. So while there was a nod to wartime unity, the unlikely nature of these resolutions suggest that what these films really had to offer audiences was a “pretext encouraging audiences to imagine alternatives to present social practices” (Landy 373), and can be read as a reflection of a middle class rebellion against the socialism of Clement Attlee’s Labour government. To see these films is to understand how Churchill could return to power in 1951 on a promise of making a “bonfire of controls.” If Jennings’ documentaries were an expression of the wartime mood and the Ealing films of the increasing impatience with postwar austerity, the class divisions highlighted by the Free Cinema and New Wave films can be seen as a reflection of the relative affluence of the Conservative era, particularly the six years (1957-63) that Harold MacMillan was Prime Minister, which correspond almost exactly with the New Wave period. As Hill writes, “the key to understanding Britain in the 1950s resides in the idea of ‘affluence’” (Hill 5). The subjects of the Free Cinema films Momma Don’t Allow (1955, Karel Reisz and Tony Richardson) and We Are the Lambeth Boys (1958, Karel Reisz) are all either employed or in school, and in Lambeth Boys even discuss the question of whether they have too much spending money. Similarly, none of the New Wave protagonists are struggling financially. Arthur in Saturday Night and Vic in A Kind of Loving are employed, Colin in Loneliness is offered a job, which he turns down, and even Jo in A Taste of Honey, when not ducking out of bedsits to avoid paying rent, has no trouble finding work when she wants it. What these films highlighted was that the increased income and new consumer goods that came with affluence did very little to change the class structure. The most striking illustration of this dissatisfaction with affluence is in The Loneliness of the Long Distance Runner, where Colin and his family use insurance money to go on a spending spree, buying armloads of worthless junk and ending with Colin alone in his room setting a pound note on fire. This critique of affluence also distinguishes the New Wave films from the social realist films of Ken Loach which came a few years later and where upward mobility is not a major issue. The protagonists of Cathy Come Home (1966) and Kes (1970) are too busy dealing with poverty to worry about affluence or whether there is room for them at the top. The New Wave films expressed a frustration with class stasis that was reflected in a tension, similar to that in the Ealing comedies, between their content and resolutions. The endings routinely featured their protagonists being punished (Saturday Night and Sunday Morning, The Loneliness of the Long Distance Runner) or settling for an unsatisfying domesticity (Saturday Night again, A Kind of Loving, Jack Clayton’s 1959 film Room at the Top), but what gave the films their jolt of energy and presumably attracted audiences were the acts of rebellion that preceded these resolutions. Another aspect of Jennings’ films which was influential was his use of location shooting, which Michael Balcon, the head of Ealing studios, named as the “single greatest influence” on the Ealing style (Perry 52). Hue and Cry and Passport to Pimlico were set and filmed in the same parts of London’s East End as Fires Were Started, with action taking place among the rubble and bomb damaged buildings that still remained. Hue and Cry in fact begins with a pan of London’s docks that could have easily come from one of the wartime documentaries. Geraghty notes that the Jennings-style documentary treatment of the setting provided “realist detail” that gives the Ealing fantasies much of their effect (Geraghty 57). Whisky Galore! begins with an ironic version of a Robert Flaherty-style montage of chirpy fisherfolk as the narrator describes the islanders as a “happy people with few but simple pleasures,” but then immediately undercuts it by matching the words “simple pleasures” with a shot of long stream of children leaving a house. In fact, parts of this film can be seen as a takeoff on Man of Aran (1934, Robert Flaherty). Where Flaherty showed an extremely unlikely Irish island where there was neither pub nor church, Mackendrick presents a community which is strictly Sabbatarian and obsessed with drinking. Despite this, the expressive shots of the sea, the coast and town, as well as the sympathetic and humourous representation of local customs are much closer to Jennings than to Flaherty’s mythmaking. While the Free Cinema and New Wave films also featured a “poetic documentary” treatment of the landscape, a difference between them and the earlier films is that the landscape is viewed with much less sympathy. The boys scrambling over the rubble in Hue and Cry and the Scots islanders in Whisky Galore! are uncowed by their environment. In Passport to Pimlico, the bomb damage is to be cleared away and replaced by a playground. In The Titfield Thunderbolt (1953, Charles Crichton), the West Country landscape is photographed in glorious, loving colour; but in the Free Cinema film Wakefield Express (1952, Lindsay Anderson), the Yorkshire countryside only a few hours north is carefully framed to always include industrial smokestacks in the background. In We Are the Lambeth Boys, the establishing shot of the youth club emphasizes the fence that surrounds it, while the gate to Arthur’s lane in Saturday Night and Sunday Morning is constantly guarded by two disapproving old women and at the end of the film, as he sits on a hill with his fiancée, the housing estate below provides a context by showing where they will spend the rest of their lives. The sense of architecture functioning as a prison reaches its height in The Loneliness of the Long Distance Runner, much of which is set in a prison. The emphasis throughout is on “lives . . . played out against the backgrounds that shape and confine them,” and the “streets of drab council houses” where they sleep (McFarlane 138). Another important characteristic of the New Wave was that, like most of the Free Cinema films, it was focused on youth culture. The late 1950s, of course, saw filmmakers all over the world showing an interest in young adults and their frustrations. But unlike France’s nouvelle vague, for example, the British films’ characters were to a large extent defined by their social class. Beyond the ongoing British fascination with class distinctions, an immediate source for this was the “Angry Young Man” literature of writers such as playwright John Osborne (Look Back in Anger) and novelist Alan Sillitoe (Saturday Night and Sunday Morning and The Loneliness of the Long Distance Runner). Like the nouvelle vague, these films usually focused on the concerns of young men, but one of the most prominent, A Taste of Honey (1961, Tony Richardson), concerned a young woman and was based on a play by a woman, Shelagh Delaney. What these writers brought to the New Wave was the habit of viewing youthful rebellion through the prism of Britain’s class system, leading to the conclusion that no matter how smart or funny or energetic or eloquent Arthur and the other protagonists of these films are, they will almost certainly end up living lives not much different from their parents. This viewpoint relates to a characteristic that both unites and divides the Jennings-Ealing films from the Free Cinema-New Wave cycles, that while they share an outsider attitude toward working class culture, they are sharply distinct in their reactions to it. The difference can be summed up in Bill Nichols’ comment (about documentary, although it can be applied to any film) that a film “organized as It speaks about them to us will have quite different qualities and affect from one organized as We speak about us to them” (Nichols 21). Jennings was not working class, and Armes writes that his “viewpoint is resolutely that of the educated middle class” and in A Diary for Timothy “significantly chooses one of the more fortunate babies born in 1944 as his protagonist” (Armes 156). He was, however, sympathetic toward the working class and included representations of its culture in his films. As Philip Simpson writes, “in a nation chronically dominated by the hegemonic high cultural pretensions of its capital city, Jennings wanted to demonstrate there were other forms of culture in other places, even if his view was necessarily an external one” (Simpson 302). And so we have Flanagan and Allen singing to a cheerful and friendly audience of workers in Listen to Britain and singalongs on “Please Don’t Talk About Me When I’m Gone” and “One Man Went to Mow” in Fires Were Started. Although his view was external, by placing these pieces of working class culture alongside children’s choirs singing “O Come All Ye Faithful” or Myra Hess playing Beethoven, Jennings offered a version of British culture that included both him and the workers, which may be why the concept of wartime unity was so central to his work. “One Man Went to Mow” is also sung by the boys in Hue and Cry, and while Ealing was “basically a middle class institution” (Perry 111) and typically featured protagonists in middle class professions such as grocers (Passport to Pimlico and Whisky Galore!), bank clerks (The Lavender Hill Mob [1951, Charles Crichton]), local squires and vicars (The Titfield Thunderbolt), the classes mix easily as they share songs or pints at the local pub. The Free Cinema “gaze” is very different. In O Dreamland (1953), Lindsay Anderson presents a view of a theme park that mocks the worthless and miserable pleasures of the working class. Anderson claimed that his goal was to “make people – ordinary people, not just top people – feel their dignity and their importance” (Hill 128). This statement is hard to square with having his camera pan along the fat bottoms perched on stools as a voice on the soundtrack repeats the bingo numbers, the emphasis on glum faces and mechanical laughter, or the generally nightmarish tone of the film. Hill emphasizes that an outsider gaze is being offered, arguing that Anderson imposed “a privileged interpretation of events and created meanings not contained in the images,” and that what is missing is the “attitude or point of view of the characters themselves” (Hill 133). Armes writes Anderson makes “no attempt to understand the people he is filming but is content to record the drab surface coldly” (Armes 266). This patronizing and clinical attitude toward working class culture runs through the New Wave films. A Taste of Honey has a funfair sequence that is almost a reprise of O Dreamland, while the representations of working class culture in other films consist either of binge drinking (Saturday Night and Sunday Morning, A Kind of Loving) or zombie-like gazing at the television (those two, along with Loneliness of the Long Distance Runner). A further example is the attitude toward what John Hughson describes as the “undeniable centrality of sport to British working class life” (Hughson 44). School playgrounds have symbolic importance in almost all these films. In Listen to Britain, children clog dance while looked over by a benevolent teacher, a symbol of England that is threatened by the Nazis. In Passport to Pimlico, an important plotline involves the replacement of rubble from bomb damage with a playground. These positive images give way in We Are the Lambeth Boys to shots of working class boys playing cricket in a tightly enclosed area that resembles a cage, and being contrasted with the open fields where the match against the posh public school boys is played. This idea of sport as a tool of oppression runs through the New Wave films, and grim playground scenes can be found in most of them, notably Saturday Night and Sunday Morning, A Taste of Honey, The Loneliness of the Long Distance Runner (where the playground literally is part of a prison and sport is explicitly shown as a means of social control) and This Sporting Life (1963, Lindsay Anderson). In this context, the sequence in A Hard Day’s Night where the Beatles cavort on the playground to “Can’t Buy Me Love” gains an increased air of giddy liberation. While there is some nostalgia for vanishing working class culture in the New Wave films (the brass band in A Kind of Loving, the Crazy Gang poster on Aunt Ida’s building in Saturday Night and Sunday Morning), it is relatively easy to be sympathetic toward something that no longer exists. Among other things, it offers another stick to beat what does exist. So while Jennings and the Ealing filmmakers were able to