The Horse's Head

#182) Manhattan (1979)

OR “Woody’s Last Film on the Registry for a While”

Directed by Woody Allen

Written by Allen and Marshall Brickman

Class of 2001

The Plot: Woody Allen-esque comedy writer Isaac Davis (Woody Allen) is dating 17-year-old Tracy (Mariel Hemingway, We’ll get to that in a bit). While at a party, Isaac meets author Mary Wilkie (Diane Keaton), the mistress of his best friend Yale Pollack (Michael Murphy). Though they do not hit it off initially, a chance second meeting finds them falling in love. What follows is a complicated love rectangle peppered with beautiful cinematography, excellent use of George Gershwin’s music, and a question about New York’s age of consent that has definitely compromised my Google search history.

Why It Matters: The NFR praises Allen and Brickman’s screenplay, the cinematography by Gordon Willis, and the “exceptional comedy teamwork” between Allen and Keaton.

But Does It Really?: I’ll be real: I wrestled with this one. A lot. On the one hand, “Manhattan” is a funny, beautifully shot love letter to New York at a time when the city was at its grittiest. On the other hand, Woody’s dating a teenager and no one seems to mind or be concerned. It’s a plotline that, given what we know now, ultimately taints an otherwise enjoyable film. “Manhattan” was selected for preservation in December 2001, no doubt a response to the terrorist attacks on the city three months earlier. We were post-Soon-Yi but pre-Dylan Farrow in our Woody issues, so no one can claim ignorance on the subject. Cinematic merits aside, perhaps the film’s retroactive controversy is reason enough for preservation. “Manhattan” is a film that (purposefully or not) immediately starts a discussion, and isn’t that what all the films on this list are supposed to do?

Shout Outs: Quick references to several films, including NFR entries “Casablanca”, “Gone with the Wind” and “2001: A Space Odyssey”.

Everybody Gets One: Mariel Hemingway, Congresswoman Bella Abzug, film editor Susan E. Morse (her first of over 20 Woody collaborations), and legendary SNL writer Michael O’Donoghue as the man who was talking about orgasms.

Wow, That’s Dated: Tape recorders, references to the Carter family, and Woody’s standard jab at EST. Plus another round of “What’s Playing on Broadway Back Now?” that includes the musical “Runaways” and ‘70s mime trope Mummenshcanz, which places filming in the fall of 1978.

Seriously, Oscars?: Despite its critical and commercial success, “Manhattan” received only two Oscar nominations. Allen & Brickman lost Original Screenplay to “Breaking Away”, while Mariel Hemingway lost Supporting Actress to Meryl Streep; not for her work in this film, but rather for her other 1979 New York based divorce film, “Kramer vs. Kramer”. The film’s most conspicuous Oscar snub was – once again – Gordon Willis’ cinematography (though his first nomination for Allen’s “Zelig” was only four years away).

Other notes

• There’s a lot more to say about the Isaac/Tracy plotline, and we as film-lovers should keep discussing it. I highly recommend this think piece about dealing with art made by “monster artists”, specifically Woody and “Manhattan”. It helped me cope with my conflicting thoughts on this film.
• This has got to be one of the rare times where Woody strayed from his standard opening credits.
• The piano version of “Mine” playing at the restaurant sounds an awful lot like the “Everybody Loves Raymond” theme. Well, strike that, reverse it I guess.
• I’ve now seen all four of Diane Keaton’s NFR films and I must say I have severely underestimated her as an actress. Here she is brilliantly playing a New York intellectual that is night and day from her turn as Annie Hall and her more restrained work in the first two “Godfather” films. Ms. Keaton, if you’re reading this, I owe you a drink.
• The best line: “I think people should mate for life, like pigeons or Catholics.”
• And then there’s that beautiful iconic shot of the Queensboro Bridge with Gershwin swelling in the background. Don’t make me like you, Woody.
• Can we make it a rule that no one is ever allowed to call it “making love”?
• I can’t tell if Meryl Streep’s acting style just doesn’t mesh or if her character is intentionally written to be in sharp contrast with everyone else. My guess is the latter, but something about her scenes is just a hair out of place. In either case, this is the only time Meryl and Woody have worked together, and I suspect it will stay that way.
• The scene of Isaac and Mary in the rowboat is one of my favorite shots, and may be the film’s only visual gag.
• I forgot Wallace Shawn is in this! He is quite possibly the only person to work with Woody Allen, Rob Reiner and Pixar.
• This film ends with the dramatic “running to be with your loved one” cliché.
• By Woody Allen standards, this is an upbeat ending. No one gets what they want, but it ends with a glimmer of hope.

