Every film on this list has its legacy, but “Snow White” has such a massive ripple effect in film it warrants its own separate post.
Okay everyone: deep breath, and here we go…
Every animated feature film owes a debt of gratitude to “Snow White”. Every single one.
Walt used the profits from “Snow White” to build the Disney Studios in Burbank, which is still in use today.
“Snow White” was the first film to have merchandise and a soundtrack album available upon the film’s release. And a wary Disney never attempted this again.
No sequels, but the Dwarfs helped teach Canada about war bonds in 1941.
Disney re-released “Snow White” in 1944 to help raise lost revenue due to World War II. The success of this release led to Disney re-releasing their films in theaters (and eventually home video) every seven years or so.
Many, many parodies and allusions over the years. We’ll stick with “Gremlins” and “9 to 5” for now.
This is the film that inspired Jerry Wallach to become a film producer, as well as the name of his estate, Villa Caselotti.
This movie gives us the trope of animals helping any and all fairy tale characters.
As previously mentioned, every song in this film is a classic, and “Some Day My Prince Will Come” became a jazz standard.
This gif:
Where else have I seen that animation during “The Silly Song”? Hmmm…
A 1943 Merrie Melodies short spoofed this film, and if you don’t know what I’m talking about, I ain’t saying anything else.
The film is referenced throughout the Disney theme parks, including a dark ride, a roller coaster, and a serene wishing well.
I guess the Seven Dwarfs have a show on Disney XD?
Oh no. Ohhhh nooooo.
A stage version of the film played Radio City Music Hall in the late ‘70s. A recording of this production aired on the Disney Channel, and for whatever reason I watched this version more often growing up.
And keeping with Disney’s latest trends, it appears “Snow White” will go the live-action remake route. [Deep exhale]
Directed by David Hand (But let’s be real: It’s Walt Disney’s show.)
Written by Ted Sears & Richard Creedon & Otto Englander & Dick Rickard & Earl Hurd & Merrill De Maris & Dorothy Ann Blank & Webb Smith (And again, mostly Walt). Based on the Grimm Brothers fairy tale.
Class of 1989
The Plot: Once Upon a Time, the princess Snow White (voiced by Adriana Caselotti) is the fairest in the land, and this does not go over well with her evil stepmother the Queen (voiced by Lucille La Verne). After a botched assassination attempt, Snow White flees into the forest and comes across the home of seven dwarfs (voiced by Roy Atwell, Pinto Colvig, Billy Gilbert, Otis Harlan, & Scotty Mattraw). The kind little men take her in, but the Queen finds out and has one last poisoned apple up her sleeve.
Why It Matters: The NFR calls it “[a] virtual watercolor painting come to life” and says that the animation’s details “never fail to amaze”. There’s also an historical essay by Disney animation expert J.B. Kaufman. “Snow White” is the first animated film to make the National Film Registry.
But Does It Really?: This is about as perfect as animation gets. “Snow White” is an ideal choice for Disney’s first animated feature. A few technical gaffes aside, the film is visually striking as well as having a wonderful story that embellishes and enhances the original fairy tale. A pillar upon which so much filmmaking has been built, “Snow White and the Seven Dwarfs” is untouchable in my book, and an obvious choice for the NFR’s first 25 films.
Everybody Gets One: Adriana Caselotti was 20 years old and already a trained opera singer when she recorded “Snow White”. Walt kept her under a strict contract to ensure her unique voice wouldn’t appear in other movies, spoiling the illusion. Caselotti’s film career ended before it started, but she lived to be 80 years old, spending the rest of her life as essentially Disney’s Norma Desmond.
Wow, That’s Dated: Grumpy’s open sexism probably wouldn’t fly today. In addition: jury’s still out on if they are referring to the mythical, Tolkein versions of dwarfs or anyone with dwarfism.
Seriously, Oscars?: Because it received a limited release in December 1937, “Snow White” was eligible for the 1937 Oscars, receiving one nomination: Best Music Score. The film lost to “One Hundred Men and a Girl” (Don’t ask). After the film’s nationwide success in 1938, the Academy chose to give Walt Disney an honorary Oscar the following year. For this special achievement, Walt received one Oscar, and seven miniature ones.
