After devoting every week to this blog for over 10 months, I’m finally taking a quick break and going on vacation. We’ll return to the usual format next Monday, November 13th. I won’t disclose where I’m going, but this previous post provides a helpful hint.
….it’s Disneyland. I’m going to Disneyland. I couldn’t hide it anymore!
#129) H2O (1929)
OR “13 Lakes’ Great-Grandparent”
Directed by Ralph Steiner
Class of 2005
The Plot: Water. It’s 12 minutes of water in various forms (though mostly up-close and abstract). No music, no commentary, just water.
Why It Matters: The NFR calls the film a “cinematic tone poem” with “striking visual effects”.
But Does It Really?: I dunno. We got plenty of Ralph Steiner on this list, and I can’t find any direct influence that this film has had, but it’s nice to know that avant-garde filmmaking was happening as early as the late ‘20s. If nothing else, this film must be fun to watch while high.
Wow, That’s Dated: Nothing, for the natural ebb and flow of water is timeless, much like the endless ebb and flow of life.
Other notes
Legacy
#128) Schindler’s List (1993)
OR “Spielberg Sits at the Adults Table”
Directed by Steven Spielberg
Written by Steven Zaillian. Based on the book “Schindler’s Ark” by Thomas Keneally.
Class of 2004
The Plot: Based on true events, Oskar Schindler (Liam Neeson) uses his status and connections within the Nazi Party to get a factory in Kraków. He uses Jewish labor to make a fortune on enamelware. As the Nazis, led by Amon Göth (Ralph Fiennes), start to take over and the Holocaust begins, Schindler, assisted by accountant Itzhak Stern (Ben Kingsley), works to save his employees from being shipped to concentration camps. What starts out as a business strategy turns into the rescue and survival of 1200 Jewish people, later dubbed the “Schindlerjuden”.
Why It Matters: The NFR gives a summary, but no specifics for its inclusion. An essay by late film critic Jay Carr is much more supportive, calling the film, among other things, “a stunning achievement”.
But Does It Really?: This is another one of the “untouchables” on this list. The degree of difficulty on this film was high, and “Schindler’s List” sticks the landing. It is an incredible film that excels in every department. There are minor historical qualms to be sure, but as a film it is flawless. Any attempt at recreating the Holocaust could veer dangerously into the manipulative, but Spielberg and his team treat every aspect of the events with respect and unapologetic realism. Special mention to Janusz Kamiński’s peerless cinematography, John Williams’ subtle yet powerful score, the masterful work of Liam Neeson and Ralph Fiennes, and of course, Spielberg solidifying his place as a director whose work will be remembered for years to come.
Everybody Gets One: Almost everyone, notably actors Neeson and Fiennes, and violinist Itzhak Perlman.
Wow, That’s Dated: Spielberg and cinematographer Janusz Kamiński wanted a timelessness to the film, and that’s exactly what they got. The only giveaways are the early ‘90s Universal logo, and the end credits’ mention of the original soundtrack available on “CDs and Cassettes”.
Seriously, Oscars?: A critical and commercial success, “Schindler’s List” did what no other Spielberg film had done before; it swept the Oscars. “Schindler” led with 12 nominations and won seven, including Picture, Adapted Screenplay, Score, Cinematography and, at long last, Best Director for Steven Spielberg. Notable among its losses, Neeson and Fiennes’ subtle performances lost to the more Oscar-friendly work of Tom Hanks and Tommy Lee Jones, the film lost Sound Mixing to Spielberg’s other 1993 film, “Jurassic Park”, and the film lost Makeup to, of all films, “Mrs. Doubtfire”.
Other notes
Legacy
#127) Gold Diggers of 1933 (1933)
OR “Polly Parker Pranks a Pair of Pickled Patrons”
Directed by Mervyn LeRoy. Musical sequences by Busby Berkeley.
Written by Erwin S. Gelsey & James Seymour. Dialogue by David Boehm & Ben Markson. Based on the play “The Gold Diggers” by Avery Hopwood.
Class of 2003
The Plot: Backstage musicals don’t really need a plot, but this one’s got a doozy. Four actresses (Joan Blondell, Ruby Keeler, Aline MacMahon, & Ginger Rogers) strive for work during the Depression and find what may be the hit show they need. When the producer Barney (Ned Sparks) admits they have no funds, composer Brad (Dick Powell) delivers the money somewhat suspiciously. When it comes out that Brad actually comes from money, his brother Lawrence (Warren William) threatens to disown him and stop Brad’s marriage to Polly (Keeler). When Lawrence arrives, Carol (Blondell) poses as Polly and tries to bag him for herself. And in the midst of all of this are some of Busby Berkeley’s lavish production numbers.
Why It Matters: The NFR calls it “[a]rguably the definitive Depression-era musical” and praises the work of Busby Berkeley (but hey, how can you not?).
But Does It Really?: You can point to “42nd Street” as the definitive Busby Berkeley musical, but I give this film a pass out of sheer entertainment. The “book” scenes can weigh things down a bit, but the numbers more than make up for that. Unlike other backstage musicals of the era, “Gold Diggers” actually acknowledges the Depression, paying tribute with its powerful finale “Remember My Forgotten Man”. And how can you say no to the musical that gave us “We’re In The Money”?
Everybody Gets One: We’ll see most of this film’s major players again in “42nd Street” and “Footlight Parade”. Among the rest are go-to sassy confidante Aline MacMahon and a young Billy Barty!
Wow, That’s Dated: For starters, the title. But mainly, this film roots itself firmly in the Depression-era.
Seriously, Oscars?: “Gold Diggers” only received one nomination; Best Sound, losing to “A Farewell to Arms”. The only reason the film didn’t receive any Best Song nominations is that the category didn’t exist yet. If only it had been “Gold Diggers of 1934”.
Other notes
Legacy
Listen to This: While on the subject of the Depression, let’s not forget the quintessential song of the era, “Brother, Can You Spare A Dime”, preserved here with recordings by Bing Crosby and Rudy Vallee.
#126) Theodore Case Sound Test: Gus Visser and His Singing Duck (1925)
OR “Duck and a Cover”
Directed by Theodore Case
Class of 2002
The Plot: The title says it all. Gus Visser helps test out Case’s new sound film by singing “Ma! He’s Making Eyes at Me”, with the assistance of a duck.
Why It Matters: The NFR admits this is “[o]ne of the Registry’s more unusual entries”, and includes a historical essay by UC Davis Professor Scott Simmon.
But Does It Really?: I…guess? It’s an early sound film, so technically it has historical significance, but…there weren’t any other films to choose?
Everybody Gets One: Theodore Case is one of the early pioneers in sound film, creating the Movietone sound system in the early ‘20s, and testing this technology by filming vaudeville performers. Unfortunately very little information is known about vaudeville performer Gus Visser, and even less information about the duck.
Wow, That’s Dated: This is one of those early sound films where you really can’t understand what the lyrics are. The aforementioned essay attempts to translate.
Other notes
In lieu of the typical “Legacy” section, I’m just going to list classic films that were added to the Registry AFTER “Gus Visser and His Singing Duck”:
The Horse's Head 