Legacy

• Umm…besides that?
• The film’s main intentional takeaway is the iconic shot of Woody and Diane watching the sunrise. It’s the main image on the film’s poster, and everyone has done their own take on it at some point.

Further Viewing: Not exactly a fan of the Oscars, Woody has only attended the ceremony once: in 2002 when he was neither a nominee nor a winner. In the aftermath of the September 11^th attacks, Allen came to the (then) Kodak Theater to introduce a clip package by Chuck Workman honoring films shot on location in New York City. The tribute itself is currently not available online (copyright clearance is a bitch), but Woody’s introduction is worth a watch.

Oh wait: here it is. Enjoy it before it’s taken down!

Listen to This: I already covered “Rhapsody in Blue” in my “An American in Paris” write-up, but I would be remiss if I did not give the Gershwin classic a shout-out here.

#181) Love Finds Andy Hardy (1938)

OR “Oh Mickey, What a Pity, You Don’t Understand”

Directed by George B. Seitz

Written by William Ludwig. Based on the stories by Vivien R. Bretherton and the characters created by Aurania Rouverol.

Class of 2000

The Plot: Ideal, small-town all-American boy Andy Hardy (Mickey Rooney) puts a down payment on a used car so he can drive his girlfriend Polly (Ann Rutherford) to the Christmas Eve dance. When Polly learns that she’ll be out of town, Andy decides to take his best friend’s girl Cynthia (Lana Turner) instead. Later, Polly becomes available, and Andy has two dates to the same dance! Added to the mix is Betsy (Judy Garland), a young girl visiting for the holidays who is obviously in love with Andy, but keeps getting ignored by him. Andy’s father, Judge James Hardy (Lewis Stone) is on hand as always to offer advice, except for anything that would be respectful to the women in this triangle.

Why It Matters: No official reason is made in the NFR write-up, but an essay by writer Charlie Achuff gives a detailed defense to the film’s historical impact.

But Does It Really?: This is definitely on the “historical significance” side of things. The Achuff essay expands upon what this film has going for it: the popularity of the Andy Hardy series, the launchpad for Mickey Rooney’s stardom, and the star-in-the-making turns by Judy Garland and Lana Turner. But Jesus Christ is this movie dated as hell. Sure the film represents the ideal small-town values of the late ‘30s, but the “boys will be boys”/“all women are property” mentality flaunted by this film definitely doesn’t fly today. “Andy Hardy” gets a slight pass thanks to a compelling argument from Achuff, but purely as entertainment it’s an exasperating watch. I started to question if there’s a way the NFR can reverse their decision on this film’s preservation.

Everybody Gets One: The women of the Hardy family get the short shrift from the NFR. This is the only appearance for Fay Holdin (Emily) and Cecilia Parker (Marian).

Wow, That’s Dated: Here’s just a small sampling of the incredibly sexist (but okay in the ‘30s) things Andy Hardy says in this film: “I can’t take money from a woman!” “After all, a redhead’s a redhead.” and the most groan-inducing, the exchange “You kissed me by force.” “Well, it’s good that way too!” This viewing came with a lot of groaning from me.

Seriously, Oscars?: No nominations for “Love Finds Andy Hardy”, but Mickey Rooney did receive a special Juvenile Award at the Oscars for all of his performances throughout 1938. Despite an additional four nominations (and another honorary award in 1983) Mickey Rooney never won a competitive Oscar. While no Andy Hardy film ever won an Oscar, the Academy gave MGM an honorary Oscar in 1943 for “representing the American Way of Life in the production of the Andy Hardy series”.

