The Horse's Head

#342) A Fool There Was (1915)

OR “Interlude with the Vampire”

Directed by Frank Powell

Written by Powell and Roy L. McCardell. Based on the play by Porter Emerson Browne and the poem “The Vampire” by Rudyard Kipling.

Class of 2015

The Plot: John Schuyler (Edward José) has everything you could want from life: a loving wife (Mabel Frenyear), an adorable daughter (Runa Hodges), and a successful career as a lawyer and diplomat. While on a ship bound for England, he meets a seductive young woman (Theda Bara) known only in the film as “The Vampire”. Known for seducing men, making them sacrifice everything to be with her, and then abandoning them, The Vampire zeroes in on John, and within two months they are living a sinful life in Italy. Upon his return home, John tries to ingratiate The Vampire into his home life, with the expected disastrous results. Can John salvage his marriage? Or will The Vampire claim another victim?

Why It Matters: Despite a lengthy write-up from the NFR, “A Fool There Was” receives no superlatives, just a quick rundown of Theda Bara’s screen persona and career, as well as information on her surviving filmography.

But Does It, Really?: Having endured my share of silent movies that are on this list for their historical merit rather than entertainment value, I am happy to say that “A Fool There Was” still holds up over 100 years later. Theda Bara has that “it” quality you need for the role of The Vampire, and overall the film is expertly directed. Ms. Bara is not well known today (that’s not entirely her fault, see “Legacy”) but the NFR should have at least one of her films on the list, and “A Fool There Was” is the natural (and pretty much only) choice.

Everybody Gets One: Despite the countless puff pieces of the day that claimed Theda Bara was the daughter of an Arab sheik or an Italian sculptor, Theodosia Burr Goodman was born in Cincinnati to a Polish tailor and a Swiss housewife. Theda attended the University of Cincinnati, acted in local productions, and moved to New York to pursue acting (the major studios hadn’t moved to Hollywood yet). Fun Fact: Theda’s birth name is a tribute to Aaron Burr’s daughter (like the song!).

Wow, That’s Dated: Ships as a major mode of transportation, and receiving important news via telegram or newspaper.

Other notes

• Many have cited “A Fool There Was” as one of the early vampire movies, and they are wrong. While the film is based on the poem “The Vampire”, Kipling is using the term in a metaphorical sense.
• We’re only five minutes in and this movie is throwing a lot of characters at me. It doesn’t help that almost no one has a name and are referenced in the intertitles instead by profession or relation (The Friend, The Doctor, The Skipper, The Millionaire and His Wife, The Scientist, The Magician…).
• I was today years old when I realized that vamp is short for vampire.
• “A Fool There Was” is a prime example of “We didn’t need dialogue; we had faces.” There are not a lot of intertitles in this film, and Bara and José successfully carry the bulk of the movie with their emoting.
• Interestingly, the frames in which The Vampire actually kisses One Of Her Victims are missing. I suspect either the footage was excised for being too scandalous, or that piece of film was removed from the original negative by a fan/perv.
• I don’t care if we were born 102 years apart; Theda Bara is cute. This is why time travelling should be avoided. Otherwise I’d be donning my seersucker and pitching the woo to Theda or the Gish sisters.
• John is setting sail for England on an ocean liner called the “Gigantic”. Get it?
• A movie about an extra-marital affair in 1915? This must have been downright revolutionary. Obviously this film is staunchly anti-affair, but this is some risqué subject matter regardless. “Faces” would cover much of the same territory 53 years later.
• The director is clearly just letting The Child do whatever she wants, and if it works, print it! One wonders how many takes they had to do.
• The Doctor’s Wife correctly points out the double standard of a husband cheating on his wife vs. a wife cheating on her husband. Right on, woman!
• I was expecting a large readout from the Michael Douglas scale, but it turns out Edward José is only five years older than Theda Bara. That being said, Jesus is that a rough 35.
• And she smokes too? There aren’t enough scarlet letters for this woman!
• I assume that even though The Wife decides not to go through with the divorce, her Sister’s Lawyer still billed her for the full hour.
• This movie had me until the very end. I have no problem with its put-upon morals, but I do take issue with Edward José’s overacting.

