The Horse's Head

#115) City Lights (1931)

OR “Who Wants to See a Millionaire?”

Directed & Written by Charles Chaplin

Class of 1991

The Plot: A lovable Tramp (Charlie Chaplin) falls for a beautiful blind flower girl (Virginia Cherrill). Due to a misunderstanding, she believes he is rich, and the Tramp is afraid that she will not love him back if she knows the truth. At the same time the Tramp befriends an alcoholic, suicidal millionaire (Harry Myers) who only recognizes the Tramp when he drinks. When the Tramp and the girl learn of a new operation that could restore her sight, the Tramp tries to help raise the money. Comedy (and one of the best endings ever) ensue.

Why It Matters: The NFR salutes Chaplin for “deftly combin[ing] comedy with pathos” and includes an essay by Chaplin expert Jeffrey Vance.

But Does It Really?: This is another film that I can’t touch. “City Lights” is pretty flawless and is a showcase for Chaplin at the height of his artistic prowess. Everything you need to know about the characters and their story is told in the visuals. It took Chaplin two years and a record-breaking number of retakes for him to feel he got it right, but luckily the world agreed that he had indeed gotten it right. Some will argue “Modern Times” or “The Great Dictator” is better, but “City Lights” is the perfect Chaplin film to represent all that he brought to the silent era.

Everybody Gets One: Virginia Cherrill was cast almost by chance to play the blind girl, and used her natural nearsightedness to convey the character’s impairment. She and Chaplin clashed quite a bit during filming (she was even fired at one point), but Chaplin later admitted his tension with Cherrill was him taking out his workload frustration and stress on her. Cherrill’s acting career never really took off after “City Lights”, but she was very briefly married to Cary Grant in the ‘30s.

Wow, That’s Dated: Gramophones, cigarette girls, and newsies! Also, if adjusted for inflation, the blind girl’s rent of $22 would now be about $355 (I’ll take it!) and the millionaire’s offer of $1,000 would be about $16,000.

Wow, That’s Still a New Concept Back Now: Sliced bread! It had only been around for three years and was the best thing since bread was wrapped!

Seriously, Oscars?: Perhaps because it was a silent film in the midst of the talkie craze, or perhaps because of Chaplin’s indie status within a town run by the studios, “City Lights” was completely ignored by the Oscars. It is still one of the main poster children for Oscar abuse.

Other notes

• Just a reminder that Chaplin’s most iconic character is an endearing vagrant.
• This has got to be the only film billed as “A romantic comedy in pantomime”.
• Released four years after the advent of sound film, Chaplin believed this to be a fad and went ahead with his silent picture. He did, however, compose an entire score to be played on the film’s soundtrack, the first of many Chaplin compositions.
• The speeches made at the beginning are dubbed by Charlie Brown’s parents on kazoo.
• Everybody loves the boxing scene, but I love the bit of physical comedy that the Tramp has with the sidewalk elevator. Chaplin’s perfectionism pays off in one take.
• The other thing that puts Chaplin ahead of other silent filmmakers is that he knows when and how to use intertitles; sparingly, only when you can’t convey an idea through visuals, and with as few words as possible.
• I get the feeling that we talked more openly about suicide back then than we are now. What happened? Is it because of the Great Depression?
• Chaplin loves bits where he eats something that isn’t food. In this film he chews on a streamer, but it’s no shoe.
• This movie brings up the interesting point that DUIs are hilarious.
• My favorite bit player in this film is the taxi driver who gets offended when the Tramp (having accidentally swallowed a whistle) didn’t call for him. Whoever you are, I salute you!
• I love that the millionaire’s cruise luggage is labeled “To Europe”. Care to narrow it down?
• The Tramp takes a job to pay off a medical bill. Some things never change.
• How come undershirt sales didn’t plummet when Chaplin took his shirt off?
• Nope, just ignore the wire holding the Tramp up during the boxing match.
• A Chaplin film set in a prison, now that I’d like to see. The finale better involve escaping through a poster of Mabel Normand.
• Now I don’t know nothin’ about nothin’, but wouldn’t the blind girl immediately recognize the Tramp by his scent? Did prison life change him that much?
• And then she recognizes him and she feels his hand and it’s just perfect and I’m not crying you’re crying!