Other notes

• “Love Finds Andy Hardy” was the fourth of 16 films focusing on this family, and the first to single out Andy in the title. It was also the second of three Andy Hardy films released in 1938 alone! MGM cranked these films out faster than Tyler Perry!
• Hand-stitched credits, you don’t see that kind of detail in film anymore.
• Carvel, Idaho: Birthplace of Fudgie the Whale!
• Andy can buy a used car for $20! I couldn’t get a modern estimate on that: the website I use labeled the inflation rate as “Laughable”.
• Shout-out to Ann Rutherford, whose mention in my “Gone with the Wind” post didn’t make the cut. Not a lot of classics on her resume, but a welcome presence in any film. Even this crap.
• Proof that the series was focusing more and more on Andy: Mom is written out for the bulk of the film.
• Judy Garland’s character is an aspiring singer her wants to be like her famous mother. So….Liza?
• Andy, will you please stop negging Betsy? You’re giving Judy Garland her life-long inferiority complex.
• His best friend’s nickname is “Beezy”? As in “Fo Sheezy”?
• Correct me if I’m wrong, but isn’t this the drugstore Lana Turner got discovered in?
• Andy to Cynthia: “I’ll monopolize you.” What does that even mean? Never mind, just go directly to jail. Do not pass go, do not collect $200.
• This is another movie for my “Die Hard” Not-Christmas list. The holiday setting is extra weird given that this film was released in July.
• More negging! At this point the only satisfactory ending would be if Betsy kills Andy in cold blood.
• Even at sixteen, Judy had quite the pipes. Her first song, “In-Between” is the ‘30s version of “I’m Not a Girl, Not Yet a Woman”. (That’s right, a “Crossroads” reference. Come at me, bro!)

• Judy isn’t allowed to go to Clark Gable movies? But I thought she was his number one fan.
• If Andy Hardy (and his now-sexist attitude) existed today, he’d either be a cable news commentator or the President.
• Judge Hardy opines “Who knows what this generation has coming.” Another World War, Atomic Age paranoia, and unending love from Tom Brokaw.
• And then everything gets wrapped up in a bow for the ending. Not exactly a Shakespearean comedy, but I’m already over this movie so who cares?

Legacy

• There were 11 more films in the original Andy Hardy series, each emphasizing Mickey Rooney as he became a bigger star. A 16^th film, “Andy Hardy Comes Home” failed to revive the series for a new generation.

• Mickey Rooney and Judy Garland would reunite in two more Andy Hardy films, as well as several “let’s-put-on-a-show!” type films, most notably “Babes in Arms”.

• Mickey Rooney was married eight times. That’s not really important to the film, I just like mentioning that.
• Judy got her dream of a singing career alright…

#180) The Kiss (1896)

OR “The Very First Kiss Cam”

Directed by William Heise

Adapted from “The Widow Jones” by John J. McNally

Class of 1999

The Plot: Divorced teacher Sarah Nolan (Diane Lane) is persuaded by her family to start dating again. She tries this new thing called online dating and…oh wait, never mind. That’s the plot of “Must Love Dogs”. This is a film about two people (May Irwin & John Rice) kissing. In Thomas Edison’s own words, “They get ready to kiss, begin to kiss, and kiss and kiss in a way that brings down the house every time.”

Why It Matters: The NFR write-up covers the film’s major talking points (we’ll get to those later), and gives the film’s historical significance as “film’s first romance” and “the first time films were regularly projected on screens rather than shown to individual viewers on machines”.

But Does It Really?: Oh yes, and more so than most film of the era. A lot of films (especially the other Edison experimental ones) are on this list primarily because they still exist, but “The Kiss” actually has historical significance that is monumental to the evolution of film. Sure its claim as the first film love story is a bit, for lack of better term, romanticized, but it was quite the hit in its day, and helped push the envelope of what film could be. “The Kiss” has zero of the scandalous stigma it had in 1896, but regardless, it’s a pivotal moment in film history.

Everybody Gets One: Both May Irwin and John Rice were seasoned Broadway performers when they appeared together in “The Widow Jones” in 1895. Edison caught a performance and had them recreate their final kiss in the show for his camera.

Wow, That’s Dated: I was going to say his handlebar moustache, but that wouldn’t be too out of place in today’s hipster culture.

Other notes

• For the record, the characters are named The Widow Jones and Billie Bikes.
• I don’t see how pressing your cheeks up against each other is a comfortable way to talk to someone.
• The assumption is that Irwin and Rice are delivering their lines from the show. Any clues to what they’re saying? At this point I’ll take a Bad Lip Reading.
• Hard to believe, but this film – the first screen kiss – was highly controversial in its day. Film was still in its infancy, and the idea of a kiss being projected on a large screen was considered vulgar in 1896. Newspapers decried the film as “absolutely disgusting”, and the Catholic Church tried to get the film censored. Can you imagine what these prudes would make of “Fifty Shades of Gray”? Of course, the culture shock of watching something from 120 years in the future would probably be stronger than their moral outrage.

Legacy

• Like fellow Edison film “Record of a Sneeze”, “The Kiss” is a good clip to have in your classic movies montage.
• “The Widow Jones” was revived on Broadway five years after this film, with May Irwin reprising her role as the title character.
• The 1899 knockoff “The Kiss in the Tunnel”, which is exactly like “The Kiss”…but on a train!