construct a community, real or imagined, in their films that could include both themselves and the working class, and organize them as films that “explained us to them,” the distancing between the New Wave filmmakers and their subjects typified by Karel Reisz’ comment that he “disagree[d] strongly with the idea that Arthur Seaton [from Saturday Night and Sunday Morning] embodied my values, my outlook – I am a middle class Jew from central Europe” (Armes 271) left them very much as films that “explained them to us.” Again, this is far from a filmmaker like Ken Loach, who obviously identifies with and celebrates the lives and struggles of his working class subjects from an insider view despite his middle class background. This detached sympathy without genuine identification with their subjects is what led Raymond Durgnat to make the sour claim that the Free Cinema-New Wave radicals were “uninterested in the masses except as images of their own discontent” (Hill 133). This detachment is also related to another pioneering feature of the New Wave, the treatment of sex. This was partly due to the relaxing of censorship and the influence of French nouvelle vague films with high sexual content by the standards of the time such as Les Amants (1958, Louis Malle), but Hill notes that it is striking “how readily . . . [the] treatment of ‘kitchen sink’ subjects (‘working class squalor’) became attached to an opening up of the cinema’s treatment of sex” (Hill 136). Fascination with the sex lives of the British lower orders goes back at least as far as Lady Chatterley, but there was a freshness in dealing with previously forbidden subject matter such as extramarital and premarital sex, homosexuality, unmarried pregnancy, (sympathetically treated) miscegenation and abortion. However, there also seemed to be a very traditional perceived connection between class and sexual prowess. The archetype of this is Arthur in Saturday Night and Sunday Morning, who says that if his coworker with middle class aspirations could keep his wife satisfied, she wouldn’t be sleeping with him. Similarly, Jimmy Porter (Richard Burton) in Look Back in Anger (1959, Tony Richardson) replaces his upper class wife by seducing her upper class friend, while Joe in Room at the Top sleeps his way up the ladder. All these sexually active protagonists are punished for their randiness. Arthur from Saturday Night is viciously beaten, Colin from Loneliness commits a robbery to finance a dirty weekend in Skegness and is sent to a youth prison, Vic from A Kind of Loving knocks up a girl, Jo from A Taste of Honey gets knocked up, and Joe from Room at the Top loses the woman he loves. This fascination with working class sexuality combined with an insistence on punishment suggests curiosity about sexual myths without any real sympathy, and Hill claims it marks a “separation between spectator and subject, [and] the pleasures derived may rely less on recognition than the very sensation of class difference” (Hill 136). The British New Wave and the Free Cinema cycle that immediately preceded it drew from a variety of sources, and it is possible to trace aspects of it to previous cycles of British films, notably the wartime documentaries of Humphrey Jennings, the post-war Ealing comedies and the Free Cinema films of the 1950s. However, the New Wave films consolidated them in mainstream dramas that attempted to deal with fresh subject matter in a serious way. While there is certainly much to criticize about them, particularly in their detachment from their subjects, there are many good things in them. The photography, mostly by Walter Lassally, is easily as poetic and memorable as they hoped it would be. The drab cities and distinctive accents look and sound authentic and it is possible to believe the British working class of the period did live lives something like what was on screen, which is not something that can be said of many British, or Hollywood, films made then. Works Cited Aitken, Ian. “The British Documentary Film Movement.” The British Cinema Book. Ed. Robert Murphy. London, UK: BFI Publishing, 1997. 58-67. Anderson, Lindsay. “Some Aspects of the Work of Humphrey Jennings.” The Documentary Tradition. Ed. Lewis Jacobs. New York, NY: Hopkinson & Blake, 1974. 236-243. Armes, Roy. A Critical History of British Cinema. New York, NY: Oxford University Press, 1978. Barr, Charles. Ealing Studios. London, UK: Cameron & Taylor, 1977. Geraghty, Christine. “Resisting Modernity: Comedies of Bureaucracy and Expertise.” British Cinema in the Fifties: Gender, Genre and the ‘New Look’. London, UK: Routledge, 2000. 55-75. Grierson, John. “First Principles of Documentary.” Grierson on Documentary. Ed. Forsyth Hardy. London, UK: Faber & Faber, 1979. 35-46. Hill, John. Sex, Class and Realism: British Cinema 1956-1963. London, UK: BFI Publishing, 1986. Houston, Penelope. The Contemporary Cinema: 1945-63. Harmondsworth, UK: Penguin Books, 1963. Hughson, John. “The Loneliness of the Angry Young Sportsmen.” Film & History. 35.2 (2005): 41-48. Landy, Marcia. British Genres: Cinema and Society 1930-1960. Princeton, NJ: Princeton University Press, 1991. McFarlane, Brian. “A Literary Cinema? British Films and British Novels.” All our Yesterdays: 90 Years of British Cinema. Ed. Charles Barr. London, UK: BFI Publishing, 1986. 120-142. Nichols, Bill. “How do Documentaries Differ from Other Types of Films?” Introduction to Documentary. Bloomington, IN: Indiana University Press, 2001. Perry, George. Forever Ealing. London, UK: Pavilion Books, 1981. Simpson, Philip. “The Humphrey Jennings Film Reader.” Screen 36.3 (1995): 301-4.
7961	dbpedia	3	15	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/	en	The physiological challenges of the 1952 Copenhagen poliomyelitis epidemic and a renaissance in clinical respiratory physiology	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.nih.gov/corehtml/pmc/pmcgifs/logo-nihpa.png", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0001.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0002.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0003.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0004.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0005.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0006.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0007.jpg", "https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/bin/nihms-5206-0008.jpg" ]	[]	[]	[ "" ]	null	[ "John B. West" ]	2005-08-05T00:00:00	The 1952 Copenhagen poliomyelitis epidemic provided extraordinary challenges in applied physiology. Over 300 patients developed respiratory paralysis within a few weeks, and the ventilator facilities at the infectious disease hospital were completely ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1351016/	J Appl Physiol. Author manuscript; available in PMC 2006 Aug 1. Published in final edited form as: PMCID: PMC1351016 NIHMSID: NIHMS5206 PMID: 16020437 The physiological challenges of the 1952 Copenhagen poliomyelitis epidemic and a renaissance in clinical respiratory physiology John B. West Department of Medicine, University of California San Diego, La Jolla, California 92093-0623 Find articles by John B. West John B. West, Department of Medicine, University of California San Diego, La Jolla, California 92093-0623; Address for reprint requests and other correspondence: J. B. West, UCSD Dept. of Medicine 0623A, 9500 Gilman Dr., La Jolla, CA 92093-0623 (E-mail: ude.dscu@tsewj). Abstract The 1952 Copenhagen poliomyelitis epidemic provided extraordinary challenges in applied physiology. Over 300 patients developed respiratory paralysis within a few weeks, and the ventilator facilities at the infectious disease hospital were completely overwhelmed. The heroic solution was to call upon 200 medical students to provide round-the-clock manual ventilation using a rubber bag attached to a tracheostomy tube. Some patients were ventilated in this way for several weeks. A second challenge was to understand the gas exchange and acid-base status of these patients. At the onset of the epidemic, the only measurement routinely available in the hospital was the carbon dioxide concentration in the blood, and the high values were initially misinterpreted as a mysterious “alkalosis.” However, pH measurements were quickly instituted, the PCO2 was shown to be high, and modern clinical respiratory acid-base physiology was born. Taking a broader view, the problems highlighted by the epidemic underscored the gap between recent advances made by physiologists and their application to the clinical environment. However, the 1950s ushered in a renaissance in clinical respiratory physiology. In 1950 the coverage of respiratory physiology in textbooks was often woefully inadequate, but the decade saw major advances in topics such as mechanics and gas exchange. An important development was the translation of the new knowledge from departments of physiology to the clinical setting. In many respects, this period was therefore the beginning of modern clinical respiratory physiology. Keywords: pulmonary gas exchange, pulmonary mechanics, mechanical ventilation, acid-base balance, clinical physiology IN 1952, COPENHAGEN was struck by a severe epidemic of poliomyelitis that included a large number of cases of bulbar polio resulting in respiratory paralysis. During the period from August to December, about 3,000 patients with polio were admitted, mainly to one infectious disease hospital, the Blegdam Hospital, and of these, about 1,250 had some type of paralysis ( ). Some 345 patients had bulbar polio affecting the respiratory and swallowing muscles (19, 21). For several weeks, 30–50 patients with bulbar symptoms were admitted daily and 6–12 of these were desperately ill. During the first 3 wk of the epidemic 27 of 31 patients with bulbar polio died, 19 of them within 3 days of admission. Clearly a catastrophe was in the making. Indeed Henry Cai Alexander Lassen (1900–1974), chief physician at the hospital stated “Although we thought we knew something about the management of bulbar and respiratory poliomyelitis it soon became clear that only very little of what we did know at the beginning of the epidemic was really worth knowing” (21). The epidemic resulted in two enormous challenges in applied physiology. The hospital lacked ventilators. The stunningly innovative solution was to use manual positive pressure administered by a roster of 200 medical students who repeatedly squeezed a rubber bag attached to a tracheostomy tube around the clock. The second challenge was understanding the life-threatening abnormalities of pulmonary gas exchange and acid-base status. At the start of the epidemic, the only laboratory test available was the total carbon dioxide concentration of the blood, and the high values were interpreted as a mysterious “alkalosis.” Aspects of the epidemic are discussed elsewhere (4, 20, 21, 27, 30, 33, 34). The problems posed by the epidemic are interesting in their own right. However, the thesis here is that the situation was symptomatic of the parlous state of clinical physiology in the early 1950s. Great advances in respiratory physiology had been made in the 1940s, partly in response to the demands of World War II, but many had not been translated into the clinical setting. The coverage of respiratory physiology in medical student textbooks around 1950 was generally abysmal. But in the early part of the decade a renaissance occurred that can be exemplified by the publication in 1955 of The Lungby Julius Comroe and his coauthors (9). Indeed the decade ushered in a revolution in applied respiratory physiology that lasted for much of the remainder of the century. THE POLIOMYELITIS EPIDEMIC Mechanical ventilation. In the initial stages of the epidemic there was some confusion about the need to ventilate patients with bulbar polio and respiratory insufficiency. Some patients were said to have polioencephalitis or “cerebralia” with a constellation of symptoms and signs, including haziness of consciousness, increased secretions in the airways, long periods of apnea punctuated by occasional inspirations, and obtunding of consciousness from which they could be aroused by verbal stimulation. The relative importance of hypoxia, carbon dioxide retention, fever, and uremia as a cause of this condition was debated (21). There was an impression that some patients had an overwhelming viral bulbar infection for which little could be done, and this led to therapeutic nihilism (20). This group had a very high mortality, and, in retrospect, many