Legacy

• “A Fool There Was” was a major hit for Fox, and Theda Bara became an overnight star. She eventually grew tired of the vamp persona, but Fox would not cast her in any other role. When her contract with Fox expired in 1919, she did not renew. Bara’s film career and stardom never again reached her apex at Fox, so she retired from film, marrying director Charles Brabin in the process.
• Sadly, most of Theda Bara’s filmography was destroyed in the 1937 Fox fire. All that survives is this film, two others from the era, and one from her attempted comeback in the mid-1920s. Of her other films, only a few seconds survive from a handful of titles. Among them: her 1917 turn as “Cleopatra”.

• Although Theda Bara is largely forgotten today, she is still occasionally referenced as a shorthand for early Hollywood sex symbols and vamps. I first heard her name as a throwaway line in “The Happiest Millionaire”.

• Allegedly this is the movie that gave us “Kiss me, you fool!”, even though The Vampire actually says “Kiss me, my fool!” This may be filmdom’s first oft-misquoted line.

#341) Moon Breath Beat (1980)

OR “Feline Drawing”

Directed by Lisze Bechtold

Class of 2014

This video is a private link from Lisze Bechtold’s website, which you can visit here!

The Plot: In a five minute animated stream of consciousness, “Moon Breath Beat” is an exploration of lines and colors turning into, among other things, two cats, their shape shifting owner, dangerous birds, and the moon as it inhales the entire scene. All of this is synchronized to an abstract beat.

Why It Matters: The NFR gives a rundown of the short’s production and praises Lisze Bechtold’s “fluidity and whimsy”.

But Does It Really?: I’m always on board with the NFR recognizing experimental animation, and “Moon Breath Beat” is an excellent choice. The film is an entertaining view if you allow yourself to just go with wherever it takes you. “Moon Breath Beat” gets a pass for its fluid animation and its representation of Lisze Bechtold, an animator I’m glad the NFR brought to my attention.

Everybody Gets One: For starters, most of this information comes from Lisze Bechtold’s website, and if you like what you see, you should check out her other work. Bechtold spent most of her childhood drawing, which didn’t translate into pursuing animation until she went to college. She transferred to CalArts, and made several short films, including one in which her animation was projected onto dancers. “Moon Breath Beat” came to be when the CalArts experimental animation instructor – former Disney and UPA animator Jules Engel – challenged his students to follow “a line, a patch of color, or a shape into the unconscious”.

Seriously, Oscars?: I couldn’t find any evidence that “Moon Breath Beat” was on the Oscars’ shortlist for Best Animated Short in 1980. The winner that year was the Hungarian short “The Fly”, not related to “The Fly” or “The Fly”.

Other notes

• In Lisze’s own words on this film’s process, “I animated straight ahead from bottom page to top, with only a pre-composed rhythm as the film’s framework….We’re talking 35mm magnetic track and tape, kiddos! No ctrl Z undos.”
• My assumption is that this is how most cat people see their cats.
• I will never see a personified crescent moon and not think of Mac Tonight. That may be the most obscure reference I’ve ever made on this blog.

Legacy

• Bechtold continued in effects animation for many years, including the effects for ‘90s kids favorite “FernGully: The Last Rainforest”. She pivoted to illustration for children’s books (far less time-consuming than film), and is the author of the “Buster the Very Shy Dog” series.

• Early on in her varied career, Bechtold was involved in another NFR entry almost 30 years after its release: she helped edit the photos for the reconstructed scenes on the “A Star is Born” restoration.

• Although she is no longer active in the animation community, Bechtold did return to effects animation for the extended cartoon sequence in “Mary Poppins Returns”. Apparently many former animators came out of retirement for the opportunity to work on the sequence.

• Although Bechtold studied hand-drawn animation, she went back to school to learn digital animation. You can learn more about Lisze Bechtold and her work at her website, including digital animation of her “Buster” illustrations.

#340) Mary Poppins (1964)

OR “The Umbrella Movement”

Directed by Robert Stevenson

Written by Bill Walsh & Don DaGradi. Based on the books by P.L. Travers. Songs by Richard & Robert Sherman

Class of 2013

The Plot: In Edwardian London, George & Winifred Banks (David Tomlinson & Glynis Johns) are having difficulty hiring a nanny for their children Jane & Michael (Karen Dotrice & Matthew Garber). One day the east wind brings the arrival of Mary Poppins (Julie Andrews), a no-nonsense woman full of surprises in her bottomless carpetbag. Accompanied by resident jack-of-all-trades Bert (Dick Van Dyke), Mary and the children have several magical adventures/catchy musical numbers. But can Mary’s magic bring the Banks family back together?