• I dunno, do I go for the Hershey’s Kisses joke? The KISS joke? Kiss FM? No, it’s gotta be the Prince song.

Further Viewing: The kissing montage to end all kissing montages, courtesy of “Cinema Paradiso”.

#179) Tootsie (1982)

OR “Dope on a Soap”

Directed by Sydney Pollack

Written by Larry Gelbart & Murray Schisgal. Story by Gelbart and Don McGuire (WGA credits. Who the hell really knows?)

Class of 1998

The Plot: Notoriously difficult actor Michael Dorsey (Dustin Hoffman) has run out of work in New York. When his friend Sandy (Teri Garr) gets passed up for a role in a daytime drama, Michael, having nothing to lose professionally, dresses up as a woman (Dorothy Michaels) and auditions for the part himself. Dorothy’s outspokenness lands her the role, and she becomes an overnight TV feminist icon. Along the way, Michael falls for his co-star Julie (Jessica Lange), butts heads with chauvinistic director Ron (Dabney Coleman), and receives some unexpected attention from Julie’s widowed father Les (Charles Durning). As Dorothy, Michael sees how the other half lives, and becomes a better man for it.

Why It Matters: There’s no justification as to why “Tootsie” is on the list; just a plot synopsis and cast list. A more loving essay by author Brian Scott Mednick calls the film “the best comedy of the 1980s”.

But Does It Really?: “Tootsie” is one of my favorites, but I wanted to see if the recent stories about Dustin Hoffman tarnish my viewing. I still enjoyed myself, albeit with some reservations. Parts of that are the Hoffman allegations, but another part is the film’s stance on the sexes that is slowly becoming more conservative. Regardless, I still laughed a lot this time out. Maybe I’m too close to be objective, but I still think “Tootsie” is one of the finest comedies ever made. I do not condone any of the things Hoffman said or did to those women (And of course I believe them), but to take it out on this film would be to ignore Sydney Pollack’s pitch-perfect direction, a script by so many writers it has no right to be this brilliantly structured, and an ensemble that cannot be topped. Perhaps despite my better judgment, I still love this movie, but only time will tell if it will maintain its status as a classic.

Everybody Gets One: This is director Sydney Pollack’s only film on the list. Also singled out are Dabney Coleman, George Gaynes, the screenwriters, and of course, Gene Shalit.

Wow, That’s Dated: There are the standards, like analog TV, answering machines, and Love Canal. But my main takeaway with this viewing was the film’s thoughts on gender relationships, which are starting to age poorly. I wonder how all of this will hold up in another 35 years.

Seriously, Oscars?: “Tootsie” is one of the few flat-out comedies to have a strong showing at the Oscars. The film’s 10 nominations trailed just behind the 11 for “Gandhi”, which beat “Tootsie” in almost every category, including Picture, Director, Actor, and Original Screenplay. “Tootsie” only managed one win: Best Supporting Actress for Jessica Lange. There’s nothing wrong with Lange’s performance, it’s just odd that the Oscar-winning actor in a comedy is the “straight-man”. This win had more to do with Lange also being nominated for her lead performance in “Frances” the same year, and the Oscar being a win for both performances.

Other notes

• Like “Jaws”, “Tootsie” is one of those movies where the title has become the pop-culture shorthand for the main character, even though that’s not their name.
• As an occasional actor, I am here to tell you that the first five minutes of this film are pretty frickin’ accurate.
• Teri Garr is a gift from the comedy gods. Thank you Teri, and thank you uncredited writer Elaine May.
• “Tootsie” recognizes that the secret ingredient to film comedy is editing. The writing and acting can be solid, but if you can’t get that rhythm down in the editing, you’re sunk.
• Recent scandal aside, Dustin Hoffman is giving a great performance. I can watch him without cringing too much mainly because he makes Dorothy Michaels as complex and interesting as Michael Dorsey.
• This is the third in what I call the “Smarmy Dabney Coleman Trilogy”. Parts One and Two are, respectively, “9 to 5” and “On Golden Pond”. Surprisingly, neither of those is on the NFR yet.
• Where’s this film’s Best Makeup nomination? There were only two nominees that year. Come on!
• I’m imagining young Geena Davis on her first big film set, spending most of her screentime in her underwear, thinking, “Yeah, I need to start some sort of Gender Representation in Media Institute.”
• I never realized how many montages this movie has. There’s your drinking game.