of these patients should probably have been ventilated much earlier than they were, if indeed they were ventilated at all. When it was recognized that many of these patients could not survive without mechanical ventilation, the lack of machines became a serious crisis. At the outbreak of the epidemic the Blegdam Hospital had only one Emerson tank respirator and six cuirass respirators. The latter consisted of jackets that fitted around the chest and assisted ventilation by changing the pressure outside the thorax. Although these were useful for patients with mild respiratory impairment, they were utterly inadequate for cases with respiratory paralysis. The bold solution was to manually ventilate the patients by squeezing a rubber bag attached to a tracheostomy tube inserted through an incision just below the larynx. The bag was connected to a tank of 50% oxygen in nitrogen together with a soda lime absorber to remove carbon dioxide (Figs. and ). The logistical problem was solved by having a roster of 200 medical students who operated in relays. At the height of the epidemic, 70 patients had to be manually ventilated around the clock. The medical students worked 6- or 8-h shifts so that three or four shifts were needed in the 24 h. It is daunting to think of the responsibility of these students who were essentially ventilating blind with only the patient’s appearance to guide them, at least in the initial stages. One account refers to a patient rolling her eyes up to signal that she needed more ventilation. Nevertheless the mortality rate is said to have dropped from ∼90% to ∼25% as a result of this heroic intervention. The demands were so great that the supply of medical students dwindled, and a number of lectures were given at the university to encourage more to volunteer (23). Students from the dental school were also recruited. One report states that 1,500 students in all took part in this activity with a total of 165,000 h (16). The introduction of manual bag ventilation early in the epidemic was due to the anesthesiologist Bjørn Ibsen (born: 1915) ( ). He was a Dane who had spent a period in the Department of Anesthesia at the Massachusetts General Hospital under Henry Knowles Beecher (1904–1976). Earlier in 1952, Ibsen had been involved in the treatment of a child with tetanus who was curarized and ventilated manually through a tracheostomy (34). There was a dramatic meeting at the Blegdam Hospital on August 25, 1952, when, as stated earlier, 31 patients with bulbar polio had been treated with the tank and cuirass respirators in the preceding 3 wk but 27 had died. On that day alone, four patients were autopsied, one of them a 12-yr-old boy who died with a “bicarbonate level in the serum far above the normal level.” The attendees included Lassen, Poul Astrup (1915–2000) ( ), chief of the hospital laboratory, Mogens Bjørneboe, a member of the hospital’s medical staff, and Ibsen, who had apparently somewhat reluctantly been invited to attend by Lassen at the urging of Bjørneboe. Ibsen soon recognized that the high blood bicarbonate levels were not an alkalosis of unknown origin but were caused by severe carbon dioxide retention (4, p. 258). He recommended immediate manual ventilation via a tracheostomy. It is interesting that no successful treatment by positive pressure ventilation given continuously over a long period had been reported by 1950 (12). Ibsen related how the first patient was a 12-year-old girl who had paralysis of all four extremities, had atelectasis of the left lung, and who was gasping for air and drowning in her own secretions (1, 17). She was pyrexic, cyanotic, and sweating. A tracheotomy was done under local anesthesia, a cuffed endotracheal tube was placed, and she was eventually ventilated satisfactorily. This event was a turning point in critical care medicine, partly because it was one of the first occasions when an anesthesiologist moved out of the operating room into another environment. Positive pressure ventilation had previously been used for short periods in a polio epidemic in Los Angeles in 1948–1949 (7, 8), but this work had been published in an obscure journal and was not well known. The ventilation circuit shown in Figs. and was a semi-closed system similar to that used in many anesthetic machines with the advantage that it required less fresh gas from the tank than an open circuit. The physicians also felt that the buffering effect of the large volume of the circuit made it easier for inexperienced medical students to maintain the appropriate ventilation. The flow meter was set to 5–10 l/min. However, the CO2 absorber incorporated in the circuit caused some problems because of potential aspiration of soda lime particles into the lung. In later versions, the absorber was removed from the circuit and there was simply an inspiratory/expiratory valve at the tracheostomy tube so that expired gas was vented directly into the outside air. This required a higher flow rate from the oxygen/nitrogen tank. It is interesting to look back at a contemporary discussion of the principles of mechanical ventilation in the clinical setting, for example, Rattenborg (26). There was confusion about the mode of action of positive pressure vs. negative pressure ventilation, and the role of airway resistance on the one hand and lung and chest wall compliance on the other in limiting inflation of the lung. The analysis included a curious statement that negative pressure inflation was unsatisfactory because it did not ensure a constant rate of inspiratory airflow. The reader today is aware of the great contrast between this discussion and the work done in departments of physiology a few years before when the relevant principles of the mechanics of respiration had been clearly enunciated by such groups as Fenn, Otis, and Rahn in the University of Rochester, New York (13), and Mead and Whittenberger and their colleagues at the Harvard School of Public Health (22). This is an example of the prevailing dissociation in the early 1950s between the advances made in departments of physiology on the one hand and their application to clinical situations on the other. Pulmonary gas exchange and acid-base status. As indicated earlier, a major difficulty in the successful ventilation of these patients was the almost complete lack of laboratory data about pulmonary gas exchange and acid-base status. The clinical symptoms and signs of respiratory insufficiency were vague or simply caused by intense anxiety. Patients felt suffocated and had difficulty in coping with their secretions because they could not swallow, there was cyanosis if they were not being given oxygen, and a clammy skin and hypertension were sometimes seen, presumably the results of increased blood catecholamine levels. The only routine laboratory investigation available was the total carbon dioxide concentration in venous or arterial blood. The clinical laboratory of the Blegdam Hospital had a pH meter that could be used for blood, but it required a large sample volume and could not be used for frequent or routine measurements. As stated earlier, the very high levels of carbon dioxide concentration were initially attributed to a mysterious alkalosis, and it was Ibsen who first recognized at the time of the epidemic that instead they signaled a severe respiratory acidosis although this had previously been suggested (24). Astrup related that “this outright misinterpretation of a high CO2 content as alkalosis in patients with respiratory insufficiency produced a very deep impression on me as a laboratory man” (4, p. 258). Astrup was able to persuade the Radiometer A/S in Copenhagen to provide him with a smaller pH meter that could be used for blood (27). A quick measurement of blood pH at 38°C soon proved Ibsen right, and this led to the 12-yr-old girl being tracheotomized and given manual positive pressure ventilation that immediately caused the “alkalosis” to disappear. Astrup noted that the value of the carbon dioxide concentration of blood as an index of its alkalinity could be traced all the way back to 1877 when it was described by Friedrich Walter (born: 1850) and in its time was a very valuable contribution, but clearly here was a situation where the concept was misleading. In defense of the misconceptions of the clinicians in the early 1950s, it should be added that it was unusual to request laboratory data in patients with abnormalities of ventilation. A top priority was to measure the PCO2 in the blood, and this was done using the Henderson-Hasselbalch equation. The graphical depiction of this by Van Slyke and Sendroy (32) was well known to Astrup, and their original diagram is reproduced in . The vertical line on the extreme left shows the total carbon dioxide content of blood both in milliliters of CO2 per deciliter of blood and in micromolar concentrations, whereas the central and right-hand lines show the plasma pH and PCO2, respectively. A line has subsequently been added joining the normal pH of 7.4 and normal PCO2 of 40 mmHg to show a total CO2 content of about 56 ml CO2 per deciliter of blood. The carbon dioxide concentration was determined using the manometric method described by Van Slyke and O’Neill (31). As mentioned earlier, the normal laboratory blood pH meter at the time required a large sample size. However, when the smaller pH meter became available from Radiometer, more than 700 pH determinations were made in the Blegdam Hospital over the next 4 mo (3). Nevertheless this method for determining the PCO2 of blood was still cumbersome because the Van Slyke manometric method was so time consuming. Astrup later realized that if a sample of either plasma or whole blood was exposed to different CO2 partial pressures, the resulting change in pH was linearly related to the logarithm of the PCO2 within the clinical range (2). First the pH of the sample of plasma or blood was measured. Then the sample was exposed to gas with high and low PCO2 values (for example, about 80 and 15 mmHg), and the pH for each PCO2 was measured. The actual PCO2 was then obtained by interpolation. This rapid interpolation method was extensively used until the CO2 electrode was eventually introduced several years later. The early measurements of pH and PCO2 on the patients from the Copenhagen epidemic who were manually ventilated sometimes showed dramatic changes within short periods of time. shows an example from a 5-yr-old boy who was almost moribund on admission and then was tracheotomized and manually ventilated (3). Note that the pH rose from 6.99 to 7.65 over a 3.5-h period and the PCO2 fell from 150 (in venous blood) to 14 mmHg (in arterial blood)! Table 1. HourBloodpHPCO2, mmHgCO2 conc, mmolBicarbonate, mmol11:40 AMvenous6.9915039.034.52:10 PMarterial7.523224.424.53:05 PMarterial7.651415.615.2 In another patient, a woman aged 30 yr, the pH and PCO2 were monitored over a series of 13 days ( ). The fact that a number of the measurements were made on venous rather than arterial blood complicates the interpretation somewhat, but it can be seen that the PCO2 remained fairly stable in the low 30s until September 10 when, in a venous sample, it had fallen to 17 mmHg! This was the result of a decision made at a conference on September 10 to increase the rate of manual ventilation in all patients from 20 to 30 breaths/min. However, because a number of patients subsequently showed very low PCO2 values, it was then decided to reduce the ventilation frequency to 25 breaths/min. In the patient shown in , the PCO2 then rose to 23 mmHg. Table 2. DateHourBloodpHPCO2, mmHgSept 11:00 PMvenous7.49324:45 PMvenous7.473129:15 AMvenous7.503210:30 AMarterial7.503610:35 AMvenous7.47342:15 PMvenous7.483649:10 AMvenous7.5530610:55 AMarterial7.5530812:35 PMvenous7.56311010:10 AMvenous7.70171310:10 AMvenous7.5623 Note that all these PCO2 values were abnormally low, and it is likely that most of the patients who were ventilated by the inexperienced medical students were in this situation. Of course, hyperventilation was better than hypoventilation under these conditions. A common observation in patients who are mechanically ventilated over long periods is that they complain of “air hunger” if the PCO2 is allowed to rise to near the normal level of 40 mmHg. In 1953, there was another poliomyelitis epidemic, this time in Stockholm, and with the experience obtained in Copenhagen in the previous year, the management of patients with respiratory paralysis had improved. Nevertheless several pH values over 7.6 were reported in arterial blood (18). A further