Why It Matters: Someone at the NFR really likes “Mary Poppins”, praising, among other things, “a witty script, an inventive visual style and a slate of classic songs”.

But Does It Really?: As with many a Disney movie, it’s hard for me to be completely objective with “Mary Poppins”. It’s been years since I’ve seen it, but I’m happy to say that I watched most of the movie with a big grin on my face. “Poppins” still works as an entertaining family fantasy, aided by a surprisingly smart script, appealing lead performances by Andrews and Van Dyke, and a song score with no weak link. “Mary Poppins” is an iconic musical that only gets better with age, and another no-brainer for the NFR.

Everybody Gets One: This is the only NFR appearance for longtime Disney staples Stevenson, Walsh, DaGradi, and the Sherman Brothers. Among the cast members: Comedy legends Dick Van Dyke and Ed Wynn, Oscar nominee Hermione Baddeley, and fish and chips namesake Arthur Treacher.

Wow, That’s Dated: Shoutout to Peter Ellenshaw: those matte paintings might date this film, but they are works of art.

Seriously, Oscars?: “Mary Poppins” was the biggest hit of Walt Disney’s career, and found itself in direct competition at the Oscars with another Edwardian era musical: Warner Bros.’ “My Fair Lady”. “Poppins” led with 13 nominations, with “Lady” close behind with 12. “Lady” was the big winner of the night with eight Oscars, including Best Picture, but “Poppins” still took home five. Being passed over for “My Fair Lady” helped Julie Andrews win Best Actress, and “Poppins” won additional prizes for Editing, Special Effects, Original Score, and Original Song (“Chim-Chim-Cheree”).

Other notes

• The entire song score is justifiably iconic, but special mention must go to orchestrator Irwin Kostal, who turns the songs into character motifs that enhance and enrich the film.
• It’s a good thing Dick Van Dyke is so charming, because that atrocious Cockney accent lives up to its notoriety. Were none of the film’s British cast members willing to give pointers?
• Not primarily known as a singer, Glynis Johns is nevertheless best remembered for her performance of “Sister Suffragette” (and a certain oft-covered show tune). But why is the song cut off? There were literally two notes left!

• It’s a slight departure from Travers’ characterization, but Julie Andrews has a nice handle on Mary Poppins. Julie’s performance is remembered as sweet, but she’s more strict and curt than people seem to remember. It’s only at the end that Disney gives Mary some uncharacteristic sentimentality.
• It’s mostly process shots, but the effects in “Spoonful of Sugar” are still a lot of fun to watch.

• How can you not love “Jolly Holliday”? A catchy song topped off with inspired animation and an enchanting penguin dance number. That being said, the verse about Mary and Bert being platonic isn’t fooling anyone. Those two did it and you know it.

• “Supercalifragilisticexpialidocious” is not only the film’s most iconic number; it’s also the word to say when you can’t think of what superlative to give “Mary Poppins”. Julie and Dick sell the song, but they’re no DJ Jazzy Jeff and the Fresh Prince.

• Damn it Mary, stop gaslighting the kids!
• That’s Jane Darwell (Ma Joad from “The Grapes of Wrath”) in her final film role as the Bird Woman. Walt Disney personally coaxed Darwell out of retirement to play the part. Oddly enough, her one line of dialogue is dubbed.

• Dick Van Dyke successfully lobbied Walt to play a second role, bank chairman Mr. Dawes Sr. The old-age makeup is quite convincing (to the point where the child actors didn’t know who it was), and more peculiar, Van Dyke’s British accent is far less obtrusive than his Cockney one.

• “Chim-Chim-Cheree” is a fun song and Bert’s unofficial motif, but the Oscar for Best Song? There are at least three other songs in the score I would have given the award to over this one.

• Why is all the furniture covered during the final part of “Step in Time”? Are the Banks moving?
• David Tomlinson is clearly relishing Mr. Banks’ Scrooge moment at the end. As they say, cast for the third act.
• Has anyone else noticed that Mary Poppins doesn’t have much to do in the third act? She has the day off, her only song is a brief duet with Bert, and it’s Bert who helps Mr. Banks see the error of his ways, not Mary. And once we get to “Let’s Go Fly a Kite”, all Mary does is leave. Poppins is doing the bare minimum I expect from my title character.

