After being enlisted in the army during World War II, John Huston was put to work making documentaries for the Signal Corps. Following the success of his Oscar nominated “Report from the Aleutians”, Huston was sent to film the Allied Forces’ Italian Campaign in San Pietro. What Huston produced (after some laborious editing at the behest of the Army) is an unflinching look at war and its aftermath. The bulk of the film was staged after the fact and Huston’s anti-war sentiments were all but eliminated, but “The Battle of San Pietro” still manages to create some jaw-dropping moments during a major turning point in the war. Despite its neutering, this film does not shy away from such sobering visuals as the fresh corpses of soldiers being carted away, or the comune of San Pietro Infine reduced to rubble and ruins. “The Battle of San Pietro” was the first World War II documentary to be included in the National Film Registry, and its frank visuals are still a tough act to follow.
Read more about the film and its history in this essay from the NFR by documentary historian Ed Carter.
Written by Taylor & Ted Wilde & John Grey & Tim Whelan
Class of 1990
The Plot: Harold Lamb (Harold Lloyd) is about to start his freshman year at Tate University and is determined to be Big Man on Campus. He emulates his favorite movie character – The College Hero – and ends up becoming the oblivious butt of many jokes. Peggy (Jobyna Ralston), his landlady’s daughter, is the only person who shows genuine kindness to him. The film culminates in the big football game, where Harold dreams of scoring the winning touchdown, despite not knowing he is only the team’s waterboy.
But Does It Really?: Equal parts funny and endearing, “The Freshman” is still an enjoyable comedy over 90 years later. Lloyd is very engaging and the theme of acceptance set against the hectic college lifestyle still rings true today. Though I am surprised that “The Freshman” made it onto the NFR list on only the second round, while the Harold Lloyd film – “Safety Last!” – had to wait another four years.
Wow, That’s Dated: All kinds of ‘20s slang in this one, including but not limited to “stand treat”, “dubs” and “petting party” (the last one sounding like a lot of fun). In addition we get a reference to Simon Legree, the slave owner from “Uncle Tom’s Cabin”. Yeesh.
Other notes
While he produced all of his pictures and was definitely “the muscle” behind them, Harold Lloyd was rarely credited as director or writer. This film is no exception.
Harold Lamb may be the first movie character to idolize another (albeit fictional) movie character. If he had waited a few years he could have had a Paul Muni “Scarface” poster in his room.
Nice use of animated title cards for Harold’s college cheers.
How can this be a ‘20s college picture when no one tries phone booth stuffing or flagpole sitting?
The version I watched featured the 2002 re-orchestration by Robert Israel. It includes the “Oriental Riff” you are required to sample when China is mentioned, as well as college campus staple “Gaudeamus igitur”.
So even back then movies had crotchety old deans?
James Anderson (Chet) was 22 when filming began, making him the only major cast member who was actually the correct age to play a college student. By comparison, Harold Lloyd was 31.
At one point Harold stuffs a cat in his sweater, and then at a later point holds a baby between his legs. W.C. Fields must have loved this film.
Lloyd loves the gag of thinking someone else goosed you and then slapping the wrong person.
Ah, America’s proud heritage of male cheerleaders. You are this nation’s true heroes.
I don’t know much about college football, but I feel like Harold violates a lot of rules during the big game.
Speaking of, that’s the lowest scoring football game I’ve ever seen. For god sake I’ve been to soccer games with higher scores!
Legacy
This film was inspired by (and helped continue) the college craze that was going through movies at the time. 23 Skidoo and whatnot I guess.
Footage from the big football game was repurposed in Lloyd’s final star vehicle, “The Sin of Harold Diddlebock”.
Hmmm…a lovable social misfit goes to college and becomes the football team’s waterb-OH GOD NO!
[Side note: Lloyd’s granddaughter Suzanne Lloyd Hayes tried to sue Disney and “The Waterboy” for plagiarism. I admit there are some similarities, but not enough to warrant any legal action. In the “Sentences I Never Thought I’d Write” department; the court ruled in favor of “The Waterboy”.]
[Side side note: Ironically, “The Freshman” itself was sued for plagiarism by author H.C. Witmer in 1929, claiming the film was similar to his short story “The Emancipation of Rodney”. The original case ruled for Witmer, which required all prints of “The Freshman” to be destroyed. This ruling was overturned on appeal, and a classic was saved.]