• You may notice framed photos of the same woman throughout Michael’s apartment (and on Emily Kimberly’s desk). That’s Lillian Hoffman, Dustin’s mother, who passed away during production of “Tootsie”.
• I love movies where they say what decade it is. “Don’t you find being a woman in the ‘80s complicated?”
• Bill Murray is always the perfect offbeat fit for your movie.
• Charles Durning somehow gets away with doing some physical shtick in his scenes, but he’s super endearing so who cares? The only reason Durning didn’t get an Oscar nod is because he was already nominated for… “The Best Little Whorehouse in Texas”?
• Les says he and his wife were married “a lot of years”, but Julie says she “[doesn’t] remember her very well.” Huh?
• The film transitions from humorous observations to farce quickly but effectively. It’s always a good sign when a comedy’s structure can make you laugh.
• Michael has a poster of Laurence Olivier’s “The Entertainer” in his bedroom. Really? Not “Marathon Man”?
• The climax is a comedic opera unto itself, and has two of my favorite lines in rapid succession: “That is one nutty hospital” and “Does Jeff know?”

• Funny to think that the guy gently singing “It Might Be You” over the credits is the same guy who sang “Animal House”.

Legacy

• Jessica Lange was already famous, but “Tootsie” (and “Frances”) is when her acting started to be taken seriously.

• This is the movie that gave us Sydney Pollack: Character Actor. He is best remembered as Will’s dad on “Will & Grace”.

• It looks like the musical version of “Tootsie” is finally happening. The stage version should make it to Broadway in 2019 with a score by David Yazbeck, who apparently just writes musicals based on films.
• “Tootsie” influenced the 1984 Turkish remake “Sabaniye” and the 2016 Indian Tamil film “Remo”.

• And Dustin Hoffman learned a profound lesson about being a woman thanks to this film, and never said or did anything deplorable towards women ever again.

“Second Screening” is devoted to watching alternate versions of NFR entries and determining which version is most worthy of preservation. Today we look at the original version of “The Big Sleep”. You can read my thoughts on the original film here.

First, a little backstory. “The Big Sleep” was filmed in 1944 and slated for a 1945 release. After viewing a final cut, Lauren Bacall’s agent, Charles K. Feldman, requested that scenes be re-shot to put more emphasis on Bacall’s character, as well as to add more scenes that showcase the natural chemistry between Bogart and Bacall. Hawks and his team did just that, and the film was delayed until an August 1946 release.

What’s Different?: Roughly 15% of the film was changed from the 1945 cut to the 1946 theatrical release. As previously stated, the primary change is that while the original cut features Lauren Bacall and includes a potential romance between the two, Bacall’s Vivian is much colder to Bogart’s Marlowe. Their relationship ends at the same place, but it’s a much more gradual build to the final scene. Scenes were either reshot to now include Vivian in them (such as the scene of Marlowe bringing Carmen home after the murder), or completely scrapped in favor of new scenes. A scene of Vivian paying Marlowe for his services initially took place in his office in a quick, somewhat empty scene. The replacement is the “horserace” scene, arguably the most famous (if not the most racy) scene in the final film.

But Bacall wasn’t the only one affected by these cuts. Among other changes was the deletion of a sequence where Carmen seduces Marlowe. It was believed to be filmed in 1944, but not present in the 1945 cut before being restored. The original cut also features a lengthy scene of Marlowe and the D.A. discussing the case up to that point. It answers a lot of questions the 1946 version doesn’t, but it slows the pacing tremendously. This scene’s subsequent removal saw actors James Flavin and Thomas E. Jackson be completely cut from the film. Similarly, a reshoot of the Mona Mars scene (again, to better highlight Bacall) led to the original actor, Pat Clark, being replaced by Peggy Knudsen when Clark was unable to return to the studio.

Does It Help?: The original 1945 version is interesting to watch, but mainly as a supplement to the final cut. The changes made were substantial, but the original cut didn’t hurt the film too much. You could have released the 1945 version and still have a pretty decent film on your hands. The key difference is Bacall’s work. The 1945 cut features a more cryptic Vivian slowly warming up to Marlowe, while the 1946 cut allows her to be more heated towards the beginning, and therefore more vulnerable once Marlowe starts to solve the case. It’s the difference between a good movie and an outstanding one.

The Verdict: Stick with the 1946 cut. The 1945 cut is for movie lovers, or those who need a little more time figuring out the film’s twists and turns. I’m delighted that the UCLA Film Archive discovered and restored the 1945 version, and it lives alongside – but secondary to – the 1946 version, where it belongs.