Legacy

• “Mary Poppins” was a runaway hit for Disney, and both Julie Andrews and Dick Van Dyke became overnight movie stars. In fact, Andrews secured her next movie, “The Sound of Music”, during “Poppins” when Robert Wise and Ernest Lehman saw some early rushes.

• Walt Disney used the profits from “Poppins” to start secretly purchasing land in Orlando, Florida; the eventual site of the Walt Disney World resort.
• Several fantasy family musicals were made in the ensuing years with the hopes of being the next “Mary Poppins”. Many, including “Chitty Chitty Bang Bang” and “Bedknobs and Broomsticks”, hired much of the “Poppins” creative team, but none hit the “Poppins” bulls-eye.

• P. L. Travers was very critical of the film and consistently vetoed any further “Poppins” projects from Disney, including a sequel and a stage musical. Travers’ passing in 1996 led to some more civil negotiations between Disney and the Travers estate. The eventual results were a stage show co-produced with Cameron Mackintosh, and a sequel with Emily Blunt as Mary.

• Everyone has spoofed this movie over the years, but “The Simpsons” and Shary Bobbins are still the gold standard. I found myself singing “Cut Every Corner” during “Spoonful of Sugar”.

• The reluctant collaboration between P.L. Travers and Walt Disney is dramatized in the film “Saving Mr. Banks” with Emma Thompson and Tom Hanks. “Banks” was released in December 2013, the same month “Mary Poppins” was added to the NFR. What an amazing coincidence I’m sure Disney had nothing to do with.

• Although the message of “Feed the Birds” is still an important one, please do not actually feed the birds in front of St. Paul’s Cathedral. It is illegal thanks to this movie.
• And of course:

Further Viewing: The Sherman Brothers’ prolific songwriting career and tumultuous personal relationship is chronicled in the heartening documentary “The Boys”.

#339) Uncle Tom’s Cabin (1914)

Directed by William Robert Daly

Written by Edward McWade. Based on the novel by Harriet Beecher Stowe and the stage adaptation by George L. Aiken.

Class of 2012

In the alleged words of Clark Gable, “Let’s get this over with.”

The Plot: Tom (Sam Lucas) is a slave on a Kentucky plantation who is sold to the benevolent St. Clair (Garfield Thompson) when his owner (Walter Hitchcock) must pay off his debts. Once in New Orleans, Tom finds himself bonding with St. Clair’s daughter Eva (Marie Eline) over their shared Christianity. Following the tragic deaths of both Eva and St. Clair, Tom is sold to the vicious Simon Legree (Roy Applegate) in Louisiana. Only Tom’s faith in God keeps him going in this increasingly problematic American story.

Why It Matters: The NFR brings up this version’s main talking point as “the first feature-length American film that starred a black actor” and how this “set an important milestone in American movie history.” There’s also an extended essay by English professor Stephen Railton.

But Does It Really?: This…is a tough one. The novel “Uncle’s Tom Cabin” is a Pandora’s box of American race relations. On the one hand, the book helped spark the abolitionist movement, but on the other hand, it inadvertently prolonged the negative African-American stereotypes of the day (some would argue to the present). I will not try to defend the book and its place in our history; I’m just here to watch the movie. This “Uncle Tom’s Cabin” is one of several made during the silent era, and having Sam Lucas as the lead is a point in its favor. I don’t believe in censoring art or sweeping our national mistakes under the rug, so sooner or later we have to confront “Uncle Tom’s Cabin”, and this version might as well be the one to start the conversation. If you’re going to watch this “Uncle Tom’s Cabin”, make sure to do your homework first.

Everybody Gets One: The son of former slaves, Sam Lucas found fame by performing blackface in minstrel shows, using his success to pursue more dramatic avenues. In 1878, Lucas became the first African-American to play Uncle Tom in a serious stage version of “Uncle Tom’s Cabin”. Nearly 40 years later, Lucas reprised the role in this film version, a role previously played by white actors in blackface. Speaking of…

Wow, That’s Dated: This is one of the movies I had in mind when I came up with the BLACKFACE WARNING. Uncle Tom is the only major African-American character in the film actually played by an African-American. All the others are played by white actors either in blackface (Topsy) or with no makeup, with the explanation that they’re mulatto (Eliza and George). And that’s just scratching the surface of what’s dated about this movie.