Further Viewing: Completely unrelated to this film, “The Freshman” is also the name of a 1990 Matthew Broderick/Marlon Brando comedy that I can’t believe I neglected to mention in my “Godfather” write-up.
Directed & Written by Gordon Parks. Based on his novel.
Class of 1989
The Plot: “The Learning Tree” is Gordon Parks’ semi-autobiographical slice of life and coming of age in rural 1920s Kansas. Young African-American Newt Taylor (Kyle Johnson) discovers life and love amongst the seething racial intolerance of his town’s white community. Newt dreams of growing up and getting out of Kansas, but his steadfast mother Sarah (Estelle Evans) reminds him to use his time here as a way of understanding the world around him (his “learning tree” if you will). Newt’s positive outlook is contrasted by the more jaded views of his childhood friend Marcus (Alex Clarke), who is constantly harassed by the town’s racist Sheriff Kirky (Dana Eclar).
Why It Matters: The NFR cites the film’s historical significance as the first studio-backed film to be directed by an African-American. The write-up also calls the film “visually beautiful and moving, if somewhat sentimentally melodramatic”. An essay by Maurice Berger discusses the film, as well as Parks’ work to achieve racial tolerance throughout his life.
But Does It Really?: Historically, of course. The film itself is not perfect, but it’s an important stepping-stone for depicting African-Americans on screen with more complexity and diversity than before. I don’t know if “The Learning Tree” would make my list of the first 25 films to be inducted into the NFR, but it deserves a place on the list; not only for its historical merits, but also for being an introduction to the work of Gordon Parks.
Everybody Gets One: Though not his only film on the Registry (See “Legacy” below), I’ll take this opportunity to highlight the amazing life of Gordon Parks. His brief tenure as a filmmaker is just one chapter in a life that had already included being a photojournalist, author/poet and composer. Kyle Johnson is known for two things: being the lead in this film, and being Nichelle Nichols’ son.
Wow, That’s Dated: Through no fault of its own, the whole film has the vibe of an Old Hollywood studio film that had not yet embraced New Hollywood’s way of making movies.
Title Track: Sarah says “learning tree” once about a half hour into the film. In addition, we get a title song.
Seriously, Oscars?: Sure it was groundbreaking and well-received in 1969, but how could you give any Oscar nominations to “The Learning Tree” when “Hello, Dolly!” came out in the same year? (That was sarcasm. The film version of “Hello, Dolly!” sucks on toast.)
Other notes
Much of this film was shot on location in Gordon Parks’ hometown of Fort Scott, Kansas.
For those of you paying attention, this is the second film from the NFR’s inaugural class of 1989 that takes place in Kansas and prominently features a tornado.
Finally, someone named “Newt” who isn’t repulsive beyond belief.
Surprising no one, a film directed by a photojournalist has excellent cinematography. Shout-out to Burnett Guffey, quite an accomplished cinematographer himself, though I’m sure Gordon had plenty to say about the film’s compositions.
He wrote it, directed it, and produced it, but Gordon Parks’ score is the only part of his multi-hyphenate I have a problem with. It’s just a little too intrusive; at times it sounds like everyone’s going to break out into song.
Sarah is played by Estelle Evans, whose sisters were fellow actors Rosanna Carter and Esther Rolle (aka Florida from “Good Times”). Esther is the only one of the three who didn’t change her name for showbiz.
Warner Bros.’ stance on post-code nudity? Butts and plenty of ‘em!
No matter what your creed or color, we can all agree that potato sack races are stupid.
I appreciate the complexity in which the film presents the town’s racism and bigotry, except for the scene with the principal. A little too “white savior” for my taste.
Uncle Rob’s wish for a world filled with multi-colored people would eventually come true with “Doug”.
The film takes its time meandering from one episode to another, but the last third of the film involving the courtroom brings it all together. It’s especially heartbreaking once you start to figure out where it’s all leading.
Further Viewing: Produced by Denzel Washington and narrated by Alfre Woodard, “Half Past Autumn: The Life and Work of Gordon Parks” is a wonderful overview of Gordon Parks’ astounding life, as told by the man himself.