Legacy

• “City Lights” is everyone’s favorite Chaplin film, from Orson Welles to Stanley Kubrick to Woody Allen to Chaplin himself.
• This film was remade in Turkey as 1983’s “En Büyük Şaban”.

• Following the success of this film, Chaplin debated about finally making a full talkie. Still having trepidations about converting the Tramp’s appeal to sound, he compromised with another silent film with a full soundtrack; the appropriately titled “Modern Times”.

Further Viewing: Watch a genius at work in this rare footage of Charles Chaplin directing the first flower girl scene.

#114) The Great Train Robbery (1903)

OR “The One-Reeler Six-Shooter”

Directed & Written by Edwin S. Porter. Based on the stage play by Scott Marble.

Class of 1990

The Plot: There’s a train robbery, and it’s pretty great.

Why It Matters: The NFR calls it “the first narrative feature” and praises the iconic final shot (or first shot depending on your distributor).

But Does It Really?: Historically yes. It was one of the most successful films of its day and included such technological breakthroughs as cross-cutting, on-location shooting, and get this, camera movements. It’s all very tame by modern standards, but it’s a breezy 12 minutes and worth a watch if you want to see an important piece of film history.

Everybody Gets One: One of the robbers is Gilbert Anderson, who shortly afterwards would become “Bronco Billy”, the first Western star of the silent era. Over 50 years after this film’s release Anderson received a lifetime achievement Academy Award. The bandit who shoots at the camera is Justus D. Barnes. He became a regular player with the Tanhouser Film Company until budget cuts led to his dismissal. But don’t worry, he was compensated with film immortality.

Wow, That’s Dated: Train robberies. That’s a big one.

Other notes

• This was based on a stage play? How? I guess this film wins for best “opening up” of a play-to-film adaptation.
• I just watched the bandits tie up the train station clerk in real time. I know it’s early cinema, but someone please invent editing!
• How many people are on that train? I keep waiting for clowns to start piling out.
• Is the clerk saved by a tiny Angel of Death?
• Nope, just ignore the tied-up clerk removing one hand from the rope to help himself up. Just look away.
• There’s a scene in a dance hall for some reason. Don’t know why it’s here, but it’s fun to watch that very western thing of shooting the floor to make people dance.
• That last shot is pretty great, and made even more exciting when you learn that blanks had not been perfected and they had to use real bullets. I just hope the cameraman got out of the way in time.

Legacy

• Several films have been made with the title “The Great Train Robbery”. Not necessarily remakes, but the title is an obvious tribute.

• An entire episode of the ‘60s “Batman” involved the Riddler trying to steal a rare print of “The Great Train Robbery”. Holy film preservation!

• The famous final shot has been referenced occasionally, most notably at the end of “Goodfellas”.

Further Viewing: Here’s something you don’t see every day. Two years after “The Great Train Robbery”, Edwin Porter did a remake called “The Little Train Robbery”. It was essentially the same film, but with children in all the roles. Make of that what you will.

#113) Mr. Smith Goes to Washington (1939)

OR “Graft Dodger”

Directed by Frank Capra

Written by Sidney Buchman. Story by Lewis R. Foster. Based on his unpublished story “The Gentleman from Montana”.

Class of 1989

The Plot: After the unexpected death of a U.S. Senator, Senior Senator Joseph Paine (Claude Rains) and political boss Jim Taylor (Edward Arnold) select a replacement with Jefferson Smith (James Stewart), a naïve scout leader who they believe will be easy to manipulate. Smith is a patriotic American with a sincere commitment to his new position. When a boys camp proposed by Smith is to be placed on land owned by Taylor, Smith sees his party’s political corruption firsthand. With help from his secretary Saunders (Jean Arthur), Smith takes on the political system and filibusters for his life.