Other notes

• Before we go any further, there are a few things you need to know about “Uncle Tom’s Cabin”. The original 1852 novel was staunchly anti-slavery, though Harriet Beecher Stowe’s solution to the problem seemed to be…Christian love? The book was a success, but raised a lot of ire from the pro-slavery population. Copyright laws were more lax back then, and several stage productions of “Uncle Tom’s Cabin” appeared throughout the country. Many of these were re-written to give the story a pro-slavery tint, relying on many of the African-American stereotypes of the day, including “Uncle Tom”; the African-American always subservient to their white master. These “Tom shows” became better known than the original novel, leading to today’s somewhat misguided notion that the book is pro-slavery.
• Off the bat, this film version is closer to Stowe’s original intent, referring to the slave owners as “heartless traitors” in the first intertitle. It helps that this film was made over 60 years after the book was first published, and over 50 years after the Emancipation Proclamation. Hindsight is 20/20. The opening intertitle also says that this story “will live forever”, which is true, just not for the reasons they thought it would.
• One of the things I noticed is how few intertitles are in this film. The assumption was that a 1914 audience was familiar with “Uncle Tom’s Cabin” and didn’t need a refresher course. Do yourself a favor and at least read a plot synopsis before attempting to watch this movie.
• Apparently Eliza escaping across the icy river is an iconic moment, but this version just glosses over it. That might be an artistic decision, but it also might be the result of a choppy print.
• This whole movie is problematic for a variety of reasons, but wait until we get to Topsy. One of St. Clair’s younger slaves, Topsy is essentially every bad stereotype in one character: lazy, ignorant, prone to stealing, and on top of all this, she’s portrayed by a white actor in blackface. Topsy dares you to watch this movie.
• “Uncle’s Tom Cabin” is a faithful, if streamlined, adaptation of the novel, with the major exception of the ending. Following Tom’s fatal whipping, an unnamed slave takes revenge by shooting and killing Simon Legree. And no, I’m not worried about spoiling the ending to the 105-year-old film version of a 167-year-old book.
• If the new ending wasn’t enough evidence of the film’s abolitionist leanings, the final intertitle is a selection from the actual Emancipation Proclamation, with an illustration of Lincoln in the background just in case you haven’t figured it out yet.
• This may be the one instance in film history where the book is not better.

Legacy

• There were nine feature-length film versions of “Uncle Tom’s Cabin” between 1903 and 1927. Since the silent era ended, only one full film version has been made: a 1987 TV-movie for Showtime starring Avery Brooks, Phylicia Rashad, Paula Kelly, and a then-unknown Samuel L. Jackson.

• Want to see something really unsettling? Here’s the 1933 Mickey Mouse cartoon “Mickey’s Mellerdrammer”, in which Mickey and friends put on a production of “Uncle Tom’s Cabin”. Three words: Mickey is Topsy.

• Perhaps the best-known variation of the book is “The Small House of Uncle Thomas” from the increasingly problematic “The King and I”.

• As for the cultural influence of “Uncle Tom’s Cabin”, it’s still a part of the cultural dialogue about African-American stereotypes, whether we know we’re referencing the book or not. You don’t have to watch this film version, but you should at least look up the book and learn about its history. Context doesn’t excuse anything about “Uncle Tom’s Cabin”, but it does put things in perspective.

#338) Growing Up Female (1971)

Directed & Written by Julia Reichert and Jim Klein

Class of 2011

No footage of “Growing Up Female” that I could embed here, but this is a tribute to Julia Reichert that includes footage from the documentary.

NOTE: “Growing Up Female” is about the feminist movement of the early ‘70s and the patriarchy’s oppression of women in America. As a straight white male, I am the last person anyone needs to hear address this topic. There’s a wealth of information out there about feminism, starting with this article about second-wave feminism as seen in “Growing Up Female”. To learn more about feminism in 2019 America, turn on the news and cry.

The Plot: “Growing Up Female” is an examination of five women at different stages in their lives. Janelle is 11 and prefers playing games with boys and wearing pants instead of a skirt. Terry is a 16-year-old beauty school student who enjoys dressing up for her boyfriend than for herself. Tammy is 21 and her “independent” lifestyle may be a product of materialistic advertising. Jessica is also 21 and is raising a five-year-old daughter whose father has become unreliable. Mrs. Russell is a 34-year-old housewife who expresses her daily frustration with raising three daughters. All five of these women are serving other people in their lives while ignoring their own needs and wants. Seeing as this is 1971, perhaps a change in our national attitude towards women is in order.

