Author: thehorsesheadblog

#257) Intolerance: Love’s Struggle Throughout the Ages (1916)

OR “Four of a Kind”

Directed by D.W. Griffith

Written by Everybody, all of them uncredited

The Plot: As Eternal Motherhood (Lillian Gish) rocks the cradle of each passing generation, four stories of intolerance play out over four different historical eras. The religious conflict between Prince Belshazzar and Cyrus the Great (Alfred Paget and George Siegmann) leads to the fall of Babylon. The compassionate teachings of Christ (Howard Gaye) are ignored by the people of ancient Judea, and the man is crucified. Another religious battle leads to the St. Bartholomew’s Day Massacre of 1572, led by Queen-mother Catherine de Medici (Josephine Cromwell) to wipe out the Huguenots from Catholic France. And a modern (1916) story of a poor young woman (Mae Marsh) and her hardworking husband (Robert Harron) whose lives are oppressed by a group of social elites promoting upright values. All this, plus the kind of epic filmmaking that only D.W. Griffith could provide.

Why It Matters: The NFR calls the film no less than “one of the masterpieces of the silent era” and praises Griffith’s technological breakthroughs. In addition, there’s an essay by Benjamin Schrom, who is referred to as “an avid film fan and product manager for Google Education.” Come on! Every other movie gets a film scholar but this one gets some guy from Google? Hell, by that standard I’m more qualified to write one of these things (and I wouldn’t say no, NFR).

But Does It Really?: I’m gonna chalk this one up to historical significance. “Intolerance” is definitely worthy of early inclusion on this list, if just for its monumental undertaking and effective juxtaposition between its four storylines. Entertainment-wise it’s…fine. I found myself in awe of the production value and not necessarily involved in the stories. Griffith’s grandiose technical side always outshined his oversimplified storylines. “Intolerance” is worth a watch for all you serious film buffs, but once is enough.

Wow, That’s Dated: The “modern” story deals with pre-union American labor, the stigma of fatherless children, and the common punishment of hanging criminals. Plus there’s a reference to the relatively current song “In the Good Old Summer Time”.

Other notes

• The films alternate subtitle is “A Sun-Play of the Ages”. Does anyone know what a Sun-Play is? The internet says it’s an online swimming pool supply warehouse, but I have my doubts that was Griffith’s intention.
• Pretty ballsy to make “The Birth of a Nation” and then immediately follow up with a movie called “Intolerance”. The story goes that Griffith made this film in response to those who were critical of “Birth of a Nation”. Yeah, people who disapprove of a movie that glorifies the Klan are so intolerant. Are we sure Griffith doesn’t have a Twitter account?
• Lillian Gish plays the Eternal Mother, in what must have been her easiest paycheck ever: sit there, rock a cradle, and enter film immortality. Side note: The title cards in these sequences have lines lifted from “Out of the Cradle Endlessly Rocking” by…Walt Whitman! Look at that handsome undercover Mark Twain.

• The intertitles have footnotes! Griffith shows off his historical accuracy with information dispersed throughout the film. This may be the only movie on the list with an appendix.
• Griffith clearly blew the budget on the Babylon set, and he makes sure to include plenty of shots showing it off.

• I was following everything just fine up until the 1572 scenes. Someone get me a flow chart!
• Nice touch having different backdrops for each era’s intertitles.
• Thanks to the headbands, everyone in the Babylon scenes looks like an ‘80s rocker.
• To this day, most labor disputes are still settled using cannons. I’m just glad my union has health care.
• Mae Marsh is the Sandy Dennis of the silent era: so many tics.
• Shoutout to assinu, the androgynous servants of Ishtar.
• Not only does actor Howard Gaye portray Jesus in this film, but he was also Robert E. Lee in “Birth of a Nation”. How many actors can say that?
• We need to bring back the adjective “Christly”. “Everyone applauded Jane for her Christly charity work.”
• “Intolerance” isn’t so much four stories as it is two with special guest appearances. Griffith clearly favored the Babylon and modern stories, with the Christ plotline being used mostly as a linchpin. The St. Bartholomew scenes feel like an afterthought; they are to this movie what “The Watch” is to “Pulp Fiction”.
• Wow, the fall of Babylon is epic. This alone is worth the price of admission. Blink and you’ll miss a man get decapitated!