Why It Matters: The NFR calls it an “[e]ngaging slice of Americana” (one of their go-to phrases) and includes an essay by National Film Preservation Board member Robert Sklar.

But Does It Really?: You honestly think I’m going to say no to this film? “Mr. Smith” isn’t as controversial as it was in its day, but its political commentary still packs a punch almost 80 years later. Stewart and Arthur give career-defining performances, and at the film’s heart is Capra’s trademark optimism, mixed with a healthy dosage of cynicism. “Mr. Smith Goes to Washington” is one of the true classic films that this list would not be complete without.

Everybody Gets One: Not surprisingly, most of the cast and crew of this film will show up in other Capra films on the Registry. The only major actor with only one NFR appearance is ‘30s leading man-turned-character actor Edward Arnold as Jim Taylor.

Wow, That’s Dated: “Brain” as a verb, references to 48 states, pre-CSPAN Senate coverage, prayer at the beginning of a Senate session…wait what? THAT’S still a thing?

Seriously, Oscars?: Despite its initial controversy with the Washington elite, “Mr. Smith Goes to Washington” had a strong showing at the 1940 Oscars; 11 nominations, second only to the 13 for “Gone with the Wind”. Due to its seemingly anti-American stance and the strong popularity of “Gone with the Wind”, “Mr. Smith” only took home one Oscar: Best Story. Most egregious is James Stewart’s star-making turn losing Best Actor to Robert Donat’s flashier performance in “Goodbye, Mr. Chips”.

Other notes

• Just to give you an idea of where James Stewart’s career was at this point, he gets second billing to Jean Arthur, despite playing the title character and having significantly more screen time than her.
• One of the actors playing Hopper’s children is credited as “Baby Dumpling”. What a time to be in the movies.
• I get the sense that Claude Rains eventually evolved into James Mason. Is it any wonder they were both Mr. Jordan?
• Smith says he “will do nothing to disgrace the office of U.S. Senator”. [Insert your own political sex scandal joke here]
• This film features a rare use of “Auld Lang Syne” for an event other than New Year’s Eve.
• When Smith arrives at the D.C. station it’s obvious that most of the extras are in the rear projection right behind him, which makes it look like they are trapped in another dimension.
• This film jumped on the Hamilton bandwagon 76 years before it was popular.
• One of the reporters suggests that Smith’s pet causes include “Save the Buffalos”. How’s that going?
• The Senate page that Smith befriends is Dickie Jones, the voice of Pinocchio. He gives Smith his real name when introducing himself.
• Holy cow, that Senate set is amazing!
• Turns out I’m not the only person on the internet baffled by the phrase “Christmas Tiger”. Any leads on this one? (UPDATE: As best as the internet can tell, a Christmas Tiger is an early version of the those bobble-head dogs people put on their dashboards. In this context, calling Smith a “Christmas Tiger” implies he will say yes to anything.)
• This is the second film I’ve covered in which Jimmy Stewart plays a senator from an unnamed state. For the time being let’s say Smith is from the great state of West Dakota.
• And then Smith goes around punching members of the press. He ain’t getting invited to the White House Correspondents Dinner, that’s for sure.
• I do love the scene where Smith visits Susan Paine and fumbles with his hat. It’s just so endearing.
• Can someone please invent “Schoolhouse Rock!” so Jean Arthur doesn’t have to explain all of this to Jimmy?
• Jean Arthur’s reaction to Smith’s story about the boys’ camp is priceless. It’s a shame she didn’t get a Best Actress nod.
• Why does Smith have a rifle on his wall?
• I’m a little baffled as to how Harry Carey got an Oscar nomination as the President of the Senate. It’s a small part and all he does is hide his amusement of Smith from the senators. I suspect it was more of a lifetime achievement nod for Carey, a leading man from the silent film era over 30 years earlier. And no, he’s of no relation to Harry Caray.
• Wow, a montage devoted to two different printing presses. You don’t see that anymore.
• Yes, back when you could just walk into a room and slap any kid you want.
• My main question: Where’s FDR during all of this?
• Wait, that’s it? The film ends so abruptly. Apparently there was a longer ending, but Capra cut it, ending right at the climax. You can see a little bit of the original ending in the trailer.
• So…nothing has changed?