fallout from these early measurements of pH, PCO2, and bicarbonate in blood were other indexes that improved our understanding of the respiratory and metabolic components of acid-base disturbances particularly when complicated mixed situations occurred. One measurement was the “standard bicarbonate,” which was the plasma bicarbonate concentration when the blood was exposed to a gas of normal PCO2 of 40 mmHg. This was often obtained by having the laboratory technician exhale over it! In effect, this measurement removed the respiratory component of the acid-base disturbance and allowed any metabolic compensation to be recognized. A similar concept had been suggested earlier by Van Slyke and also by Hasselbalch. However, the most useful fallout was the concept of “base excess.” A simple way to represent this is the position of the “blood buffer line” on a diagram relating plasma bicarbonate concentration to pH, often known as the Davenport diagram (11). The blood buffer line shows the relationship between bicarbonate concentration and pH as CO2 (or carbonic acid) is added to or subtracted from a blood sample. The vertical position of the line is a measure of metabolic compensation for acidosis or alkalosis and is measured in milliequivalents per liter. These fundamental advances in our understanding of acid-base physiology by Astrup and collaborators were later amplified by Siggaard-Andersen and others (29). THE RENAISSANCE IN CLINICAL RESPIRATORY PHYSIOLOGY DURING THE 1950S Respiratory physiology in textbooks around 1950. The 1952 Copenhagen poliomyelitis epidemic dramatically demonstrated the uncertainties in clinical respiratory physiology in the areas of mechanical ventilation and gas exchange and is remarkable in its own right. However, it was also symptomatic of the slowness in translating important advances that had been made in the 1940s into the clinical setting. One way to emphasize this is to examine textbooks of physiology for medical students published around 1950. A good example is the textbook Physiological Basis of Medical Practice by Charles Herbert Best (1899–1978) and Norman Burke Taylor (born: 1885) which was first published in 1937 and met with great success. New editions appeared in 1939, 1943, and 1945, with a 5th edition in 1950. The book was reprinted 15 times between 1937 and 1950, and the 5th edition probably gives a good overview of what doctors learned at that time. Parenthetically, this was the textbook that I used during my medical course in Australia in the late 1940s. Several sections were certainly adequate by the standards of the day. The basic gas laws were well summarized and there were good chapters on the carriage of oxygen and carbon dioxide by the blood, because these topics had been well worked out. However, the sections on pulmonary mechanics and pulmonary gas exchange can only be described as abysmal. There is a whole chapter titled “The mechanics of respiration,” but this is mainly concerned with the respiratory muscles, the consequences of pneumothorax, and a discussion of bronchiectasis! The chapter includes two pages on “artificial respiration” with a diagram of the Drinker negative pressure “iron lung,” but the rest of the discussion is about Schafer’s method, which consists of pressing the lower ribs of a prone subject with the hands, and Eve’s rocking method in which the patient is tilted from the head-up to head-down position and back again on a rocking bed, and the diaphragm is displaced by gravity. Positive pressure ventilation is not even mentioned. The only other place where the topic of the mechanics of breathing occurs is in short sections on asthma and “chronic emphysema” with vague references to the resistance of the airways and the elastic properties of the lung. There is no quantitative treatment of these important topics. Pulmonary gas exchange also gets very short shrift mainly in a section titled “Anoxia.” Again this is entirely qualitative. The importance of ventilation in eliminating carbon dioxide is not appreciated. Indeed one important factor in CO2 retention is thought to be the slower rate of diffusion of CO2 in the alveolar gas because of the large size of the molecule! There is no hint of the alveolar ventilation as determining the alveolar PCO2 nor the alveolar gas equation that relates the alveolar PO2 to the inspired PO2 and alveolar PCO2. It is hardly surprising in view of this state of knowledge that the clinicians faced with patients with respiratory paralysis were at a loss. It is extraordinary that the respiration section of the 5th edition of Best and Taylor published in 1950 is very similar to that in the 1st edition of 1937. Another popular medical student textbook of physiology current at about the same time in 1948 had similar coverage of the respiratory system (35). In particular, the section on “artificial respiration” included the same procedures and there was a remarkable footnote. “Schafer’s method is, however, frequently not applicable in cases where patients stop breathing on the operating table. Here the prone position on the floor is rarely possible; the rocking method or compression of the chest or abdomen, may have to be employed.” It is extraordinary that even in this situation the possibility of positive pressure ventilation was not envisaged. It was not until the 9th edition published in 1952 that positive pressure ventilation was mentioned and then only in one sentence in the setting of anesthesia. Contributions of physiologists in the 1940s and early 1950s. This unhappy state of affairs contrasts greatly with the work that was being done in departments of physiology and in some departments of medicine in the 1940s. Just to take a few examples, Wallace Fenn, Hermann Rahn, and Arthur Otis at the University of Rochester, New York, had established many of the principles of pulmonary mechanics and pulmonary gas exchange during the war years with publications occurring during the mid- and late 1940s (15). Much of this work did not appear initially in the open literature but was contained in classified reports that were later released in eight volumes, the first being Fenn et al. (14). Subsequently some, although not all, of the papers were published in the Journal of Applied Physiology and elsewhere. Another productive group included Jere Mead, James Whittenberger, and their colleagues in the Harvard School of Public Health. Julius Comroe had an active research team in the Graduate School of Medicine at the University of Pennsylvania (see below). Richard Riley, Andre Cournand, and their coworkers were breaking new ground in New York on pulmonary gas exchange, and beginning in 1941 Andre Cournand and Dickinson Richards with their colleagues developed cardiac catheterization in humans (10). Incidentally, this Nobel prize work is not mentioned in the 1948 Best and Taylor. This rapid acceleration of research was not confined to departments of physiology or to the United States. In London, UK, there were active groups at St. Bartholomew’s Hospital Medical School and the Post Graduate Medical School, and in South Wales important advances were made in pulmonary function in occupational lung disease. Other groups were active in Canada, France, and South Africa. Physiologists in Germany contributed developments of oximetry and other measuring devices, and a two-volume account of their work is available (15a). Stimulated in part by these advances, the Journal of Applied Physiology started publication in 1948. Part of the impetus for this was the desire to release to the open literature work that had been described in classified documents during the war. Other periodicals, such as the Journal of Clinical Investigation, published numerous articles in applied clinical physiology. Many of the advances of the 1940s were brought together by Comroe and colleagues in the book Pulmonary Function Tests: Methods in Medical Research, Volume II, which was published in 1950. Readers of this who compared it with the 5th edition of Best and Taylor, which was published in the same year might wonder if they were produced on the same planet. The role of the book “The Lung...” by Comroe and others. But the most influential of the books in this renaissance of clinical pulmonary physiology was The Lung: Clinical Physiology and Pulmonary Function Tests by Julius Comroe, Robert Forster, Arthur DuBois, William Briscoe, and Elizabeth Carlsen, which was published in 1955. This book made an enormous impression. Comroe stated in the preface that it was based on the Beaumont lecture that he gave to the Wayne County Medical Society in Detroit in February 1954. However, the main basis was a course for pulmonary physicians that was given in March 1953 by Comroe and colleagues in the Department of Physiology and Pharmacology, Graduate School of Medicine, University of Pennsylvania. Robert Forster covered blood gases and diffusion, William Briscoe dealt with ventilation-perfusion inequality and other aspects of gas exchange, Arthur DuBois discussed the mechanics of breathing, and Comroe covered the control of ventilation. DuBois still has his notes of the course, including a memo from Comroe dated February 13, 1953, about the preparation of the “lantern slides.” shows two sketches made by DuBois for the course, and depicts how they were eventually published in The Lung. The physics-based nature of these diagrams forms a striking contrast to the treatment of these topics in the 5th edition of Best and Taylor (5) or the paper by Rattenborg (26). It is a remarkable coincidence that in early 1953 at the same time that the Danish physicians were struggling with the problems posed by the patients with respiratory paralysis, the group at the University of Pennsylvania were laying the foundations for the renaissance in clinical respiratory physiology. The authors of The Lung had no illusions about what they were doing. The preface to the book began “Pulmonary physiologists understand pulmonary physiology reasonably well. Many doctors and medical students do not.” It went on to add “This is not a book for pulmonary physiologists: it is written for doctors and medical students.” This was the quintessential translation from physiology departments where the new work had been done in the 1940s to the medical students and others in the 1950s who desperately needed the new information. One of the features of the book was the excellent clear illustrations that had been prepared by Carlsen ( ). The fact that the illustrator, who was a student at the time, was included in the list of authors emphasized the importance that Comroe gave to this feature. Interestingly, although the approach was rigorous and quantitative, the authors were reluctant to include equations in the main text because they felt that most medical students and physicians would be intimidated by these. For example, the alveolar ventilation equation relating the CO2 production to the alveolar ventilation and fraction of CO2 in alveolar gas was given as a footnote. However, all the important equations were summarized in an appendix at the end of the book. Other seminal publications appeared at about the same time, including the classical short monograph A Graphical Analysis of the Respiratory Gas Exchange: The O2-CO2 Diagram by Rahn and Fenn (25). However, this and similar publications were targeted more at professional physiologists and physiology graduate students than medical students and pulmonary physicians. It was Comroe’s book that really ushered in the renaissance in clinical respiratory physiology. What was the essential difference between the treatment of pulmonary mechanics and gas exchange in Best and Taylor (5) compared with Comroe et al. (9)? The answer lies in the completely different approaches, one qualitative and the other rigorously quantitative. For example, in Best and Taylor there is not one equation in the sections on airway resistance, elastic properties of the lung, or pulmonary gas exchange. Airway resistance is largely dealt with in a section on asthma where there were statements such as “The expiratory muscles compress the chest and the abdominal muscles contract in the attempt to squeeze the air from the lungs. The intrapulmonary pressure is greatly elevated and the air escapes through the constricted tubes with a distinct wheezing sound.” However, airway resistance is not defined in quantitative terms as the pressure difference divided by flow, and there is no mention of the different modes of air flow such as laminar and turbulent. The elastic properties of the