The Plot: Focusing on the LGBT Ball Culture (aka The House System) in 1980s New York, “Paris Is Burning” centers around the ceremonial balls in which people walk the runway in drag (or a variety of other categories) to win prizes and trophies for their houses. Among those featured are house mother Pepper LaBeija, vogue dancer/aspiring performer Willi Ninja, Xtravaganza child Venus, who is saving her money for gender confirmation surgery, and Dorian Corey, a drag queen from an older generation who has a lot to say about “the children”.
Why It Matters: The NFR quotes Guardian writer Ashley Clark, who said, “Few documentaries can claim to have sparked as much discussion and controversy as [Paris Is Burning]”. The NFR’s write-up concludes by saying that the film “has greatly influenced popular culture.” Well duh. That’s why it’s on the list. That’s in your mission statement.
But Does It Really?: “Paris Is Burning” is the right documentary at the right time. It invites you into the culture and shows you that there are so many more layers to the gay community than most people preconceive, especially by conservative 1990 standards. Film is the perfect outlet to record a legacy and a culture that still struggles to find mainstream acceptance. And this film captures all of it at a time when, tragically, the culture was in serious danger of becoming extinct. I am delighted that “Paris Is Burning” has finally made the cut.
Everybody Gets One: Jennie Livingston was fresh out of Yale when she started documenting the ball culture seen in the film. Although she has only made a handful of films since “Paris Is Burning”, she continues to lecture and teach film throughout the country.
Wow, That’s Dated: The category is: ‘80s Realness. From camcorders to “Dynasty” to Paulina Porizkova, this could only be New York 1987.
Title Track: “Paris Is Burning” is the name of Paris DuPree’s grand ball and is said only once about halfway through the film.
Seriously, Oscars?: “Paris Is Burning” was one of many universally acclaimed documentaries of the late ‘80s/early ‘90s that failed to receive a Best Documentary nomination, eventually leading to the Academy’s decision in 1995 to review and tweak that category’s nominating process.
Other notes
This film does an excellent job at bringing you into this world, which must have been especially impressive in 1990 when exposure to this culture was at a minimum. I also applaud the film’s ability to create sympathy for these people without resorting to any sort of cinematic manipulation. The mere reportage of it all shows you how difficult life is for everyone.
Let’s get this out of the way right now; in addition to her long reign as a drag queen and being the glue that holds this film together, Dorian Corey had one last surprise for everyone. After her death in 1993, a mummified body was discovered in her home that had been dead for approximately 15 years. Dorian Corey had a literal skeleton in her closet.
Some argue that the film’s focus on pageantry is mere spectacle, but that’s completely ignoring the chapter of the film that discusses the various categories. As explained by those interviewed, the balls are never just about putting on a dress. For this group it is about escape and finally being allowed to be the kind of person society will not let them be. Through that escape comes acceptance within their community, something no one in this culture feels when they’re out in “White America”.
Speaking of, does anyone know who is on the Forbes magazine cover featured in the White America segment? I assume they’re all conservative enough that it would kill them to find out they’re in this film.
Kinda hard to pull off “mopping” when you have a camera crew following you. Also, who knew that Roy Rogers were still a thing?
As far as I can tell, the LGBT modeling community is small, but finally getting there.
Surprise cameos from ball judges Fran Liebowitz, Geoffrey Holder and Gwen Verdon! God bless a movie that can bring those three together with no questions asked.
Legacy
Voguing was still pretty underground during the making of the film, but during post-production Malcolm McLaren’s song “Deep in Vogue” (mentioned by Willi Ninja in the epilogue) brought the dance to a larger audience. Of course, as is often the case, voguing didn’t become a phenomenon until a straight white person did it.
Surviving members of the film were further documented in 2006’s “How Do I Look?”
“RuPaul’s Drag Race” has carried on a lot of what this movie stands for in the form of a reality TV competition. Season 6 contestant Vivacious was one of the few remaining “club kids” as depicted in “Paris Is Burning” to compete on the show.
Deemed by some a spiritual sequel to this film, “Kiki” is a look at ball culture and the LGBT community in whatever we’re calling this decade. The twenty-teens?
