The Horse's Head

#207) Czechoslovakia 1968 (1969)

Directed by Denis Sanders & Robert M. Fresco

Class of 1997

NOTE: This post contains a brief history of Czechoslovakia and the Prague Spring of 1968 that is a massive oversimplification of what actually happened. I’m no history buff, and this should not be your go-to for information on that revolution. At the very least there’s like eight Wikipedia pages on the subject.

The Plot: Presented with no narration and a score by Charles Bernstein, “Czechoslovakia 1968” is a whirlwind overview of Czechoslovakia from its founding in 1918 to the Soviet-Russian invasion and eventual revolution (known as Prague Spring) of 1968. Brought to you by your friends at the United States Information Agency.

Why It Matters: The NFR gives no specific reason, but does go into the history behind the making of the film, including the use of amateur footage that was smuggled out of Czechoslovakia. There’s also a fascinating essay by…the film’s co-director Robert M. Fresco! I didn’t know the actual filmmakers could write their own NFR essays. And here I’ve been reading works by film historians when I could have been getting information straight from the horse’s mouth (so to speak).

But Does It Really?: I give this film a pass as a representation of post-WWII government propaganda, albeit artful, well-crafted government propaganda. The film’s lack of narration gives it a universality that helps it survive better than other similar films. This is one of those movies where the history behind it – as well as the actual events being documented – outweigh any artistic merit, but Sanders & Fresco do a great job showcasing Czechoslovakian history through images, and the film holds up well enough to be worth a watch.

Everybody Gets One: We’ll see more of Denis Sanders when we cover “A Time Out of War”. Not a lot is known about Robert M. Fresco, other than he was a documentarian and screenwriter, including for a film called “Tarantula!” Composer Charles Bernstein met Denis Sanders at UCLA, and this composition was his first film score.

Wow, That’s Dated: The entire film is seemingly presented on a carousel slide projector. Somewhere Don Draper is smiling.

Seriously, Oscars?: “Czechoslovakia 1968” won the Academy Award for Documentary Short Subject. Typically, government films aren’t allowed to compete at the Oscars, but “Czechoslovakia 1968” played in theaters all over the world to commemorate the one-year anniversary of Prague Spring, and evidently one week in L.A. for Oscar eligibility.

Other notes

• Created in 1953, The United States Information Agency (USIA) had several objectives regarding diplomacy; one of the main ones was to distribute films to foreign countries that portrayed American policies in a positive light, as well as educating the American government on foreign policy. This film is one of the latter.
• This film is occasionally presented under the title “Czechoslovakia 1918-1968”. All information I could find indicate that “Czechoslovakia 1968” is the original title.
• My favorite bit of revolution by the Czech citizens during Prague Spring: they painted over street signs and renamed their towns to create confusion. In the pre-GPS world of 1968, Soviet soldiers were occasionally misdirected out of the country.

Legacy

• Czechoslovakia survived Prague Spring with nonviolent resistance, but found itself under strict Communist rule for the next 20 years. The Velvet Revolution of 1989 led to the fall of the Soviet Union, and therefore its rule over Czechoslovakia. The former Czechoslovakia is now two countries: The Czech Republic and Slovakia.
• The USIA dissolved in 1999 and parts were lumped into the State Department and the Broadcasting Board of Governors. Don’t worry; they’re still creating propaganda and mischief, leading to their chairman not being allowed in Russia in 2016.
• Robert M. Fresco only has a handful of post-“Czechoslovakia” film credits to his name, and one aforementioned essay. Among Denis Sanders’ later achievements was directing “Invasion of the Bee Girls”!

• Charles Bernstein’s music career was primarily for television, but he did compose the score for “A Nightmare on Elm Street”.

• Prague Spring has inspired several pieces of fiction over the years, most notably the novel and subsequent film “The Unbearable Lightness of Being”.

#206) The Thief of Bagdad (1924)

OR “Arabian Splendor”

Directed by Raoul Walsh

Written by Lotta Woods and Elton Thomas (aka Douglas Fairbanks). Based on stories from “One Thousand and One Nights”.

Class of 1996

The Plot: Douglas Fairbanks is the Thief of Bagdad, a man who takes what he wants with no regard to Bagdad or its citizens. His plans to rob the palace change when he glimpses the princess (Julanne Johnston) asleep in her room and falls in love. She is expected to choose her future husband the next day, but the Thief’s attempt to pose as a prince is thwarted by fellow suitor the evil Prince of the Mongols (Sojin Kamiyama). While the princess stalls the other suitors with a quest to find rare treasures, the Thief goes on a quest to become a prince. There are monsters, magic carpets, and so much cultural appropriation in this classic silent fantasy.