Legacy

• After attempts at a sequel never got off the ground, the film was turned into the short-lived 1962 TV series starring Fess Parker.

• The film got a remake in 1977 as “Billy Jack Goes to Washington”, the fourth film in the “Billy Jack” series. It transplants the story into the even more jaded political scene of post-Watergate 1970s. It was produced by Frank Capra Jr.

• Mel Gibson did a self-spoofing guest spot on “The Simpsons” in which he and Homer ruin the ending of a proposed remake. All in favor…say die.

• James Stewart did eventually go to Washington in 1987, via letter, to protest the colorization of black-and-white films.

#112) The Princess Bride (1987)

OR “Build Me Up, Buttercup”

Directed by Rob Reiner

Written by William Goldman. Based on the novel by S. Morgenstern.

Class of 2016

The Plot: As told by a grandfather (Peter Falk) to his sick grandson (Fred Savage), “The Princess Bride” is a romantic fairy tale about the beautiful Buttercup (Robin Wright) and her love for farm boy Westley (Cary Elwes). When pirates break them apart, Buttercup becomes engaged to the evil Prince Humperdinck (Chris Sarandon) and is kidnapped by a trio of bandits (Wallace Shawn, Mandy Patinkin & Andre the Giant). There’s swordplay, wordplay, magic and yes, a few kissing parts.

Why It Matters: The NFR calls the film “one of the decade’s most beloved…feel-good movies”. And then, like a true “Princess Bride” fan, they just keep quoting the film.

But Does It Really?: This is one of those great “something for everyone” films. It’s romantic, and adventurous, and funny in just the right amounts. The film skewers classic tropes in just the right places, and is perfect homage without ever becoming spoof. Films like these always look simple, but are actually quite difficult to pull off. Reiner, Goldman, and the entire team not only accomplish this, but also create a classic that holds its own alongside the real thing.

Everybody Gets One: Broadway legend Mandy Patinkin, future TV star Fred Savage, British comedians Peter Cook and Mel Smith, and Andre the Giant, possibly the only professional wrestler on the Registry. And although this is Cary Elwes’ only film on the registry, I suspect they’ll put “Glory” on here sooner or later.

Wow, That’s Dated: A soundtrack performed almost entirely on keyboards is the film’s most ‘80s quality.

Title Track: Peter Falk says the name of the book only once at the very beginning.

Seriously, Oscars?: “The Princess Bride” received one Academy Award nomination; Best Original Song for “Storybook Love”. The song is buried in the second half of the credits and is easily the least awards-worthy aspect of the entire film. “Storybook Love” got its forgettable butt handed to it by the category’s winner; “(I’ve Had) The Time of My Life” from “Dirty Dancing”.

Other notes

• The first sound heard in this romantic swashbuckling fairy tale is that of a child coughing.
• So if this book has been read by father to son for generations, why isn’t Fred’s dad reading it? Is he dead or just deadbeat?
• The romantic tension between Cary Elwes and Robin Wright is palpable from their first scene together. It really does help propel the film.
• Ah, the pre-Internet days when you could cast a Chicago-born man of Jewish descent as a Spaniard. Good luck getting away with that today.
• What is it with William Goldman and characters that can’t swim?
• I mentioned it before, but I really do not like this synthesizer score. It just doesn’t sound right.
• Cary Elwes must have been so happy when he realized he looked like Errol Flynn.
• Those ROUSs are creepy as hell. Well done, design team.
• ‘80s Chris Sarandon kinda looks like Mark Ruffalo.
• Shoutout to Margery Mason’s brief but memorable turn as The Ancient Booer. She lived to be 100 years old!
• Odd that Count Rugen didn’t set his torture device to 11.
• In his cameo as Miracle Max, Billy Crystal fulfills his destiny as America’s elderly Borscht Belt comedian. As his wife Valerie, Carol Kane gives us a preview of her character Lillian from “Unbreakable Kimmy Schmidt”.
• Speaking of cameos, Peter Cook man. Talk about a strong choice.