• In another moment of keen cinematic foresight, you can see Griffith futzing with aspect ratio. Certain shots would fit on today’s widescreen TVs, and a few others look like they were filmed portrait style on someone’s phone.
• The modern scenes feel a lot like “Musketeers of Pig Alley: Part 2”. For those of you who remember that post, that’s not necessarily a compliment.
• Yeah, Griffith definitely had issues with women. In every era of this movie the women are either victims, property, or unjustifiably evil.
• The intercutting between the four stories at the climax must have been an intense viewing experience 100 years ago. It’s pretty much the same template intercutting has followed ever since.
• Eternal Mother’s been rocking that cradle for three hours. Is that kid ever going to sleep?

Legacy

• “Intolerance” was not the box office bomb some have labeled it as. The film made a lot of money, but since Griffith backed most of the movie he suffered financially for the rest of his life, even with hits like “Broken Blossoms” and “Way Down East”.
• Griffith knew he had enough footage on his hands for more than one movie, and in 1919 he used that material to create two new films: “The Fall of Babylon” and “The Mother and the Law” (the latter being the working title for “Intolerance”). Griffith’s one mistake: he used the original negative for “Intolerance”, making future restorations nearly impossible.

• Buster Keaton spoofed the film’s overall concept with 1923’s “Three Ages”.

• The elephants on the Babylon set were recreated for the Hollywood and Highland Center, and the former Hollywood Pictures Backlot at Disney’s California Adventure.

• I’m gonna blame this film for every movie that covers a central theme over different eras; such notable examples being “The Hours”, “If These Walls Could Talk”, and…uh…. “If These Walls Could Talk 2”?

#256) Ace in the Hole (1951)

OR “The Big Carnival” (Seriously, that’s the films other title)

Directed by Billy Wilder

Written by Wilder & Lesser Samuels & Walter Newman

Class of 2017

The Plot: Down on his luck reporter Chuck Tatum (Kirk Douglas) has been fired from a big New York paper and has landed at the much more rural Albuquerque Sun-Bulletin. After a year of small town news, Chuck learns about local man Leo Minosa (Richard Benedict) trapped in a nearby cave. Although a quick rescue is being planned, Chuck is able to delay things in order to play up the story in the newspaper. Chuck manages to corrupt Leo’s wife Lorraine (Jan Sterling) and the town sheriff (Ray Teal) in the process, the Sun-Bulletin’s circulation skyrockets, and a pickup from the Associated Press leads to the cave site being visited by thousands of onlookers. Is all of this journalistic aggrandizement worth the life of one man?

Why It Matters: The NFR spends most of the write-up on a plot synopsis, but does call the film “[a] deeply cynical look at journalism” and “a scathing tale of media manipulation”.

But Does It Really?: Hmmm…how did a movie about sensationalizing the news make the NFR in 2017? I wonder….

“Ace in the Hole” is one of those “wasn’t that already on the list” kinda movies; you know it’s regarded as a classic, but it’s not on the top of anyone’s list. “Ace” is definitely a minor classic compared to Wilder’s other work, but should absolutely be commended for its prescient takedown of yellow journalism and the public that eats it up. For all of this film’s pros (and there are plenty), it never fires on all cylinders the way you want a classic to. Wilder had just ended his writing partnership with Charles Brackett, and the screenplay suffers a bit from this new collaboration. “Ace in the Hole” is sub-par Wilder, but that’s still better than most directors’ best. Worth a watch, but as its belated NFR induction indicates, it’s not appointment viewing.