Why It Matters: The NFR calls the film “imaginatively awe-inspiring” and praises Fairbanks and the sets. There’s also a loving essay by Joe Morgenstern, film critic and former Mr. Piper Laurie.

But Does It Really?: It’s longer than it needs to be, but ultimately I had a lot of fun watching “The Thief of Bagdad”. This film really takes its time getting started, but Faribanks’ natural charm and impressive stunt work keep the first half interesting while the fantasy elements help carry you through the second half. “Thief” is the quintessential Douglas Fairbanks epic, and one of the few silent films that still works today. No argument here for its NFR inclusion.

Everybody Gets One: Practically everyone that isn’t Douglas Fairbanks. The transition from silent to sound was a real slaughterhouse.

Wow, That’s Dated: No one in this movie is anywhere near Arabic. Hell, even the “Aladdin” remake can’t get it 100% right.

Other notes

• This film doesn’t seem to be based on any particular Arabian Nights tale. There are elements of “Aladdin”, but if you had to come up with 1001 stories you’d have some overlap too.
• Star, co-writer, AND copyright holder? Now that’s a Muscle.
• The film’s overall moral is “Happiness must be earned”. Tell that to millennials.
• Fairbanks is playing to the back of the house, but it works for a fantasy. He also has a very fluid physicality that lends itself well to the action.
• I love me some practical silent film effects. The magic rope in particular is some great “how did they do that” trickery.
• I’m pretty sure Rhoda Morgenstern had the exact same pair of pantaloons the Thief has.
• Speaking of, I now know what religion Douglas Fairbanks was.
• It’s whitewashed as hell, but that’s still more American screentime devoted to Muslims than we’ll see for a while.
• Douglas, stop making that grabbing gesture. We know he’s a thief. It’s in the title!
• I know there’s some matte paintings involved, but Jesus those sets are amazing.
• That’s Anna May Wong as the princess’ Mongol slave girl who is in cahoots with Cham Shang. As a Chinese-American, she comes the closest to playing the correct nationality.
• “Nizzy noodle. He’s turned love-bird!” Is that a direct translation from the original Arabic?
• Actor Mathilde Comont plays the Prince of Persia in drag. Still not quite sure what that’s about. Could be worse, could be Jake Gyllenhaal.
• For an ancient patriarchy, it’s nice that they let the princess choose her own suitor. And the rose gives the whole thing a “Bachelorette” quality.
• That is one giant fucking ape.
• Fairbanks is looking for a magic chest? If you ask me he’s already got one…
• What poor animal was forced to play the monster?
• I thought Ernest Hemingway was “The Old Man of the Midnight Sea”.
• Surprise cameo by the Tristar logo!
• I don’t care that you can see the strings, that magic carpet effect still looks cool. I also enjoy the proto-“E.T.” shot of them flying across the moon.
• My main question about Douglas Fairbanks: How did he do such fantastic stunts…with such little feet?

Legacy

• Douglas Fairbanks solidified his place as a swashbuckling movie star with “Thief of Bagdad”. He followed up by co-founding United Artists (alongside his wife Mary Pickford), co-founding the Motion Picture Academy, and hosting the first Academy Awards ceremony. And then…sound happened.
• This film also boosted the career of Anna May Wong, although due to the lack of other Asian-American actors (and good roles for any of them), she spent most of the ‘20s playing variations on the “dragon lady” character she portrays here.
• “The Thief of Bagdad” was remade in sound and color in 1940. It’s very different, but also fun.

#205) The Band Wagon (1953)

OR “Cyd and Fancy”

Directed by Vincente Minnelli

Written by Betty Comden & Adolph Green. Score by Arthur Schwartz & Howard Dietz.

Class of 1995

The Plot: Musical movie star Tony Hunter (Fred Astaire) has hit a dry spell and heads to New York to make his return to Broadway. His composer friends Lily & Lester Marton (Nanette Fabray & Oscar Levant) create a fun musical revue for him to star in, but director Jeffrey Cordova (Jack Buchanan) turns it into an extravagant Faustian spectacle. Tony also takes issue with his leading lady, ballet dancer Gabrielle Gerard (Cyd Charisse), but it’s a ‘50s MGM musical so I think you see where they’re going with this.