lung are dealt with in a similar nonquantitative way in the section on “Chronic Emphysema.” For example, a typical statement is “Two factors are concerned in the production of emphysema (a) reduction in the elastic tissue of the lung and (b) increased distension of the alveolar spaces.” There is no mention of the relationship between pressure and volume in an elastic structure nor is the term compliance mentioned. There is a similar nonquantitative treatment of pulmonary gas exchange mainly in the section on “Chronic Emphysema.” A typical paragraph begins “The cause of the impaired gaseous exchange is not altogether clear. Thickening of the alveolar and capillary walls and the obliteration of capillaries have been considered to be a factor. Yet if this were so one would not expect the retention of carbon dioxide which, owing to its greater solubility (30 times that of oxygen) has a much higher rate of diffusion through the pulmonary membrane, to be so much more pronounced that the anoxia.” Interestingly this passage is followed by a brief statement that uneven ventilation “as a result of the loss of elasticity” could affect gas exchange in some way. However, that is about as far as the text goes on the subject of ventilation-perfusion inequality. The treatment of these topics in The Lung by Comroe et al. (9) is completely different. The starting point is elementary physics and engineering, and lung elasticity for example is approached through Hooke’s law. The principles of laminar and turbulent flow through tubes are discussed, both of these concepts being alluded to in Figs. and . There is a full analysis of the changes in alveolar and intrapleural pressure during the respiratory cycle. Pulmonary gas exchange is dealt with in a quantitative way beginning with the alveolar ventilation equation leading to the alveolar gas equation. The differences between diffusion limitation of gases across the blood-gas barrier and ventilation-perfusion inequality as factors impairing gas exchange are clearly stated. Obviously, there was a revolution in the presentation of the principles of clinical respiratory physiology to medical students and physicians in the early 1950s, and we continue to benefit from this renaissance today. In summary, the 1952 Copenhagen poliomyelitis epidemic provided momentous challenges in clinical respiratory physiology and is fascinating for that reason. In addition, it underscores the gap that had developed between the rapid advances in respiratory physiology that took place in the 1940s and their application to the clinical environment. This is highlighted by the backward state of respiratory physiology as exemplified in typical medical student textbooks around 1950. However, a remarkable change took place in that decade. The rapid advances made in departments of physiology were translated to the clinical setting with one of the most influential factors being the publication of The Lung by Comroe et al. in 1955. The result was a greatly improved understanding of applied respiratory physiology that continues to benefit patients today. APPENDIX Logistics of the long-term manual ventilation. One of the most remarkable features of the epidemic was the way medical students and others were organized to provide round-the-clock, long-term manual ventilation. Information about this is given in three contemporary articles in the Danish medical journal Ugeskrift for Laeger by Thomsen (30), Bjorneboe (6), and Hansen (16). Thomsen was one of the medical student “ventilators,” Bjorneboe was on the medical staff of the Blegdam Hospital, and Hansen was mayor of Copenhagen. Later Wackers (33) interviewed a number of the people involved. The emotional demands on the patient and student were enormous (30). A young patient would be admitted struggling to breathe, a tracheostomy was performed, and he (or she) would meet the 18- to 19-yr-old students who were to keep him alive by squeezing the bag for an indefinite period. Bonding between the patient and student was strong, especially for young children. Four or five students were allocated to each patient because of the 24-h coverage, but the same students always ventilated the same patient. In the case of young children, the student read to them and played games. If a new student was added to the team for some reason, the patient initially reacted strongly. Communication between the patient and student was difficult because of the tracheostomy tube, but students learned to lip read, and some patients gave information by moving their eyes. Very early in the epidemic, when it was clear that large numbers of students would be required, the medical student council was involved, and they accepted the responsibility for rostering the students, arranging for them to be excused from otherwise obligatory courses, and negotiating payment for their services. The students worked 6- or 8-h shifts, which was both emotionally and physically demanding. During an 8-h shift, there was a 10-min “smoke” break each hour, and a half-hour meal break in the middle, but otherwise the student was continually compressing the bag. There were many technical problems connected with the manual ventilation (6). The students first had instruction on the general principles from an anesthesiologist and then 3 or 4 h of practical instruction with the equipment. Equipment problems included unexpected emptying of the oxygen tank, kinking of the tube from the tank, and damage to the ventilating bag. The CO2 absorber had to be changed periodically, and the tracheostomy tube could slip down and occlude a main bronchus. Periodic suctioning of the airways was necessary in some patients. Observation of the patient was very important, and another student in the team or nurse would monitor the pulse rate and blood pressure from time to time. There was continual surveillance by doctors and nurses walking up and down the wards to give help where needed. Many students found the emotional and physical demands too much and gave up. Also there was a concern about developing polio, although this apparently never happened to any of the students. As the epidemic wore on, the second year students who had done most of the ventilating were partly replaced by first-year students, who, in the European system, would have come straight from high school and might be only 18 yr old. The economic impact of the epidemic was vast. Very quickly, the Blegdam hospital ran out of beds and three other hospitals were recruited. Large numbers of extra doctors, including anesthesiologists, nurses, and hospital staff were required as well as the medical students. The cost of the epidemic up to April 1953 was estimated to be 5–6 million Danish Kroner (16), that is about 30 million US dollars at today’s exchange rate. POSTSCRIPT When this manuscript was being prepared, I wrote to several of the student “ventilators” but received no replies. However, after the paper was accepted for publication, I received a most interesting letter from Dr. Uffe Kirk who was 25 years old in 1952 at the time of the epidemic. He had just finished medical school and was asked to play a major role in organizing the medical student ventilators. Here are some extracts from his account. “The difference between ordinary patients requiring ventilation and polio patients was characteristic: They were conscious! The students invented ways to communicate with their patients. Some patients holding a small stick in their mouths communicated by pointing at letters on a poster, laboriously spelling what they wanted to say. This went fairly well because the student learned to half-guess what the patient would say after only a few letters. The student would then say out loud what he or she thought the patient meant, and the patient would then wink in one way if the student had guessed right and in another way if not. If the student was in no way near the correct answer, the patient could point at the word “Idiot” written on the poster. This way the student always received a message from the patient if the ventilation required correcting. It was almost a safer way to correct ventilation than laboratory tests, blood pressure, and other medical controls. The intimate relation made the students very concerned about the well being of their patients. They were exhilarated at every positive sign but were also very sad when things went downhill. And it did for many patients. Even though the students knew that death was a very real option, they were mentally strained when their patients died. At worst, the patients died during the night. The light in the wards was dimmed in order not to disturb the patients in their sleep. But the faint light and the fact that the students were not able to tell anything from the ventilation made it impossible for the students to know that their patient had died. It was therefore a shock for the student when morning came and he/she realized that the patient had been dead for a while ..... Not so long ago professor Bjørn Ibsen was lauded at a conference here in Denmark. He sat on a chair in the front row when a woman of ∼65 yr quietly went up to him, kissed him on the cheek and said ‘Thank you for my life!’ In 1952 she was the twelve-year old girl whom Bjørn Ibsen was permitted to try and save by means of tracheostomy and a tube through which he wanted to ventilate in replacement of her [paralysed] respiration. He succeeded and the woman was proof of that, and was the direct cause of 1500 medical and dental students ventilating polio patients for 165,000 h at the Blegdam Hospital in 1952 thereby saving ∼100 people who would have been lost without this effort .....” The complete letter has been placed in an archive in the Mandeville Special Collections Library at the University of California, San Diego. ACKNOWLEDGMENTS I thank the following: Arthur DuBois for providing me with a copy of his notes of the course on pulmonary physiology held at the University of Pennsylvania in March 1953; DuBois and Robert Forster for reading the manuscript; Ger Wackers for sending me his doctoral dissertation; and Harrieth Wagner for translating several articles from Danish. Footnotes The costs of publication of this article were defrayed in part by the payment of page charges. The article must therefore be hereby marked “advertisement” in accordance with 18 U.S.C. Section 1734 solely to indicate this fact. GRANTS: The work was supported by National Heart, Lung, and Blood Institute Grant RO1-HL-60698.
7961	dbpedia	0	6	https://www.bfi.org.uk/lists/10-great-films-set-1950s-britain	en	10 great films set in 1950s Britain	https://core-cms.bfi.org…lovers-lift.jpeg	https://core-cms.bfi.org…lovers-lift.jpeg	[ "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/queen-and-country-2014-lovers-lift.jpeg/1300x0/queen-and-country-2014-lovers-lift.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2020-08/dance-with-a-stranger-1984-miranda-richardson-ian-holm-rifle.jpg/1440x0/dance-with-a-stranger-1984-miranda-richardson-ian-holm-rifle.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/84-charing-cross-road-1987-anthony-hopkins-can-food.jpeg/1440x0/84-charing-cross-road-1987-anthony-hopkins-can-food.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-07/wish-you-were-here-1987-emily-lloyd-seaside.jpg/1440x0/wish-you-were-here-1987-emily-lloyd-seaside.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-09/the-long-day-closes-1992-gathered-family.jpg/1440x0/the-long-day-closes-1992-gathered-family.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/between-two-women-1999-women-in-the-car-close-up.jpeg/1440x0/between-two-women-1999-women-in-the-car-close-up.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/chicken-run-2000-rocky-and-ginger-on-the-roof.jpeg/1440x0/chicken-run-2000-rocky-and-ginger-on-the-roof.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-03/young-adam-2003-ewan-mcgregor-pub.jpg/1440x0/young-adam-2003-ewan-mcgregor-pub.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-08/vera-drake-2004-imelda-staunton-philip-davis.jpg/1440x0/vera-drake-2004-imelda-staunton-philip-davis.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/nowhere-boy-2009-solo-guitar-player-on-double-decker.jpeg/1440x0/nowhere-boy-2009-solo-guitar-player-on-double-decker.