Shout Outs: Federber works for Pacific All-Risk, the same insurance company from “Double Indemnity”.

Everybody Gets One: Walter Newman was relatively new to screenwriting when he worked with Wilder on “Ace”, while Lesser Samuels was coming fresh off of his Oscar-nominated work penning the social drama “No Way Out”. Jan Sterling’s career was just taking off when she played Lorraine Minosa, and she was a few years shy of her Oscar-nominated performance in “The High and the Mighty”.

Wow, That’s Dated: Quick references to Life and Look Magazine, plus a meditation on the lost culture of Roadside America. On a more upsetting note, this movie has enough casual racism towards Native Americans to make John Ford blush.

Take a Shot: Chuck says the title just once when talking up the story to Sheriff Kretzer. I like to think they dubbed over the line when they changed the title. “What’d you have, pair of deuces? This is better; here we’ve got an [The Big Carnival].”

Seriously, Oscars?: Well, something had to follow “Sunset Boulevard”. “Ace in the Hole” didn’t go over well with either critics or audiences, but did manage one Oscar nomination for its screenplay, losing to “An American in Paris”. No one was ready to praise a movie that, as the Hollywood Reporter put it at the time, “is nothing more than an uncalled-for slap in the face of two respected and frequently effective American institutions – democratic government and the free press.” Wow, that’s dated.

Other notes

• Here’s a rarity amongst NFR films; “Ace in the Hole” has a second title. Shortly before the film’s release, Paramount renamed it “The Big Carnival”. Wilder disapproved and eventually got “Ace in the Hole” restored, but TV prints carried the “Carnival” name for several decades.
• “Ace in the Hole” was inspired by two real-life events: the Floyd Collins entrapment of 1925, and the similar Kathy Fiscus rescue of 1949. Both events received a massive amount of media attention, simultaneously demonstrating the mass power and exploitation of anyone making national news.
• If you’re going to replace Charles Brackett, why pick one of the Lesser Samuels?
• Between this and “The Bad and the Beautiful”, Kirk Douglas loves playing unapologetically assertive characters. I haven’t seen “Lust for Life”, but was Van Gogh like this?
• If the copy boy at the beginning looks familiar, it’s because he saw you litter.
• Oh Leo, how dumb are you? And while you’re down there, can you tell The Goonies “Hey you guuuuuys!”
• Yeah, there’s something missing from this script. If nothing else, this film is concrete evidence of what the likes of Charles Brackett and I.A.L. Diamond contributed to a Billy Wilder movie.
• Best line in the movie: “I don’t go to church. Kneeling bags my nylons.”
• The carnival that sets up near the cave is provided by “The Great S&M Amusement Corp.” Phrasing.
• Every character in this film falls for the old movie trope of repeating everything in a phone conversation for exposition.
• Chuck says his journalism isn’t “below-the-belt” but rather “right in the gut”. Well, in the ‘50s everyone wore their belts higher up, so two things can be true.
• Character actor Porter Hall plays Sun-Bulletin editor Mr. Boot, and it may be his finest film performance. He adds a brief touch of humanity to the proceedings.
• How did “We’re Coming, Leo” not get a Best Song nomination? I still have it stuck in my head!

• Well that ending took a turn.

Legacy

• This movie’s legacy definitely got off on the wrong foot. Wilder was sued for plagiarism by a screenwriter named Victor Desny, who claimed he had pitched a Floyd Collins movie to Wilder in 1949. The court ruled in favor of Wilder, but an appeal led to Wilder settling with Desny in 1956.
• “Ace in the Hole” was Wilder’s first flop with critics and audiences, but he bounced back with his next picture: 1953’s “Stalag 17”.

• Wilder didn’t work with either of his “Ace” screenwriters again. Walter Newman would continue writing screenplays, among them “Cat Ballou” and “The Magnificent Seven”, while Lesser Samuels’ only major screenplay after “Ace” was “The Silver Chalice”, which is notorious for how bad it is.