Why It Matters: The NFR calls it a “sophisticated backstage toe-tapper” and “one of the greatest movie musicals of all time”.

But Does It Really?: This one gets a “minor classic” designation from me. It’s not the best Fred Astaire movie, nor the best MGM “Freed Unit” musical, but it is still very entertaining. The film seems to be going for a balance between character development and solid production numbers, and partially succeeds on both fronts. Some numbers are more memorable than others, as are some characters. But this is the film that gave us “That’s Entertainment!” so who am I to say no?

Shout Outs: Quick allusions to Fred’s earlier films “Top Hat” and “Swing Time”, plus be on the lookout for a poster for “The Proud Land”, the film featured in “The Bad and the Beautiful” directed by…Vincente Minnelli!

Everybody Gets One: Arthur Schwartz & Howard Dietz don’t have a lot of songs on their resume that are remembered today, but the one they wrote specifically for this film is the one that counts: “That’s Entertainment!” Also along for the ride in this film are supporting players Nanette Fabray and Jack Buchanan.

Wow, That’s Dated: “The New Tony Hunter 1953!” is your first clue. This film is also from that time when a musical revue could succeed on Broadway.

Title Track: No one says the title, but “The Band Wagon” is the name of the show within the film.

Seriously, Oscars?: Not as popular as the other MGM musicals of the era, “The Band Wagon” still managed three Oscar nominations: Scoring of a Musical Picture, Costume Design, and Screenplay for Comden & Green. The film lost to, respectively, “Call Me Madam”, “The Robe” and “Titanic” (no, not that one). For those of you keeping score, “That’s Entertainment!” did not receive a Best Song nomination.

Other notes

• Despite the title, this is not a movie about my friends who became huge Golden State Warriors fans overnight.
• Quick side note: This film is related to the 1931 stage version of “The Band Wagon” in name only. The only other holdovers are some of the songs, and Fred Astaire.
• Surprise Guest Star Ava Gardner! She is doing what appears to be the ‘50s version of the “Weird Al’s on the plane” joke from “Naked Gun”.
• Lily & Lester Marton are based on the film’s screenwriters: Betty Comden & Adolph Green (who in real life were not a married couple). Jeffrey Cordova appears to be based on actor-director-producer Jose Ferrer who, in the spring of 1952, did have four shows running on Broadway at the same time.
• I was introduced to “Shine on My Shoes” by its appearance in “That’s Dancing!”. I’ve always found it a delightfully infectious number.

• There’s some lovely, subtle cinematography happening throughout the film by Harry Jackson. Coincidentally, he was the DP for “Dancing in the Dark”, the other film based on “The Band Wagon”.
• Hans Conried must have been pissed that he wasn’t cast as Cordova. This seems right up his alley.
• My favorite part of “That’s Entertainment!” is when Oscar Levant simply walks off-screen as the others start to tap dance. He knows his limitations.

• Fred has a lovely low-key charm about him throughout this film, but it’s easy for him to get overshadowed by the more, well, theatrical characters he’s surrounded by.
• Fun Fact: Cyd Charisse was coincidentally married to a guy named Tony during all of this: singer Tony Martin.
• For a brief moment the production montage turns into the opening of “All That Jazz”.
• You gotta love a time when people got dressed up for a rehearsal. Not a single pair of sweatpants in sight.
• The scene of Tony trashing his hotel room is notable for breaking all kinds of records. Thank you!
• The best line in the film: “Leave it to the horse.”
• “Dancing in the Dark”. What can I say? It’s damn beautiful.

• So many production setbacks. “Band Wagon” was the “Spider-Man: Turn Off the Dark” of its day.
• This is pretty much how most theater parties go down.
• Today on the Michael Douglas Scale: Fred Astaire is 23 years older than Cyd Charisse.
• And now the “Best of the Rest” montage for all the Schwartz/Dietz songs they couldn’t shoehorn into the plot.
• Is Louisiana known for its hayrides?
• “Triplets” is by far the weirdest number. There’s even the super-meta lyric “MGM has got a Leo”.

• Shoutout to The Vampire by Rudyard Kipling.
• I stand corrected: This is one of two appearances on the NFR for Julie Newmar. She’s one of the dancers in the “Girl Hunt” ballet. Next stop, “Seven Brides”!
• Unless I missed something, the Martons never patch up their quarrel. So much for happy endings.