Why It Matters: The NFR calls it “[a]mong the first films to emerge from the women’s liberation movement” and mentions the “cooperative of female filmmakers” who helped the film get distributed across the country.

But Does It Really?: Absolutely. “Growing Up Female” is a fascinating time capsule of binary gender norms, when a woman’s role was in service to the man in her life. At the same time, the film is gently provoking you to look a little deeper and question that perception, a concept that must have been radical in 1971. It’s an oversimplification of the feminist agenda, but “Growing Up Female” shows the little things you can change about your attitudes towards women that can start the ripple effect.

Everybody Gets One: Outside of their filmographies, there isn’t a lot of information about either Julia Reichert or Jim Klein, other than they met while attending Antioch College in the late ‘60s. “Growing Up Female” was a student project of Julia’s, and the two spent most of the 1970 spring semester producing this film.

Wow, That’s Dated: The perception of women in society solely as homemakers and mothers. “Growing Up Female” can be an encouraging viewing experience.

Wow, That’s Not Dated: The perception of women in advertisements as sex symbols and playthings. “Growing Up Female” can be an infuriating viewing experience.

Seriously, Oscars?: To the best of my knowledge, “Growing Up Female” never played an Oscar qualifying run, and was therefore ineligible. Reichert and Klein would be nominated for their later films “Union Maids” and “Seeing Red” (with Reichert receiving an additional nod for “The Last Truck: Closing of a GM Plant”) but both filmmakers have yet to take home an Oscar (2020 Update: See “Legacy” below).

Other notes

• Once again, “Growing Up Female” was Reichert’s student project at Antioch College. Believe me, none of my student films are making the NFR any time soon.
• It always fascinates me in these movies that no matter what time period it is, kids playing always looks and sounds the same. That’s a major pro-nurture bullet point in the “nature vs. nurture” debate.
• I can see how Reichert and Klein were able to get such candid responses from their subjects: Julia is very conversational and down-to-earth in her interviewing, putting everyone at ease to truly speak their mind.
• It doesn’t take long to figure out the pattern between all of these women. Just from Janelle and Terry you can learn that this movie is about women who feel oppressed by the patriarchy, but aren’t able to articulate these feelings. Terry even mentions moving to California. In other words, as far away from her current life as possible.
• Having been born long after the feminist movement of the ‘70s, it’s easy for me to describe ‘60s sexism in its broadest “go back to the kitchen” stereotypes. What this film opened my eyes to is how much of that sexism towards women was presented by other women, typically of the older generation who obeyed their husbands without question.
• Oh god, the Advertising Executive. Obviously, he’s there to set up the sexist attitudes of ‘60s advertising and its effect on the younger generation, but does he have to be such a dick about it? And stop calling women “chickies”!
• The most memorable moment in the film is the extended amount of time we spend learning about Tammy, her personality, and her aspirations, only to get the reveal that she’s a secretary. That stings quite a bit.
• Jessica’s story is the closest this film gets to dealing with the racial aspect of being a woman in America. An examination of our treatment of African-American women is a task for someone far more qualified than I. Perhaps we need a documentary called “Growing Up with Institutional Racism”.
• All you really need to know about this movie’s stance of feminism is that all of the subjects are addressed by their first names, except for Mrs. Russell the housewife.
• I became so caught up in these women’s stories, I actually got upset during the end credits when I realized the film was co-directed by a man. No offense to Jim Klein, who I’m sure is a lovely guy.

Legacy

• Reichert and Klein knew that a pro-feminist film in 1971 wouldn’t get a big distribution deal, so they handled it themselves, sending 16mm copies to churches and libraries all across America. The two were later joined by fellow filmmakers Amalie Rothschild and Liane Brandon, and founded New Day Films, a company that is still going strong today.

• Both Julia Reichert and Jim Klein are still making documentaries, though Klein seems to be focusing more on the editing side. Reichert’s most recent documentary “American Factory” premiered at this year’s Sundance Film Festival, and was acquired by Netflix.

• 2020 UPDATE: “American Factory” won the Oscar for Best Documentary! Yay, Julia!

• As far as I can tell, besides the title and general concept, the 1974 book “Growing Up Female: A Personal Photo-Journal” by Abigail Heyman is not directly connected to this film.
• Does anyone know what happened to any of the women in this film? If I find out they all became unsatisfied housewives, I’m gonna be real upset.