• “Radio Bart” takes a lot from “Ace in the Hole”, right down to the inspirational song.

#255) The Decline of Western Civilization (1981)

OR “What’s the Matter With Kids Today?”

Directed by Penelope Spheeris

Class of 2016

The Plot: It’s 1980 and the L.A. rock scene has evolved into the first wave of hardcore punk. Filmmaker Penelope Spheeris chronicles the era on and off-stage with such notorious bands as Black Flag, Germs, Catholic Discipline, X, Circle Jerks, Alice Bag Band, and Fear. Each band’s anarchic attitude towards music, L.A., and even their own fans is on full display. Also featured are the owners of L.A. clubs Masque and Club 88 coping with their new clientele, the bands’ fans articulating their devotion to this scene, and the editors of “Slash”, the first punk rock zine. Come for the insight into this burgeoning subculture, stay for the kick-ass soundtrack.

Why It Matters: The NFR calls it “a bracing historical and musical record” of the L.A. punk rock scene.

But Does It Really?: Maybe it’s because I’ve spent the last year and a half watching classic Hollywood fare, but “The Decline of Western Civilization” was a breath of fresh air for me. Despite what others might say, punk rock was the music that actually broke all the rules, and this film covers the chaotic energy of early punk perfectly. At no point does Spheeris attempt to explain or contextualize the music; she lets her subjects be their unapologetic selves. “Decline” is a documentary where the cameras were rolling at the perfect moment, and a welcome addition to the Registry.

Shout Outs: Black Flag lead Ron Reyes sings a snippet from “America” from “West Side Story”.

Everybody Gets One: Director Penelope Spheeris spent most of her childhood travelling the country with her father’s carnival, leading to her lifelong understanding of people on the margins of status quo. Spheeris was inspired to become a filmmaker by her cousin, Costa Gavras of “Z” and “Missing” fame. “Decline” was her feature debut.

Wow, That’s Dated: Besides the obvious dissection to the punk rock scene, this film references such ‘80s things as mullets, arguments about nuclear power, and the ancient art of editing a physical magazine.

Seriously, Oscars?: No Best Documentary nomination for “Decline”. The winner that year was “Genocide”, a film about the Holocaust. No room for mosh pits and atonal screaming at the 1982 Oscars.

Other notes

• Full disclosure: The only bands I was familiar with prior to my viewing were Circle Jerks and Fear, and even then, I was aware of them in name only.
• The lyrics for some of these songs appear on screen. Everybody sing along!
• I learned about the punk dance craze pogo from, of all things, an episode of “Pee-wee’s Playhouse”. And who said that show wasn’t educational?
• How many of these bands hated this movie?
• Sadly, the main takeaway from this film is Germs lead Darby Crash, who died of an intentional heroin overdose at age 22. The film’s literal poster child passed away seven months before the film’s release, and the final cut is a telling look at the end of a tragic life.
• Germs had been banned from practically every L.A. club by the time filming began. Penelope Spheeris had to rent a studio to film their performance.
• Darby’s going for a Mick Jagger vibe, right?
• Either fashion has not changed in the last 35 years, or the early ‘80s punk look is making a comeback nowadays.
• Not a lot of screentime devoted to Catholic Discipline; probably because the group had already disbanded by the time the film was released. Also gone before the production wrapped was the fan zine “Slash”, which folded after their Summer 1980 issue.
• Of all the featured groups, X seems like the most approachable band. They’re rebelling against everything, but you can still come over to their place for a beer. Lead vocalists John Doe and Exene Cervenka were married (and divorced) shortly after the film was made.
• The club security meeting captured on camera is a bit rough, especially when they try to differentiate moshing with fighting. “She may be crying, but she may be into it.” Yikes.
• No matter how you slice it, punk rock is still 90% white people trying to dance.
• How cool can you really be when your name is Eugene?
• This film is delightfully bookended by Wayne Mayotte, then owner of Club 88, trying to explain what punk is. It’s like watching your parents describe flossing.
• The climax of the film is the Fear performance. They are every intense aspect of punk rock pushed up to 11.
• After an hour and change of these bands screaming their vocals, it turns out Fear lead Lee Ving can actually sing! Side Note: You know Lee best as Mr. Boddy in the film version of “Clue”, where he was dubbed for some reason.