Legacy

• Two words: “That’s Entertainment!”

• Fred Astaire and Cyd Charrise reunited for 1957’s “Silk Stockings”, aka “Ninotchka: The Musical!”

• The original stage version of “The Band Wagon” is only tangentially connected to this film, but a more faithful stage adaptation of the film played New York in 2014.

• Michael Jackson referenced this film in a few of his music videos, most notably “Smooth Criminal”.

• The film’s best homage/spoof came in 1978 when Steve Martin and Gilda Radner did their own rendition of “Dancing in the Dark” on “Saturday Night Live”.

#204) A Corner in Wheat (1909)

OR “Ain’t No Lie, Baby, Buy, Buy, Buy”

Directed by D.W. Griffith

Written by Griffith and Frank E. Woods. Based on the short stories “The Pit” and “A Deal in Wheat” by Frank Norris.

Class of 1994

The Plot: One of (and this is true) over 140 films Griffith directed in 1909 alone, “A Corner in Wheat” is the story of the self-proclaimed “Wheat King” (Frank Powell) a tycoon whose quest is to corner the market on wheat. He succeeds and makes millions overnight, but a brand new cinema technique called intercutting shows us the negative effects raising the price of wheat has on the average Joe, including a wheat farmer (James Kirkwood) and his family.

Why It Matters: The NFR praises Griffith and cinematographer G.W. Bitzer, saying they achieve “a surprising sense of movement from a single stationary camera”. Griffith’s revolutionary use of intercutting is also highlighted. An essay by film historian Daniel Eagan helps put the film in a proper context.

But Does It Really?: Well I liked this a lot more than “The Musketeers of Pig Alley” that’s for sure. The story is simple, but it’s easy to follow and holds your interest. It’s an easy-enough takedown on what we now call the one-percenters, and it’s vague enough that you can still apply its message today. And as always, I’ll give a pass to anything that’s short/doesn’t overstay its welcome. You win this round, Griffith.

Everybody Gets One: James Kirkwood was a successful actor and director during the silent era, perhaps most famously being passed over for “The Sheik” in favor some upstart named Rudolph Valentino. Kirkwood’s son – James Jr. – wrote the book for the musical “A Chorus Line”. Linda Arvidson, seen here as the farmer’s wife, was in fact D.W. Griffith’s wife at the time. They had been married for three years at this point, and would separate a few years later before finally divorcing in 1936.

Wow, That’s Dated: A loaf of bread goes up from 5 cents to 10 cents! Highway robbery I tell ya!

Other notes

• Griffith took Norris’ stories and distilled them down to their core elements. No one in the original story is as one-dimensional as the characters here, but it’s easier to convey general ideas in silent film than complex gray areas.
• Man, Biograph Studios is a major player in a lot of these silent shorts on the list. Another case of a business going into decline because Thomas Edison is a dick.
• After the long shots on the farm, I feel eminently qualified to be a wheat farmer.
• The intercutting is rudimentary, but it gets the point across. Well played, David Wark and editor Jimmy Smith.
• This film’s ending would have been completely different if someone had invented the guardrail.
• Slowest. Fade Out. Ever.

Legacy

• As pointed out in Eagan’s essay, the success of this film led to Griffith painting other groups in broad strokes while condemning them. He started off with the rich elite, and…well then “Birth of a Nation” happened.

• The next time you watch “WALL-E”, pay close attention: a clip from “A Corner in Wheat” is the first thing to pop up when the captain asks the Axiom computer to “define Earth”.

• Until “Wall Street” came along, this was the stock market movie.

• Wheat is still going strong worldwide, but so is greed, so this film’s legacy is on both sides of the coin.

#203) Badlands (1973)

OR “Thank You, a-Sissy and a-Marty”

Directed & Written by Terrence Malick

Class of 1993

The Plot: Loosely based on the 1958 Nebraska killing spree of Charles Starkweather & Caril Ann Fugate, “Badlands” tells the tale of Kit & Holly (Martin Sheen & Sissy Spacek) in 1959 South Dakota (See? Totally different). Kit is an aimless 25-year-old James Dean lookalike with a penchant for gun violence, and Holly is an impressionable 15-year-old with an overprotective father (Warren Oates). When Father finally confronts Kit about his unhealthy attraction to his daughter, Kit shoots him, fakes his and Holly’s suicide by burning the house down, and drives off with Holly for the badlands of Montana. There’s an unlikely mix of character study and mass shootings in their future.