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2022-06/illusionist-the-2010-theatre-stage-empty-house.jpeg/1440x0/illusionist-the-2010-theatre-stage-empty-house.jpeg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2020-07/bfiplayer-white.png/400x0/bfiplayer-white.png", "https://core-cms.bfi.org.uk/sites/default/files/core/funded-by-uk-government.svg", "https://core-cms.bfi.org.uk/sites/default/files/core/here-for-culture.svg", "https://core-cms.bfi.org.uk/sites/default/files/core/national-lottery.svg" ]	[]	[]	[ "" ]	null	[ "BFI" ]	2015-06-11T11:30:00+01:00	These period dramas all return us to Britain in the 1950s, a time of national service, the Queen’s coronation and the debut of radio’s The Archers.	en		BFI	https://www.bfi.org.uk/lists/10-great-films-set-1950s-britain	One of the most famous opening lines in 20th-century English literature is L.P. Hartley’s “The past is a foreign country: they do things differently there.” His novel The Go-Between was published in 1953, and Hartley himself witnessed the upheavals of the following decade so that even when he died in 1972, the 50s had already become ineffably “different”. There may be a few constants – Queen Elizabeth II, The Archers, the Radio Times, the national addiction to tea – but many other day-to-day aspects of 1950s life have been long banished. One of these is national service, the subject of John Boorman’s recent film Queen and Country, the sequel to his marvellous 1987 Blitz memoir Hope and Glory. Here, his protagonist-cum-alter ego Bill spends his late teens in army barracks (under constant threat of being shipped off to fight in the Korean war), and the film sketches both his life and that of his extended family in the run-up to the 1953 coronation with all the loving attention to detail that one might expect from a filmmaker revisiting his first adult decade. Get the latest from the BFI Sign up for BFI news, features, videos and podcasts. Email But this is merely the latest in a long line of period dramas set in the 1950s, a decade that seems to have had just as indelible an effect on the British psyche as its bolder, brasher successors. Although British filmmakers have generally fought shy of offering more than passing allusions to one of its most pivotal events, the 1956 Suez crisis, the decade as a whole is a frequent political football, with conservatives championing the era as the last time in which the old certainties still held sway, and progressives damning it as the last full decade in which things like the death penalty or the criminalisation of male homosexuality remained on the statute books – although even before 1960 these were starting to be challenged. Dance with a Stranger (1985) Director: Mike Newell The ever-thorny issue of the ethics and practice of capital punishment has fuelled several partly or entirely 1950s-set dramas, including 10 Rillington Place (1970), Let Him Have It (1991) and Pierrepoint (2005). But this film about Ruth Ellis, who in 1956 became the last woman to be legally hanged in Britain, just about edges it for its star-making casting and its overall emotional intensity. It’s hard to credit that Miranda Richardson was totally unknown to cinemagoers at the time and barely known elsewhere: her astonishingly shaded performance as Ellis, her rationality swamped by an all-encompassing romantic and sexual obsession with Rupert Everett’s self-centred aspiring playboy, is riveting throughout, not least because she refuses to soft-pedal the less appealing aspects of Ellis’s character. It could easily have toppled into crude melodrama, but Newell maintains a steely control throughout, while Shelagh Delaney’s script brilliantly anatomises the era’s stifling social prejudices. 84 Charing Cross Road (1987) Director: David Jones Helene Hanff’s unlikely epistolary bestseller about a bibliophile’s growing friendship with the staff of antiquarian booksellers Marks & Co (whose address is given in the title) was first condensed into a stage two-hander and then opened out for the big screen with Anne Bancroft as Hanff and Anthony Hopkins as the bookshop’s chief buyer Frank Doel, an increasingly warm relationship that was ultimately hampered by the fact that they never actually meet (or, in real life, met). The bookshop here is a Shepperton set, the better to recreate an authentic-seeming 50s atmosphere, and the conditions of the time are underscored by the scene in which Hanff sends the staff a Christmas hamper at a time when postwar food shortages were still a day-to-day reality. Hopkins would later star in similarly unconventional quasi-romances with a partially 1950s setting in The Remains of the Day (1993) and Shadowlands (1993). Wish You Were Here (1987) Director: David Leland It’s the early 1950s, and in a small seaside town (the film was shot in Worthing and Bognor Regis) 16-year-old Lynda is asserting her social and sexual independence at least a decade too early for cultural comfort. In 1986, David Leland had written Personal Services for Terry Jones, during which he became fascinated by the early life of Streatham brothel madam Cynthia Payne, who grew up on the Sussex coast. Leland also cut his teeth writing laceratingly honest scripts like Made in Britain (1983), and despite outward appearances Tim Roth’s skinhead Trevor and Emily Lloyd’s wayward Lynda (both star-making performances from complete newcomers) have a surprising amount in common, in that their attempts at finding their own identity are constantly reined in by the social pressures of the day – and in Lynda’s case by biological ones, as she finds herself pregnant at a time when contraception was primitive and abortion illegal. The Long Day Closes (1992) Director: Terence Davies No other British filmmaker has mined the decade as comprehensively as Terence Davies. Whether it’s the quasi-autobiographical likes of Children (1976) or Distant Voices Still Lives (1988), the deeply personal view of Liverpool in Of Time and the City (2008) or necessarily setting his 2011 film of Terence Rattigan’s play The Deep Blue Sea in the era in which it was first published, he’s attempted a wholesale recreation of every aspect of life in the 50s, paying particular attention to uncelebrated working-class domestic spaces. Despite this stiff competition, The Long Day Closes is the Davies film that’s most completely, indeed rhapsodically saturated in the 50s, both visually and especially aurally. On the BFI DVD commentary, Davies meticulously itemises all the many quotations from popular songs and film soundtracks that formed a background to his own childhood and adolescence, especially when his 11-year-old protagonist Bud uses the cinema as a means of temporary escape. Between Two Women (1999) Director: Steven Woodcock Two years before Todd Haynes’ Far from Heaven, Yorkshire-born writer-director Steven Woodcock made this low-key drama about then-forbidden love threatening to break up a model 1950s family. Married to a factory worker who does little more than provide for her, Ellen (Barbara Marten) becomes increasingly smitten by her 10-year-old son’s middle-class teacher (Andrina Carroll), an interest that is very much reciprocated. Although it was never specifically criminalised along the lines suffered by male homosexuality, lesbianism was wholly invisible in 1950s British cinema, although in keeping with Woodcock’s desire to recreate the decade’s cinematic style as well as its decorative trappings (an ambition furthered by his 2005 second feature, the early 1960s-set John Braine adaptation The Jealous God), it’s pretty understated here too. Instead, he falls back on class division to drive the narrative, with Ellen’s husband Hardy (Andrew Dunn) more visibly put out by the fact that their son’s artistic talent might lead him to develop social ideas above his station. Chicken Run (2000) Directors: Peter Lord and Nick Park Claymation wizard Nick Park was born in 1958 and grew up in Preston, which he said maintained a distinctly 1950s flavour right through his childhood. It’s little wonder, therefore, that his films mostly seem to hail from the era, none more explicitly than Aardman’s debut feature (co-directed by Park’s mentor and Morph co-creator Peter Lord), which is set on a Yorkshire poultry farm and peppered with references to the then-new The Archers and other 50s staples. It’s also a knowing parody of WWII PoW films like Stalag 17 (1953) and The Colditz Story (1955), as a gang of plucky chickens led by Julia Sawalha’s resourceful Ginger and Mel Gibson’s brash American interloper Rocky plots a daring escape from the evil Mrs Tweedy (Miranda Richardson), whose approach to performance-related pay is initially to slaughter any chicken whose egg production drops below target and then to move wholesale into the chicken-pie business. Young Adam (2003) Director: David Mackenzie Alexander Trocchi’s cult novel of the same name was published in 1954, and the film adaptation is duly set in that year – indeed, Ewan McGregor’s performance as the irresponsible drifter Joe seems to have been based at least as much on Trocchi himself (who abandoned his family for his writing) as on the character that he created. Set on and around a barge travelling the canal between Edinburgh and Glasgow, it concerns the growing relationship between Joe and the predatory Ella (Tilda Swinton), notwithstanding the near-constant presence of her husband Les (Peter Mullan) and the possibility that Joe might be connected with the young woman whose body is fished out of the canal at the start. Like Dance with a Stranger before it, the film has an aggressively sexualised physicality that’s quite unlike the stereotypical image of ‘the 50s’ but which was nonetheless beginning to be stirred into the work of writers like John Osborne, John Braine and Trocchi himself. Vera Drake (2004) Director: Mike Leigh Mike Leigh’s second period drama (after 1999’s Topsy-Turvy) was the first set in an era that he’d personally lived through, and the film’s dedication to his parents (“a doctor and a midwife”) could hardly be more revealing of the primary research he hadn’t so much carried out as naturally absorbed. It’s 1950 and Vera Drake (Imelda Staunton) is at the heart of a devotedly close-knit family, whose members are utterly unaware of what she does in her spare time, even though her work as a backstreet abortionist comes from the same instinctively charitable impulse: she wants to help improve people’s lives. To say that the law of the time (then 17 years from reform) disagreed with her argument would be putting it mildly, and the impact of the scene in which Vera receives the official knock on the door was rendered far greater by the fact that none of the other actors knew what was happening. Nowhere Boy (2009) Director: Sam Taylor-Wood The Beatles may have been the quintessential 60s band, but their worldview was largely formed in the 50s, and this biopic focuses on John Lennon’s teenage years from 1955-60, charting both the discovery of rock’n’roll that supplied a cause for his initially flailing rebellion, and his turbulent but psychologically crucial relationship with his mother Julia (Anne-Marie Duff) and aunt Mimi (Kristin Scott Thomas) – complicated by the fact that he spent his first 15 years believing that Mimi was his mother. Small wonder that he has an identity crisis – and, with this in mind, Aaron Johnson sensibly doesn’t attempt a crude impression of the globally famous adult that Lennon became only a few years later. Equally importantly, debutante director but experienced artist-photographer Sam Taylor-Wood (who later married her leading man) doesn’t caricature the decade that ultimately formed him. Indeed, the film was widely praised for its attention to historical detail, not least by a significant supporting character named Paul McCartney. The Illusionist (2010) Director: Sylvain Chomet Originally conceived in the 1950s as a Prague-set live-action vehicle for Jacques Tati, French animator Sylvain Chomet’s exquisite, almost dialogue-free second feature relocated the story to 1959 Edinburgh, Chomet’s adopted home city at the time. The place and era is captured with painstakingly researched attention to detail: the atmosphere, the people, the vehicles, and the distinctive way that the light shades and colours every detail of the city’s architecture. It’s also very much a French-Scottish love letter, with Chomet’s protagonist (named Tatischeff in tribute to his mentor’s real name) relocating from Paris via London to Scotland after his particular brand of conjuring falls out of fashion. The remote Scottish island of Iona, only recently electrified, proves far more receptive, especially when a young girl in his audience believes that he genuinely has supernatural powers, and insists on travelling with him to Edinburgh, ignoring his numerous protestations along the way.