Legacy

• Right off the bat, this film was causing problems. Fights between fans broke out at early screenings, prompting LAPD Chief of Police Darryl Gates to ban future screenings.
• This is the first in a trilogy! “Part II” covers L.A.’s heavy metal scene in 1988, and “Part III” looks at homeless teens in the punk rock scene of 1998. Penelope Spheeris helmed all three, and was inspired during the third one to adopt one of the teens featured in the film.

• I cannot stress enough that Penelope Spheeris went on to direct the film versions of “Wayne’s World”, “The Beverly Hillbillies”, and “The Little Rascals”.

• Fear found a new fan in John Belushi thanks to this film. Belushi even managed to get them a gig at his old job, “Saturday Night Live”. Their infamous performance led to them being banned from SNL.

• The filming of the Germs’ performance was recreated for the Crash Darby biopic “What We Do Is Secret”. Shane West’s performance as Crash led to him touring with the surviving members of Germs in 2006.

• Of the featured bands, X and Fear are the only ones still performing with no interruptions. In addition to the aforementioned end of Catholic Discipline, Germs and Alice Bag Band both ended within a few years of this film’s release, Black Flag has reunited a few times, and Circle Jerks have been on hiatus since 2010.

Listen to This: None of the bands featured in this movie have made the National Recording Registry yet. Write to your congressperson.

#254) The Mark of Zorro (1920)

OR “19^th Century Fox”

Directed by Fred Niblo

Written by Eugene Miller and Douglas Fairbanks. Based on the story “The Curse of Capistrano” by Johnston McCulley.

Class of 2015

The Plot: Don Diego Vega (Douglas Fairbanks) is Zorro, a masked swordsman who will defend anyone oppressed by the Alta California government. At night Zorro takes on corrupt Governor Alvarado (George Periolat) and Captain Juan Ramon (Robert McKim). By day Diego plays up his foppishness to divert suspicion and disappoint his father Don Alejandra Vega (Sidney De Gray), but still finds time to woo the young Lolita (Marguerite De La Motte). Action! Romance! Z carvings!

Why It Matters: The NFR contextualizes the film as the vehicle Douglas Fairbanks used to pivot from romantic comedies to his new more adventurous screen persona.

But Does It Really?: I’ll give it a pass for Fairbanks, but that’s it. Like the other NFR Zorro (not to mention the Antonio Banderas version), this Zorro is a bit bloated. Perhaps the Zorro stories work better in short spurts. No wonder the TV show was so popular.

Wow, That’s Dated: All together now: No one in this movie is actually Mexican.

Other notes

• That…is a weird poster.
• For some reason I thought the legend of Zorro has been around for a long time. “The Curse of Capistrano” was first published in 1919. Zorro’s less than a century old!
• “Oppression – by its very nature – creates the power that crushes it.” Well that’s good stuff right there. That’s “Share If You Agree” worthy.
• Noah Beery (Wallace’s brother) plays Sergeant Gonzales. Noah’s son, Noah Jr., makes his film debut here as one of the child extras. Noah Jr. would go on to play Jim Rockford’s dad on “The Rockford Files”.
• That’s a fun reveal of Don Diego with the umbrella.
• Zorro has a gun!? That’s cheating! Zorro’s main thing is being a great swordsman. You can’t give him a gun! How does he do a “Z” with a gun?
• The opening swordfight is fun, but it helps that Gonzales follows the Movie Bad Guy Rule of letting the hero make the first move.
• You can definitely see the influence Zorro had on Batman. Zorro’s even got his own Batcave in this movie (Zorro-cave? Fox Hole, that’s it).
• To borrow from that other DC Universe character, I am calling Clark Kent BS on all this. How can anyone not know that it’s Don Diego under that mask? Especially you, Lolita.
• Father Felipe is played by an actor named Walt Whitman. Obviously, not that Walt Whitman, but here’s his photo again anyway. Call him “ZZ Top”, because that is a sharp dressed man.