Why It Matters: The NFR praises Malick, calling this film “one of the most impressive of directorial debuts” and calls Sheen’s performance “forceful and properly weird”. As mom always says, if you’re going to be weird, at least be proper.

But Does It Really?: The degree of difficulty is high on this one, but Malick pulls off a film that is surprisingly understanding of these two incredibly fucked-up kids. In the hands of a lesser director, this film would have been louder and way more violent. But Malick gets you to understand these two, and Sheen and Spacek make them two people you want to spend time with. I have my doubts it could be made today, but “Badlands” is a fine representation of the new cinema of the ‘70s and a wonderful introduction to the works of Terrence Malick.

Everybody Gets One: How is this Sissy Spacek’s only NFR entry? Where the hell is “Carrie” or “JFK” or “Trading Mom”? [2019 UPDATE: “Coal Miner’s Daughter“; I was close.]

Wow, That’s Dated: Mainly the idea that you could make a movie that sympathizes with a loner white man who takes out his frustrations by shooting a bunch of people. Those days are over.

Title Track: Holly says the title once in the pre-opening credits scene. Malick’s restraint in his first feature is commendable.

Seriously, Oscars?: No Oscar love for “Badlands”, but Malick’s movies (whenever he makes them) would become Oscar contenders soon enough. This film’s only awards attention was at the 1974 San Sebastian International Film Festival, and a BAFTA nomination for Sissy Spacek as Most Promising Newcomer. She lost to the very British Georgina Hale.

Other notes

• 25-15 is one hell of an age-gap. There was a 5-year gap between Starkweather and Fugate, but Kit’s age was upped to 25 because Sheen could not convincingly play 20.
• Sissy Spacek does teenage awkwardness so well.
• Among the moments this film preserves is Martin Sheen’s jacket maneuver of putting it on over his head. This is due to Sheen’s limited lateral movement due to a birth defect. You can also spot the move in many episodes of “The West Wing”.
• See those two kids sitting on the street corner that Kit watches? Those are Charlie Sheen and Emilio Estevez. For the better part of two decades this was their only Registry appearance.
• The confrontation between Sheen and Oates ain’t exactly “Meet the Parents”, is it? Also, how did no one in that neighborhood hear multiple gunshots?
• What the hell is a Voice-O-Graph?
• I’m enjoying the film’s abrupt transitions from steady cam to shaky cam. Kudos to whoever was the cinematographer on those days.
• That is the most impressive treehouse I’ve ever seen. It’s “Swiss Family Robinson” meets “Home Alone”, with a little bit of “The Ewok Adventure” thrown in for fun.
• “Love Is Strange”. A little on the nose, don’t you think Malick?
• That’s Terrence Malick himself as the architect who tries to visit the rich man. And who says he’s a recluse?
• So..Sissy Spacek has never aged. We can all agree on that, right? Are freckles the secret to eternal youth?
• I applaud people who drove pre-GPS. Relying on a map on the dashboard sounds like a nightmare. I don’t know how anyone did it.
• Holly says that if they don’t come back for their buried stuff, someone 1000 years from now will find it. Be sure to include Barney Google.
• Given how many gunshots and car chases there are, this is a surprisingly quiet film. You can definitely see the Arthur Penn influence.
• The film’s stunt driver Gary Littlejohn also appears onscreen as the Sheriff towards the end. Because when it’s your first movie, you have to save money wherever you can.
• “Badlands” didn’t do so well during its first release, primarily because Warner Bros. put it on a double feature with, and this is true, “Blazing Saddles”. Luckily both films survived this immense head-scratcher.

Legacy

• Terrence Malick followed this up with another NFR entry: 1978’s “Days of Heaven”. After that, 20 years of radio silence.

• Everyone at some point has done a fictional version of the Starkweather-Fugate murder spree. See “Natural Born Killers” and “The Sadist” for such examples.

• “True Romance” takes it up a notch by not only emulating the movie, but also emulating its score!

• This Bruce Springsteen song;

• Sissy Spacek met art director Jack Fisk on the set of this film. They married in 1974, and they’re still going!
• The Zodiac Killer wrote a letter to the San Francisco Chronicle to complain about an ad they ran for a screening of “Badlands”. He felt that the film’s tagline was too casual about the characters’ killing spree and that this kind of advertisement was “murder-glorification”. …wait, what?