Escrito por Baltasar Fernández Cué. Based on the novel by Bram Stoker and the play by Hamilton Deane and John L. Balderston.
Class of 2015
Read my take on the English-language version here.
No trailer, but here’s a little background on this version of Dracula.
Trama de la Pelicula: Carlos Villarías es el Conde Drácula, un vampiro de Transilvania que debe beber la sangre de los vivos. Asistido por su criado Renfield (Pablo Álvarez Rubio), viajan a Londres para arreglar el arriendo en una abadía al lado del sanatorio local. El conde se enamora de la hija Eva del médico (Lupita Tovar) y los planes para hacerla su novia siguiente. Pero el doctor Van Helsing (Eduardo Arozamena) sospecha los hábitos de vampiro de Drácula mientras estudia las misteriosas muertes que han ocurrido desde que Drácula llegó.
Pero Realmente?: As a representation of MLV films, “Drácula” is tough to beat. Of the early sound films known to have an MLV, “Drácula” is the best known, and has enough key differences to warrant side-by-side viewing and comparisons. I’ll cover some of these in the “Other Notes” section, suffice it to say that both films have their pros and cons that prevent me from declaring one to be the obvious “better” one. Regardless, this “Drácula” belongs on the list.
Todo el Mundo Tiene Uno: Like many foreign actors in Hollywood, Carlos Villarías’ career consisted mostly of MLV films, as well as minor roles in “A” pictures and supporting roles in “B” pictures. Lupita Tovar continued making films in Hollywood and Mexico before finally settling down with “Drácula” producer Paul Kohner and raising two children, among them future actress Susan Kohner. Ms. Tovar lived to be 106 years old!
Wow, Eso Es Anticuado: Unlike the English-language “Dracula”, this one firmly establishes its present day setting. So let’s go with sanatoriums, as well as people who wear their cape and gloves to the symphony.
Toma un Trago: Dicen mucho el nombre del Conde. No hagas esto un juego de beber.
Seriamente, Oscars?: Like its English counterpart, “Drácula” did not receive any Oscar nominations. Of course I doubt MLV films were even eligible to begin with.
Otras Notas
This film’s director, George Melford, oversaw production on several foreign-language films at Universal in the late ‘20s and early ‘30s. Weirdly enough, he didn’t speak Spanish and had to rely on an interpreter pretty much the entire time.
Among the many differences, Melford’s direction involves more close-ups and feels a little more cinematic. Browning’s version feels a little bit more like the stage version.
While Browning’s violence is implied rather than shown, this version shows us actual bite marks! Plus you see Dracula actually get out of his coffin!
This Renfield has more of a Gene Wilder in “Young Frankenstein” quality to him.
Yeah, the attack on the ship is way better in this one. Less cheesy.
Don’t think I didn’t catch that, reused long shots of Bela Lugosi.
Oh man, the Martín in this version is also a great comic relief. It’s an embarrassment of riches!
How did I go the entire English-language “Dracula” without making a “Werewolves of London” reference?
The “Van Helsing Mirror” scene is a very different but equally chilling take.
Well there’s no use prolonging it: I have to compare Draculas. No offense to Carlos Villarías, but Lugosi wins hands down. Lugosi has a stillness to his Count that helps the overall creepiness of the film. Even when Villarías is standing still he does just enough movement to take me out of it. Plus he blinks. That’s no good either.
Eva in lingerie. No wonder everyone thinks this version is better.
That being said, Lupita Tovar’s take on Eva is much livelier than Helen Chandler’s. Their Jonathan Harkers, however, are the same amount of cipher no matter what the language.
Yes, the Spanish version is about 29 minutes longer than the English version, but it didn’t feel bloated by comparison. If anything, it gives everything just a little bit more breathing room. Plus, the Spanish version provides additional dialogue and character details that, while not completely necessary, do add some extra dimension to the film.
En caso de que se haya olvidado, ¡es una Pelicula de la Universal!
Legado
MLV films continued throughout the ‘30s, but since so many of these films were collaborations with Europe, World War II put an end to them. By the time the war ended, dubbing had become more commonplace.
Thankfully, this version of “Dracula” is starting to get more recognition alongside the English version. Which one is better? Watch them both and find out for yourself.
The Horse's Head 