Other notes
This film opens with a note from Walt thanking the creative team. I can’t think of any film that has done this before or since.
Also note that all the animators get credit, but none of the voice actors. Walt sure didn’t like unions.
In true Disney fashion, Snow White’s biological parents are nowhere to be seen. We don’t even get an explanation of what happened to them. And if you’re upset because Disney took some liberties with the film’s source material, you may want to avoid literally every film they’ve ever done.
The Magic Mirror is great, but he’s no Hans Conried.
Did that dove just kiss the prince’s teeth?
This film does not waste any time. 10 minutes in and we’ve already gotten to Snow White running through the forest. This may be the shortest first act of any movie.
Ah yes, the native raccoons of Europe.
One of my notes simply reads, “God this animation is good”. Kudos to everyone, especially concept artist Gustaf Tenggren. The animation is pure storybook fantasy.
So having Snow White be your scullery maid just gave her a good work ethic and taught her cleaning skills she wouldn’t have gotten by simply being royalty. Kinda backfired on you, didn’t it Queenie?
The main difference between this and other versions of Snow White is the emphasis on the dwarfs. Every other major adaptation focuses on the Queen, making those versions much darker than this family friendly one.
My question every time I watch this film: How did the dwarfs get home before that tree fell over?
The development of the dwarfs is what makes this film, but it raises a lot of questions. Are they related to each other? Close friends? And why are they letting a teenage girl boss them around in their own house?
Please Grumpy, the correct pronunciation is “witches bwew”.
Of all the classic songs this film produced, is there any more memorable than “Bluddle-Uddle-Um-Dum”? Forget “Some Day My Prince Will Come”, there’s your jazz standard.
The whole scene of the Queen’s transformation is stunning to watch, and it’s filled with great shots that you wouldn’t be able to do in live-action.
For the curious, a European polecat is a mammal along the lines of a ferret or a weasel.
No thank you, I would not like a pie that has been prepared by birds.
The shot of the peddler woman staring directly at the camera always freaked me out as a kid. Oh who am I kidding, it’s still scary.
Pinto Colvig is the voice of two dwarfs: Grumpy and Sleepy. He was also the original voice of Goofy. Sleepy’s line “Maybe the old queen’s got Snow White” comes closest to his Goofy voice.
The majority of this movie takes place over the course of one day. Snow’s had a more eventful 24 hours than Jack Bauer.
I’m glad Snow White and the Prince live happily ever after, but how are they getting to that castle?
Legacy: There’s a lot I want to say about the legacy of “Snow White”, but it’s too much for one post. To Be Continued!
Further Viewing: Walt saw this 1916 silent version of “Snow White” as a young boy and never forgot it. The influence this film had on Walt’s version is pretty astonishing.
Written by Isobel Lennart. Based on her play. Original Music by Jule Styne. Original Lyric by Bob Merrill.
Class of 2016
Sadly, no original theatrical trailer presently available. Here’s the trailer from the film’s 2001 reissue.
The Plot: Loosely based on real life events, “Funny Girl” is the story of Fanny Brice (Barbra Streisand) getting her big break in vaudeville performing comic numbers in the Follies, under the exasperated eye of Florenz Ziegfeld (Walter Pidgeon). Along the way she falls for Nicky Arnstein (Omar Sharif), a professional gambler whose natural charm covers up his shady dealings. And just as Fanny blossoms from an insecure newcomer to an independent star, so does Streisand from recording artist to unstoppable multi-hyphenate with her own basement mall.
Why It Matters: The NFR hails Streisand’s “impressive vocal talent and understated acting”, and calls the film “among the last of the successful big-budget musicals”.
But Does It Really?: Love her or hate her, this film’s success falls on Barbra Streisand. “Funny Girl” is one of those serendipitous movies with the right performer in the right role at the right time. Her acting chops are natural, her comic timing is perfect, and I guess she sings alright too. The rest of the film fares okay as a successful adaptation of a stage musical. The film’s iconic status secures its place in the NFR, and overall the film is enjoyable, but if you’re not here for Barbra, this ain’t your movie.