• Compared to the 1940 version, this “Zorro” has a little bit more of an emphasis on Zorro as a symbol of hope for an oppressed people. The Tyrone Power version has a much more helpless public waiting for their savior. As a result, the 1920 version ages better.
• You have to wait about 90 minutes, but the climactic chase and fight showcase Fairbanks’ trademark stunts. It must have been thrilling to watch a guy only known for romantic comedies at the time kick some serious butt. This Zorro succeeds because of its James Bond “How’s he gonna get out of this one?” quality.

Legacy

• This is the movie that brought Zorro to Mainstream America.
• Five years after this film’s success, Fairbanks took the book “Don Q.’s Love Story” and re-worked it as the Zorro sequel “Don Q, Son of Zorro”. Fairbanks plays both title characters!

• The original story was adapted for the sound era in future NFR entry “The Mark of Zorro” with Tyrone Power. It’s 15 minutes shorter but somehow slower.

• “Let’s go to the movies,” my parents said. “It’ll be a great bonding experience,” they said.

• And now I’ll just liberally steal from my other Zorro write-up:
• Many films of Zorro over the years, but the only other one based on the original story is the 1974 version with Frank Langella.

• I’ll always enjoy the ‘90s version “The Poke of Zorro” best. With Meryl Streep as the Stupid Nun.

• It’s not directly connected to this film, but here’s the “Zorro” TV theme anyway.

#253) Saving Private Ryan (1998)

OR “Sorry About ‘Lost World’, Here’s a Classic”

Directed by Steven Spielberg

Written by Robert Rodat

Class of 2014

The Plot: While visiting the Normandy American Cemetery, an old man (Harrison Young) flashes back to his service in World War II. Following the chaotic, monumental Normandy Invasion on Omaha Beach, the 2^nd Rangers Battalion is given the special assignment to find the missing Private James Ryan (Matt Damon) and send him home after the death of his brothers. The Rangers are incredibly skeptical about the mission, but their captain John Miller (Tom Hanks) insists that their journey will be worth it if they can bring Ryan back to his family. Through Spielberg’s unique point-of-view, World War II is a real and terrifying experience where there are no “good guys” or “bad guys”, just average people trying to hold onto anything while in the Hell on Earth that is war.

Why It Matters: The NFR praises Spielberg for “convey[ing] ultra-realism with harrowing intensity” and devotes about half of the paragraph to a Spielberg quote about not wanting to glamorize WWII.

But Does It Really?: This is another untouchable for me. Like its companion piece “Schindler’s List”, there are a few historical qualms, but as a film “Saving Private Ryan” is an achievement of the highest order. Spielberg and his team have made a war movie that doesn’t look or sound like any other war movie. “Ryan” is one of the rare epic films that doesn’t feel bloated or too self-important; Spielberg keeps you in the moment with these men at all times. Hanks nails a role that would prove to be a pivotal turning point in his career, and the entire ensemble of up-and-coming talent would go on to deliver on the promises they make in these performances. “Saving Private Ryan” is my vote for the last truly great film of the 20^th century, and a no-brainer for NFR inclusion.

Shout Outs: The German soldier that the squad captures references “Steamboat Willie” and is listed by that name in the credits. And technically the film has an “E.T.” reference thanks to the Amblin logo.