202	dbpedia	2	7	https://www.nytimes.com/2010/11/12/movies/12delaurentiis.html	en	Dino De Laurentiis, Prolific Film Producer, Dies at 91	https://static01.nyt.com…op.png?year=2010	https://static01.nyt.com…op.png?year=2010	[ "https://static01.nyt.com/images/2010/11/12/arts/subDELAURENTIIS2-obit/subDELAURENTIIS2-obit-jumbo.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Dave Kehr" ]	2010-11-12T00:00:00	Mr. De Laurentiis produced hundreds of movies in his career, including “Serpico” and “Three Days of the Condor.”	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2010/11/12/movies/12delaurentiis.html	Dino De Laurentiis, the high-flying Italian film producer and entrepreneur whose movies ranged from some of Federico Fellini’s earliest works to “Serpico,” “Death Wish” and the 1976 remake of “King Kong,” died on Wednesday at his home in Beverly Hills, Calif. He was 91. His death was confirmed by his daughter Raffaella. Mr. De Laurentiis’s career dated to prewar Italy, and the hundreds of films he produced covered a wide range of styles and genres. His filmography includes major titles of the early Italian New Wave, including the international success “Bitter Rice” (1949), whose star, Silvana Mangano, became his first wife; two important films by Fellini, “La Strada” (1954) and “Nights of Cabiria” (1957), which both won Academy Awards; and the film that many critics regard as David Lynch’s best work, “Blue Velvet” (1986). In 2001, Mr. De Laurentiis himself was given the Irving G. Thalberg Memorial Award for lifetime achievement. But Mr. De Laurentiis never turned his nose up at unabashed popular entertainments like Sergio Corbucci’s “Goliath and the Vampires” (1961), Roger Vadim’s “Barbarella” (1968) and Richard Fleischer’s “Mandingo” (1975) — several of which hold up better today than some of Mr. De Laurentiis’s more respectable productions. Mr. De Laurentiis was among the first European producers to realize the potential of the international co-production. In the early 1950s, when the vertically integrated Hollywood studios were breaking up because of a Justice Department antimonopoly decree, studio-groomed stars were turning into freelance agents and back lots were beginning to be sold off in favor of using location photography, the studios started to turn to outside suppliers to keep a steady stream of product coming in for their distribution apparatus. Mr. De Laurentiis lured Anthony Quinn to Rome for “La Strada,” and shortly after that cast Kirk Douglas in the title role of “Ulysses,” a spectacular that was directed by the Italian film veteran Mario Camerini (with an uncredited assist from the director and cinematographer Mario Bava) and that Mr. De Laurentiis sold to Paramount. The formula proved to be a profitable one, allowing Mr. De Laurentiis to pay grandiose salaries to his imported stars while cutting costs by using local technicians. Actors like Audrey Hepburn and Henry Fonda (“War and Peace,” 1956), Anthony Perkins (“This Angry Age,” 1958), Vera Miles and Van Heflin (“5 Branded Women,” 1960) and Charles Laughton (“Under Ten Flags,” 1960) made their way to Italy, where they often performed with other international stars. The results, filmed in a Babel of tongues, were dubbed into different languages for different markets. At the same time, Mr. De Laurentiis continued making films for the home market. He had a close relationship with the legendary Italian clown Totò (for whom he produced the 1952 “Totò a Colori,” one of the first Italian feature films shot entirely in color) and Alberto Sordi, a rotund comic whose portrayals of middle-class Romans struggling to stay ahead of the game became a projection of the national identity. His success, aided by the government subsidies that had been put in place to encourage postwar production in Italy, eventually allowed him to build his own studio, which he named Dinocittà. Mr. De Laurentiis’s empire began to crumble in 1965, when Italy’s Socialist government passed new regulations that put severe restrictions on what could be called an Italian movie. With his subsidies in doubt, his contract with Mr. Sordi coming to an end and a continuing legal battle with Fellini over unmade projects, Mr. De Laurentiis closed Dinocittà in 1972 and the next year moved to New York, where he opened an office in what was then the Gulf & Western building on Columbus Circle. In New York, Mr. De Laurentiis initiated a series of well-known productions, including “Serpico” (1973), “Death Wish” (1974), “Three Days of the Condor” (1975), John Wayne’s final film, “The Shootist” (1976), and John Guillermin’s big-budget remake of “King Kong” (1976). Expensive follies, like a hotel opened on Bora Bora (the location of “Hurricane”), an upscale delicatessen on the Upper West Side of Manhattan and a studio complex in North Carolina, strained Mr. De Laurentiis’s bottom line, and in later years he was forced to sell many of his properties and rein in his activities. Still, he persisted through the 1980s and ’90s, thanks chiefly to a relationship with Stephen King, many of whose books were filmed by Mr. De Laurentiis, and his ownership of Thomas Harris’s first novel in the Hannibal Lecter series, “Red Dragon.” Mr. De Laurentiis filmed the Harris novel twice: first in 1986 as “Manhunter,” with Brian Cox in the role of the cannibalistic serial killer, and then under the novel’s original title in 2002, with Anthony Hopkins back for another turn in the role after becoming a star playing Lecter in the non-De Laurentiis “Silence of the Lambs.” Agostino De Laurentiis was born in Torre Annunziata, a town in the province of Naples, on Aug. 8, 1919, the third in a family of seven brothers and sisters. Mr. De Laurentiis’s second wife, as Martha De Laurentiis, continued to work with him as a co-producer. Their most recent projects included “Hannibal Rising” (2007), a prequel to the Lecter saga starring the young French actor Gaspard Ulliel as the apprentice flesh eater. A master at publicizing his movies and himself, Mr. De Laurentiis made a lot of proclamations that were hard to take seriously. (He referred to his “King Kong” remake as “the greatest love story of all time.”) He could also be wryly self-deprecating, as in this explanation of how he became a producer: “I see my face in the mirror, and I said, ‘No, my ambition is not to be an actor.’ ”
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producer Dino De Laurentiis", "" ]	null	[]	null	Movie Talk - RIP movie producer Dino De Laurentiis - I didn't realize he was that old Rex Features Legendary producer Dino De Laurentiis has died at the age of 91. De Laurentiis, whose career in cinema spanned more than 70 years and 160 movies, passed away in Los Angeles, according to Italian media reports. De	en	/favicon.ico?v=1	DVD Talk Forum	https://forum.dvdtalk.com/movie-talk/581894-rip-movie-producer-dino-de-laurentiis.html
202	dbpedia	3	57	https://reactormag.com/filmmaker-dino-de-laurentiis-1919-2010/	en	Dune and Conan Film Producer Dino De Laurentiis 1919	https://reactormag.com/w…-icon-ba422f.svg	https://reactormag.com/w…-icon-ba422f.svg	[ "https://reactormag.com/wp-content/uploads/2023/11/Group-6272-1-1.png", "https://reactormag.com/wp-content/uploads/2023/12/Reactor-logo_type-w-stubb-KO.svg", "https://reactormag.com/wp-content/uploads/2023/11/Group-6272.png", "https://reactormag.com/wp-content/uploads/2023/12/Reactor-logo_type-w-stubb-KO.svg", "https://reactormag.com/wp-content/uploads/2024/07/AliceRun_cvr-300ppx.jpeg", "https://reactormag.com/wp-content/uploads/2024/07/theangelsshare_cvr-300ppx-copy.jpeg", "https://reactormag.com/wp-content/uploads/2024/07/IntheMoonsHouse_cvr-300ppx.jpeg", "https://reactormag.com/wp-content/uploads/2024/07/IllMissMyself_cover-300ppx-1.jpeg", "https://reactormag.com/wp-content/uploads/2023/11/Group-7902.png", "https://reactormag.com/wp-content/uploads/2023/11/Group-copy-2.png", "https://reactormag.com/wp-content/uploads/2023/11/Group-copy-3.png", "https://reactormag.com/wp-content/uploads/2023/11/Group-copy-4.png", "https://secure.gravatar.com/avatar/95d3f52cfbc017f51c88e4e4cce4a735?s=56&r=pg", "https://secure.gravatar.com/avatar/85944a9ce9c10059e846dc7e344b2eb8?s=56&r=pg", "https://reactormag.com/wp-content/uploads/2023/11/Horizontal.jpg", "https://reactormag.com/wp-content/uploads/2024/01/126320_privacyoptions-svg.svg" ]	[]	[]	[ "" ]	null	[ "Danny Bowes" ]	2010-11-11T18:47:00+00:00	Italian movie producer Dino De Laurentiis has died at the age of 91. A film student in Rome whose studies were interrupted by World War II, De Laurentiis got his start in producing by working with legendary directors Roberto Rossellini and Federico Fellini during the height of the Italian neo-realist period. He was successful enough […]	en	https://reactormag.com/w…-icon-ba422f.svg	Reactor	https://reactormag.com/filmmaker-dino-de-laurentiis-1919-2010/	Italian movie producer Dino De Laurentiis has died at the age of 91. A film student in Rome whose studies were interrupted by World War II, De Laurentiis got his start in producing by working with legendary directors Roberto Rossellini and Federico Fellini during the height of the Italian neo-realist period. He was successful enough at it that by the 1960s, De Laurentiis built his own studio facilities in Italy. By that point, De Laurentiis’s creative focus had evolved, and he began producing the type of very expensive, glossy genre pictures that he’s best known for today. The most emblematic of his 60s output was perhaps Barbarella, featuring Jane Fonda in various states of undress as aliens try to have sex with her. It’s easy to dismiss it as an exploitation picture—because it is—but there’s a good-natured self-awareness to Barbarella (on everyone’s part but Jane Fonda, who is apparently under the impression that she’s doing high drama) that makes it hard to dislike. That is, unless the leaden pacing puts you to sleep. The 1970s saw De Laurentiis’s Italian studio fail financially, but he responded by relocating to Los Angeles and offering his talents to the American movie industry. The results were partly good (Serpico), partly bad (Death Wish), and partly ugly (the 1976 remake of King Kong), but met with sufficient financial success that he was, by the end of the decade, a fixture in Hollywood. With 1980s Flash Gordon, De Laurentiis returned to the science fiction camp aesthetic of Barbarella, but without the faint musk of sleaziness, and with Max von Sydow as Ming the Merciless, and a soundtrack by Queen. Despite these amazingly brilliant selling points, Flash Gordon underperformed at the box office, in part due to the financial profligacy that made Dino’s Italian studio go out of business. Undeterred, De Laurentiis went on to produce both Conan movies, spinoff Red Sonja…and Dune. It was not enough to be associated with campy science fiction movies, or expensive movies that flopped, or movies that didn’t make much sense. Dino De Laurentiis, it seemed, wished to do all at once. Dune represents the realization of that goal. It was very campy. Extremely expensive. Performed hideously at the box office. And even if you read the book, the movie makes no sense. (In fact, the more you read, the less sense it makes.) As such, it is a magnificent achievement in cinema and maybe De Laurentiis’ finest moment as a producer. De Laurentiis would continue producing for nearly the remainder of his days (his last picture was released in 2007), with less ostentation and more consistency, though this combination meant that the possibilities of great heights or lows—however one regards Barbarella, Flash Gordon, Conan, or Dune—were diminished. Through sheer staying power, he managed to outlast the unkind nickname bestowed on him by the Medved brothers, “Dino De Horrendous,” and be remembered more as an old lion than as a shlock merchant. Now, upon his passing, let us remember Dino De Laurentiis for his irreplaceable contributions to camp SF cinema. For sheer entertainment value—ironic or no his pictures were nearly always entertaining—he has few peers. Let us not smirk at him, but allow ourselves to smile.