Everybody Gets One: Amazingly, the only major player to call this film their only NFR entry is Barbra Streisand herself.
Wow, That’s Dated: A little bit of late ‘60s optical effects going on (especially in the opening credits), and some of that New Wave style of editing. Also dated: You can’t convince me that Fanny’s outfits in Act II are period appropriate.
Title Track: We don’t get the title (or the title number) until almost the very end of the film. Strangely, there was no title number in the original stage version. It was written for the film.
Seriously, Oscars?: Second only to “2001” at the box office, “Funny Girl” received eight Oscar nominations, including Best Picture. The film lost in most of its categories to Columbia’s other big musical, “Oliver!”, but it won in the category that mattered most: Best Actress for Barbra Streisand. For her film debut, Streisand miraculously tied the legendary Katharine Hepburn in “The Lion in Winter”.
Other notes
I’m a sucker for a Roadshow presentation.
Much of this film occurs in silence, including most of the first scene. Similarly, very little of this film has underscore when no one is singing. Bold choice for a musical.
That’s Mae Questel, the voice of Betty Boop, as Mrs. Strakosh. And she even sings! She’s still got it, Eddie!
Speaking of, the film’s first number, “If a Girl Isn’t Pretty”, abruptly ends mid-verse when Fanny leaves. Exhibit A that material was deleted from the final cut in favor of more Barbra.
No offense to Kay Medford, but how did she get an Oscar nomination? She gets nothing to do but be a stereotypical Jewish mother. They even cut her songs!
Babs may have called a lot of the shots, but she didn’t have complete control over William Wyler, as evidenced by her frequent lip-synching (a pet peeve of Barbra’s) and many shots of her so-called “bad side”.
“His Love Makes Me Beautiful” is the kind of Ziegfeld extravaganza that “Springtime for Hitler” is parodying. Coincidentally, one of the dancers is Lee Meredith, aka Ulla.
I never miss an Omar Sharif musical. Although I suspect that we are seeing the limits of Mr. Sharif’s singing abilities.
Of this film’s score (or what’s left of it), “You Are Woman, I Am Man” is the only clunker.
Wyler must have really enjoyed shooting the handful of scenes Barbara isn’t in.
The final shot of “Don’t Rain on My Parade” gets my vote for “Best Opened Up Scene from a Play”.
The child playing Fanny and Nick’s baby is 50 years old now!
Nick caustically tells Fanny “you never lose”. I guess he missed the 1964 Tonys.
This film reminded me that FAO Schwarz is no longer a thing and now I’m sad.
Boy, they really gloss over Baby Snooks in this film. Wasn’t that Fanny Brice’s big thing?
After watching this film, I now understand why Streisand wants to remake “Gypsy”. And Barbra, on the off-chance you’re reading this, if you want to ONLY DIRECT “GYPSY”, you have my blessing.
Legacy
Barbra Streisand spent the ‘70s being a movie star in addition to her status as a recording star. She’s incredibly miscast in the god-awful “Hello, Dolly!”, but I admit to enjoying her in “What’s Up, Doc?”
Streisand reluctantly reprised the role of Fanny in 1975’s “Funny Lady”. The follow-up took liberties with Brice’s marriage to Billy Rose (James Caan), and was nowhere near as successful as the first film. But how about that synchronized swimming?
A testament to Streisand’s performance (or perhaps to how shaky the original show is), the stage version of “Funny Girl” has never been revived on Broadway. An attempt to bring it back to New York with Lauren Ambrose and Bobby Cannavale fell through in 2011, but a more recent West End revival (with a completely overhauled book) found success, so who knows?
Listen to This: Take a listen to the real Fanny Brice in her two NRR recordings: “My Man” and “Second Hand Rose”.
Listen to This Too!: Barbra’s third album “People” gets its name from the famous “Funny Girl” song. The album was released just prior to the stage show’s out-of-town tryouts. The story goes that the album was so successful audiences applauded “People” when it appeared in the show’s overture.
Written by Hanson & Brian Helgeland. Based on the novel by James Ellroy.