Everybody Gets One: Like most recent entries, “Saving Private Ryan” is the single NFR appearance for a lot of the cast, many of whom have gone on to bigger and better things. Among them: Paul Giamatti, Vin Diesel, Barry Pepper, Edward Burns, Tom Sizemore, Giovanni Ribisi, Jeremy Davies, Nathan Fillion, and Bryan Cranston.

Wow That’s Dated: This film has occasional ‘90s CG throughout. Most of it blends in, but a few shots show their age.

Title Track: Tom Sizemore has the honor of saying that “saving Private Ryan” may be the good deed that gets them out of the war.

Seriously, Oscars?: The highest-grossing film of 1998, “Saving Private Ryan” scored 11 Oscar nominations and took home five: Cinematography, Editing, Sound Mixing, Sound Editing, and a second Best Director trophy for Steven Spielberg. The film was all but guaranteed to win Best Picture; the Academy even had longtime Spielberg-collaborator Harrison Ford present the category. And then, this happened…

Other notes

• This is the first, and so far only, DreamWorks picture to be inducted into the NFR. Fingers crossed for “Shrek”.
• Any doubts that this is a Spielberg film are immediately eliminated when the old man looks meaningfully at something off-camera.
• This whole post can just be me analyzing the D-Day invasion sequence, yes? Here’s why it works: it doesn’t look like any other battle in any other war film. Part of that is Janusz Kaminski’s effective use of hand-held cameras and degraded color, and part of that is Spielberg’s unflinching use of violence. Late ‘90s audiences were already desensitized to violence by the time “Ryan” came out, but Spielberg brings you back to the reality and sheer horror of this war.

• A Lincoln quote; nice foreshadowing Spielberg.
• This is the movie where Tom Hanks became everyone’s dad. Miller is the first role where he gets to play a father figure, and you see him easing into that persona.
• Kudos to casting director Denise Chamian. Practically every bit player in this movie has been successful. Even Matt Damon was an unknown when he was cast!
• This is what I call a “Volume Up, Volume Down” movie: very quiet dialogue scenes, followed by very loud action scenes. My remote and I are inseparable during films like these.
• Yep, that’s Ted Danson during that brief post-“Cheers” but pre-“Becker” period of his career. Way to go, Sam!
• My favorite moment in the movie is when Mellish taunts the captured German soldiers with his Star of David. “Juden…Juden…Juuuuuuden.” The film has only a few light moments, but they’re all just the right amount.
• Among the many things I appreciated about Kaminski’s cinematography is how much of the film is comprised of longer takes. They help keep you in the moment, whereas a lesser filmmaker would use quick cuts to convey wartime action.
• For someone who’s been fighting in the trenches, Damon has the whitest teeth.
• Why do we still not have an Oscar for stunt coordination? Someone should have won something for the stunts in this movie.
• “Earn this.” And I’m crying.
• An interesting piece of trivia: “Saving Private Ryan” was one of the last movies to be released on laserdisc. What a time to be alive.

Legacy

• “Saving Private Ryan” is the first of five (and counting) collaborations between Spielberg and Tom Hanks. My personal favorite is “Catch Me If You Can”.

• Spielberg and Hanks have also co-produced two TV projects about WWII: “Band of Brothers” and “The Pacific”.

• “Saving Private Ryan” not only revived public interest in WWII, but also inspired several video games set during the war. See “Medal of Honor” and “Call of Duty” to name just a few.

• Quentin Tarantino was inspired by “Ryan” to make his own WWII movie: “Inglorious Basterds”. Well, he got the violent part down.

• Many parodies over the years, most memorably the “Imaginationland” episodes of “South Park” [Footage Not Available].
• Hanks would appear in the film’s drastic departure of a sequel: 2013’s “Saving Mr. Banks”.

• “Hey, is that Hitler over there?”

Listen To This: One of the most sobering listening experiences in the National Recording Registry is journalist George Hicks’ recording of the D-Day Invasion. Broadcast the evening of June 6^th 1944, this was the first account of the landing to be heard by the American public.