202	dbpedia	2	60	https://www.kidpaw.net/famous-people/dino-de-laurentiis-pid99978	en	Dino De Laurentiis Biography, Birthday. Awards & Facts About Dino De Laurentiis	https://www.kidpaw.net/d…rentiis-2010.jpg	https://www.kidpaw.net/d…rentiis-2010.jpg	[ "https://www.kidpaw.net/data/people/italian/kidpaw-dino-de-laurentiis-2010.jpg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg", "https://www.kidpaw.net/images/default-avatar.svg" ]	[]	[]	[ "" ]	null	[]	null	Dino De Laurentiis detail biography, family, facts and date of birth. Awards of Dino De Laurentiis, birthday, children and many other facts. See Dino De Laurentiis's spouse, children, sibling and parent names.	en	/favicon.ico		https://www.kidpaw.net/famous-people/dino-de-laurentiis-pid99978	Federico Fellini Film Director and Scriptwriter Federico Fellini was a renowned Italian filmmaker and scriptwriter. This biography profiles his childhood, early life, career, major works, awards, personal life, legacy and timeline. Born: 20 January 1920/ Italian Albert R. Broccoli Albert R. Broccoli was an American film producer. Check out this biography to know about his childhood, family life, and achievements. Born: 05 April 1909/ Italian Franco Zeffirelli Franco Zeffirelli is a celebrated Italian director and producer. Check out this biography to know about his childhood, life, achievements, works & timeline. Born: 12 February 1923/ Italian Michelangelo Antonioni Michelangelo Antonioni was an Italian film director, producer, editor, short story writer and screenwriter. This biography profiles his childhood, life, film career, achievements and timeline. Born: 29 September 1912/ Italian Franco Amurri Franco Amurri is a filmmaker, TV director, and screenwriter from Italy. Check out this biography to know about his birthday, childhood, family life, achievements and fun facts about him. Born: 12 September 1958/ Italian Gillo Pontecorvo Gillo Pontecorvo was an Italian film director, best known for the film 'La battaglia di Algeri'. Check out this biography to know about his childhood, life, achievements, works & timeline. Born: 19 November 1919/ Italian
202	dbpedia	0	96	http://news.bbc.co.uk/2/hi/entertainment/3143479.stm	en	Sharif honoured for film career			[ "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://stats.bbc.co.uk/o.gif?~RS~s~RS~News~RS~t~RS~HighWeb_Legacy~RS~i~RS~3143479~RS~p~RS~0~RS~a~RS~International~RS~u~RS~/2/hi/entertainment/3143479.stm~RS~r~RS~(none)~RS~q~RS~~RS~z~RS~06~RS~", "http://newsimg.bbc.co.uk/shared/img/toolbar_logo.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/bbc_logo.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/icons/video_text.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/icons/services_gen.gif", "http://news.bbcimg.co.uk/nol/shared/img/nav/v3_map_world_rb.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/dot_629.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/email.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/print.gif", "http://newsimg.bbc.co.uk/media/images/39373000/jpg/_39373623_sharif_ap_story203.jpg", "http://newsimg.bbc.co.uk/nol/shared/img/v3/email.gif", "http://newsimg.bbc.co.uk/nol/shared/img/v3/print.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/shared/img/999966.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://newsimg.bbc.co.uk/shared/img/o.gif", "http://secure-uk.imrworldwide.com/cgi-bin/m?ci=bbc&cg=0" ]	[]	[]	[ "BBC", "News", "BBC News", "news online", "world", "uk", "international", "foreign", "british", "online", "service" ]	null	[]	2003-08-12T08:15:17					null	Sharif's 50-year film career is still going strong Omar Sharif is to receive the Venice Film Festival's Golden Lion award for his movie achievements. Egyptian-born Sharif, 71, has starred in films such as Doctor Zhivago and Lawrence of Arabia during a 50-year career. The announcement comes days after Sharif was given a one-month suspended prison sentence for headbutting a police officer at a Paris casino. Sharif, who lives in Paris, assaulted the officer after losing the equivalent of about £22,000 after gambling over the night on 5 July. He said he had not been able to remember the incident. He was fined £1,100 by the court. Sharif's latest film, Mr Ibrahim and the Flowers of the Quran, will be shown at the 60th Venice festival which runs from 27 August to 6 September. He plays an old Muslim man who adopts a Jewish boy. Another lifetime achievement award will be presented to Italian-born producer Dino De Laurentiis, producer of films such as Year of the Dragon, Manhunter and Body of Evidence.
202	dbpedia	0	5	https://natlib.govt.nz/records/22981815	en				[]	[]	[]	[ "" ]	null	[]	null					null
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"https://forum.dvdtalk.com/images/statusicon/post_old.gif", "https://forum.dvdtalk.com/images/statusicon/user_offline.gif", "https://forum.dvdtalk.com/images/statusicon/post_old.gif", "https://forum.dvdtalk.com/customavatars/avatar37870_2.gif", "https://forum.dvdtalk.com/images/statusicon/user_offline.gif", "https://forum.dvdtalk.com/images/statusicon/post_old.gif", "https://forum.dvdtalk.com/images/smilies/tombstone.gif", "https://forum.dvdtalk.com/images/statusicon/user_offline.gif", "https://forum.dvdtalk.com/images/statusicon/post_old.gif", "https://forum.dvdtalk.com/customavatars/avatar54015_9.gif", "https://forum.dvdtalk.com/images/statusicon/user_offline.gif", "https://forum.dvdtalk.com/images/buttons/printer.gif", "https://forum.dvdtalk.com/images/buttons/sendtofriend.gif", "https://icons.internetbrands.com/ccpa/privacyoptions29x14.png", "https://icons.internetbrands.com/ccpa/privacyoptions29x14.png" ]	[]	[]	[ "RIP", "movie", "producer", "Dino", "De", "Laurentiis", "RIP movie producer Dino De Laurentiis", "" ]	null	[]	null	Movie Talk - RIP movie producer Dino De Laurentiis - I didn't realize he was that old Rex Features Legendary producer Dino De Laurentiis has died at the age of 91. De Laurentiis, whose career in cinema spanned more than 70 years and 160 movies, passed away in Los Angeles, according to Italian media reports. De	en	/favicon.ico?v=1	DVD Talk Forum	https://forum.dvdtalk.com/movie-talk/581894-rip-movie-producer-dino-de-laurentiis.html
202	dbpedia	3	82	https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-dino-de-laurentiis/	en	Career, biography and origin of dino de laurentiis			[ "https://www.naijanews.com/buzz/wp-content/uploads/2024/05/Buzz.avif", "https://www.naijanews.com/buzz/wp-content/uploads/2024/05/Buzz.avif", "https://www.naijanews.com/buzz/wp-content/uploads/2024/05/Buzz.avif", "https://www.naijanews.com/buzz/wp-content/uploads/2024/05/Buzz-150x150.avif" ]	[]	[]	[ "" ]	null	[ "Paul Cardoso" ]	2024-01-16T11:59:50+00:00	When was celebrity dino de laurentiis born ? Dino De Laurentiis was born on August 8, 1919. Learn more about laurentiis' dino personality What is the	en	https://www.naijanews.co…4/04/Favicon.png	Buzz	https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-dino-de-laurentiis/	Dino De Laurentiis is an Italian film producer who rose to prominence for his visionary talent and entrepreneurial spirit. Born on August 8, 1919 in Torre Annunziata, Italy, De Laurentiis initially worked in the Italian film industry before moving to Hollywood in the 1950s. He quickly gained a reputation for his ability to spot talent promising and to produce daring and innovative films. His production company, the Dino De Laurentiis Company, produced iconic films such as “Barabbas” (1961), “Battle Beyond the Stars” (1977) and “Hannibal” (2001), to name a few. some. De Laurentiis won numerous awards during his career, including an Oscar for best foreign film for Federico Fellini’s “La Strada” (1954). His lasting impact on the film industry is undeniable, and his fame is a reflection of his talent and major contribution to the art of cinema. Dino De Laurentiis (1919-2010) was a famous Italian film producer who left his mark on the film industry with his passion and talent. Born in Torre Annunziata, near Naples, De Laurentiis began his career in cinema at a young age working as an assistant director. Over the years he has managed to become one of the most influential producers in the history of Italian and international cinema. De Laurentiis has produced a wide range of successful films in different genres, from comedy to horror to drama. He is particularly known for producing films such as “La Strada” by Federico Fellini, which won the Oscar for best foreign film in 1957, and “Barabbas” with Anthony Quinn. He also collaborated with famous directors like David Lynch for the cult film “Dune” and Sydney Pollack for “Out of Africa”, which won the Oscar for best film in 1986. Beyond his work in the industry cinematographer, De Laurentiis was also a successful businessman. He founded several production studios, including the famous “De Laurentiis Entertainment Group” and “Dino De Laurentiis Company”. His passion for cinema and his determination made him an emblematic figure of the seventh art, leaving behind an unforgettable cinematic legacy. Dino De Laurentiis, full name Agostino De Laurentiis, was a famous Italian film producer. Born on August 8, 1919 in Torre Annunziata, Italy, De Laurentiis came from a family of butchers. Coming from a modest family, he began his career working in a family butcher’s shop before entering the world of cinema. His father Luigi was a butcher, and his mother, Cristina, was a housewife. Dino had two brothers, Luigi and Gualtiero, who also worked in the family butcher’s shop. His destiny, however, was influenced by his uncle, Luigi De Laurentiis, who was already in the film industry. Dino De Laurentiis’ journey was impressive. After starting as a production assistant, he founded his own production company, Dino De Laurentiis Cinematografica, in 1946. He produced over 500 films during his career, collaborating with renowned directors and actors such as Federico Fellini , Roberto Rossellini, Sergio Leone, Sofia Loren and Anthony Quinn, to name a few. His work has earned him numerous awards and international recognition. Dino De Laurentiis also ventured into the American market and produced successful films such as “Conan the Barbarian” and “Hannibal”. He died on November 10, 2010 at the age of 91 in Beverly Hills, leaving behind an impressive cinematic legacy. Her family continues to carry on her legacy in the film industry, with her daughter, Raffaella De Laurentiis, also serving as a producer.
202	dbpedia	1	74	https://www.famousbirthdays.com/people/dino-de-laurentiis.html	en	Dino De Laurentiis - Trivia, Family, Bio	https://www.famousbirthd…s-dino-image.jpg	https://www.famousbirthd…s-dino-image.jpg	[ "https://www.famousbirthdays.com/faces/delaurentiis-dino-image.jpg", "https://www.famousbirthdays.com/thumbnails/robinson-jackie-medium.jpg", "https://www.famousbirthdays.com/thumbnails/kumar-bhushan-medium.jpg", "https://www.famousbirthdays.com/thumbnails/dino-medium.jpg", "https://www.famousbirthdays.com/pages/images/thumbnails/italy_4.jpg", "https://www.famousbirthdays.com/thumbnails/king-stephen-medium.jpg", "https://www.famousbirthdays.com/thumbnails/buydens-anne-medium.jpg", "https://www.famousbirthdays.com/thumbnails/mirisch-walter-medium.jpg", "https://www.famousbirthdays.com/thumbnails/mangano-silvana-medium.jpg", "https://www.famousbirthdays.com/thumbnails/mendez-eslis-medium.jpg", "https://www.famousbirthdays.com/thumbnails/mendes-shawn-medium.jpg", "https://www.famousbirthdays.com/thumbnails/rock-elle-piper-medium.jpg", "https://www.famousbirthdays.com/thumbnails/jenner-kylie-medium.jpg" ]	[]	[]	[ "" ]	null	[]	null	Dino De Laurentiis: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more.	en	/favicon.ico	Famous Birthdays	https://www.famousbirthdays.com/people/dino-de-laurentiis.html	About Italian movie producer of The Bible: In the Beginning from 1966 and Barbarella from 1968. Before Fame His studies in Rome were disrupted by World War II. Trivia His first film was L'ultimo Combattimento. He went on to produce another 150 movies. Family Life He was married to Silvana Mangano on July 17, 1949, and to Martha De Laurentiis on April 7, 1990. Associated With

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