Class of 2015
The Plot: “L.A. Confidential” is the LAPD of the early ‘50s as seen through the film noir lens. Straight-arrow Sergeant Exley (Guy Pearce) wants to live up to his famous detective father’s reputation, and is hungry for any step up the career ladder. Captain Dudley Smith (James Cromwell) doesn’t think Exley has what it takes to be a detective, but Exley goes ahead trying to solve a multiple homicide in a seedy diner. Throw in thuggish but morally complex Officer Bud White (Russell Crowe), sleazy narcotics expert Jack Vincennes (Kevin Spacey), tabloid editor Sid Hudgens (Danny DeVito), and a call girl who doubles as Veronica Lake (Kim Basinger), and you’ve got all the ingredients for a classic Hollywood murder mystery.
Why It Matters: The NFR praise Hanson and Helgeland for “successfully interpret[ing] film noir’s dark and seamy allure for new audiences.” The cast and cinematography are also lauded.
But Does It Really?: If film noir was allowed to have violence and nudity and swearing, it would be “L.A. Confidential”. I bought this world instantly, and once this film had me it didn’t let go the whole way through. Hanson et al help you navigate this complicated maze without getting lost, but without spoon-feeding you everything either. The script is airtight, the direction divine, and the entire cast top-notch (Yes, even that creep. More on him later). I’m not sure the film has enough of a cultural or historical impact to warrant this somewhat early recognition, but “L.A. Confidential” is some pretty masterful storytelling, and that’s good enough for me.
Everybody Gets One: As with most recent NFR entries, this is the meal ticket for almost everyone involved. Special Mention to Hanson, Crowe, Pearce**, Basinger, Cromwell, and Kevin Spacey, who recently made sure that none of his other films make this list for a while.
Wow, That’s Dated: Jerry Goldsmith’s score gets just a little too ‘90s action movie towards the end. Other than that, the only dated quality is the fact that a major movie studio produced a non-franchise adult drama.
Seriously, Oscars?: In the year where “Titanic” was poised to sweep, “L.A. Confidential” was close behind with nine nominations, and positioned itself as the potential spoiler (Host Billy Crystal jokingly referred to the film as “the iceberg”). “Confidential” lost in seven categories to “Titanic”, but did manage two wins: Supporting Actress for Kim Basinger, and Adapted Screenplay for Hanson and Helgeland. Interestingly enough, Helgeland won the Razzie that same weekend for Worst Screenplay (“The Postman”). He referred to the experience as “the Quixotic nature of Hollywood.”
Other notes
Never pick a fight with Russell Crowe. You will lose.
I kept an ear out for any line spoken by Kevin Spacey that could be deemed ironic given what we know now. The winner is actually one of Jack’s first lines: “America isn’t ready for the real me.” Yikes.
Does Danny DeVito ever actually need to crouch?
“L.A. Confidential” makes my “Die Hard” list of great films set during Christmas that aren’t Christmas movies.
Ron Rifkin: Because Bob Balaban is unavailable.
A lot of great dialect work going on here. New Zealander Russell Crowe and English-by-way-of-Australian Guy Pearce nail their American accents, and James Cromwell has a lovely Irish lilt throughout the film. Well done, dialect coach Jessica Drake.
David Strathairn plus ‘50s style pencil moustache equals pretty convincing-looking Walt Disney. Just saying.
Be on the lookout for Simon “The Mentalist” Baker in the brief but pivotal role of Matt Reynolds.
If they think a Hollywood actor’s bisexuality is taboo, wait until they hear about Exley’s past.
Kim Basinger says so much with a subtle glance of her eyes. Take that, old lady from “Titanic”!
Bud has plenty of cash on hand at all times for bribes. How often does he go to his bank? That’s a scene I want to see.
All I will say about the ending is that my jaw dropped during one of the big revelations. Any other details are “off the record, on the QT, and very hush-hush.”
Legacy
This is the film that introduced Guy Pearce and Russell Crowe to America. So we have “L.A. Confidential” to blame for…
An attempt to turn “L.A. Confidential” into an HBO miniseries fell apart in 1999. That miniseries later served as the basis for a pilot starring Kiefer Sutherland. The pilot finally saw the light of day in 2003, but Sutherland had already moved on.
So far, this and 2006’s “The Black Dahlia” are the only film versions of James Ellroy’s “L.A. Quartet” novels. A film adaptation of “White Jazz” by George Clooney never got off the ground.
And of course, the flurry of noir-homage films that cashed in on the success of “L.A. Confidential”. Hey, it could still happen!
Final Viewing: Sorry “The Usual Suspects” and “American Beauty”, but you’ll have to wait for your NFR inclusion when future generations forget what a garbage human Kevin Spacey is. To borrow from Patton Oswalt, I always admired Kevin Spacey, but this is where we say goodbye. If only we could replace Spacey with Christopher Plummer in all of his films…
**2017 Update: Guy Pearce now has “Memento” as well. Kevin Spacey still has only this.
The Plot: Funded by the Lutheran Church and narrated by Lew Ayres, “The Way of Peace” is a stop-motion tale about the dangers of non-belief in our modern (‘40s) world. After a whirlwind CliffsNotes version of the Bible (both Old and New Testament), we are warned that turning away from God and His message will lead to mankind’s destruction, as demonstrated by a lot of miniature sets being blown up.
Why It Matters: The NFR describes the film’s history and undertaking, but cites no specific reason why the film has been chosen for preservation. A much more detailed look at the film can be found in this article by Mark Quigley of UCLA’s Film Archive (who, not so coincidentally, recently restored this film).
But Does It Really?: The aforementioned article helps a bit, and I can give this film a pass on historical merit. If you’re willing to overlook the film’s (obvious and intentional) heavy-handedness, at its core is a plea to stop killing each other, from a generation that had just survived yet another war to end all wars. Sadly, 70 years later, we still need the reminder.
Everybody Gets One: While not his only NFR entry (see “Legacy” below), we’ll give a quick shout-out to director Frank Tashlin. An animator for practically every major studio in the ‘30s, Tashlin finally landed at Warner Bros., helming many of their shorts, including the infamous “Private Snafu” shorts during World War II. Artist and sculptor Wah Ming Chang produced “The Way of Peace” through his business venture, The East-West Film Company. Among his many accomplishments over the years are the communicators used on the original “Star Trek” series.
Wow, That’s Dated: Atomic age paranoia, and the organ as a dramatic instrument (forever associated with early soap operas).
Take a Shot: As if they knew that 70 years later some yahoo would try to turn this into a drinking game, the phrase “the way of peace” pops up frequently in this 18 minute short. I’m pretty sure at one point Lew Ayres says it twice in the same sentence.
Seriously, Oscars?: No Animated Short nomination for “The Way of Peace”. The winner that year was “Tweetie Pie”, the first Merrie Melodies cartoon to pair Sylvester with Tweetie.
Other notes
This is the only film I could find that was produced by Christian Films, a company with the imaginative logo of, wait for it…a cross.
Jeez, half of this movie is credits.
This thing has all the production values of an episode of “Thunderbirds”.
Lew Ayres warns about man building walls out of fear, intolerance, and greed. Have you guys talked to the Cards Against Humanity people lately?
What is the New Testament if not the Bible’s soft reboot?
In true “Ben-Hur” fashion, we do not see Jesus’ face. But someone did make a Claymation Jesus, remember that as you go about your day.
We went from Jesus’ crucifixion to Nazis and lynchings real quick. I think I got whiplash.
Atomic bombs really are just an extension of penises.
Why did I pick a nuclear destruction film to watch right now?
It must have been fun blowing up miniatures that day on set.
Okay we get it! Total friggin’ annihilation! Move on!
The film ends with the passage John 3:17. I thought John 3:16 was the one everyone liked quoting. Anyway, I’m more of a John 11:35 man myself.
Legacy
Frank Tashlin somehow pivoted from animated shorts to live-action features, directing several Jerry Lewis titles as well as fellow NFR entry “Will Success Spoil Rock Hunter?”
I’ll go ahead and blame this short for “Davey and Goliath”.
The Horse's Head 