• Although she gets an “Introducing” credit at the end, this is actually Robin Wright’s second film. Her first was 1986’s “Hollywood Vice Squad”.

Legacy

• A day where no one relentlessly quotes this film? Inconceivable!
• Rob Reiner followed up “The Princess Bride” with such iconic films as “When Harry Met Sally…”, “Misery” and “A Few Good Men”. And then… “North” happened.

• Cary Elwes as a dashing leading man never went further than “Robin Hood: Men in Tights”.

• Someone turned this film into a video game. The only other Registry entry that can make that claim is “Chinatown”.

#111) Black and Tan (1929)

OR “The Gospel According to Duke”

Directed & Written by Dudley Murphy

Class of 2015

The Plot: Duke (Duke Ellington) is an aspiring pianist who can’t catch a break. His girlfriend Fredi (Fredi Washington) lands a gig at a nightclub and arranges it so Duke and his band can perform there too. But Fredi’s heart condition rears its ugly head during the performance, and this look into the Harlem Renaissance gets real depressing real fast.

Why It Matters: The NFR singles out “Black and Tan” as “one of the first short musical films to showcase African-American jazz musicians”.

But Does It Really?: I give it a pass for Duke Ellington’s film debut, as well as its brief but important insight into the beginnings of the Harlem Renaissance. But be warned; for a short featuring several of Duke’s songs, it’s a real downer.

Everybody Gets One: Most of the creatives behind “Black and Tan” appear in Dudley Murphy’s fellow NFR entries “The Emperor Jones” and “St. Louis Blues” (the latter which was shot concurrently with this film).

Wow, That’s Dated: Four words: The Cotton Club Orchestra.

Title Track: The song “Black and Tan Fantasy” appears throughout the short, and is referenced by name before its reprise in the finale.

Other notes

• Edward Kennedy Ellington got the nickname “Duke” as a child when his mother insisted on him dressing well and having good manners. His elegant appearance did not go unnoticed by his classmates.
• Duke’s leading lady Fredi Washington was by all accounts a very talented actress and performer, but had trouble finding work due to being a light-skinned African-American. She is probably best remembered for playing the mixed-race daughter of the maid in the original version of “Imitation of Life”. Her career also included appearing in the original production of “Shuffle Along” and touring with Josephine Baker.
• Speaking of, Fredi and Duke actually dated at one point, though I’m not sure whether it was before, during or after “Black and Tan”. Washington ended up marrying Ellington’s trombone player, Lawrence Brown, in 1933.
• Arthur Whetsol can play a muted trumpet like nobody’s business.
• You think it was hard for those two guys trying to move Duke’s piano out of the apartment? Wait till you hear about the two guys who pushed it up the stairway…
• The only information I could find about the dance team in this film is that they were a specialty group called the Five Blazers. Such precision.
• Well Cinematographer Dal Clawson clearly had fun with that kaleidoscope camera trick. Either Fredi is ill or those shots are from a fly’s point of view.
• Okay Clawson, enough with the upskirt shot, thank you very much.
• Wow this short is depressing. Now I know why they call it the blues.

Legacy

• Duke Ellington didn’t make a lot of films after “Black and Tan”, but when he did he was either playing himself or providing the jazziest film scores. And sometimes, in the case of “Anatomy of a Murder”, both.

Listen to This: How could the National Recording Registry possibly pick one Duke Ellington song for its inaugural selection in 2002? The solution; pick them all. The Duke Ellington Orchestra’s RCA Victor recording sessions were all preserved in one fell swoop, highlighting his collaboration with bassist Jimmy Blanton and saxophonist Ben Webster from 1940 to 1942. Perhaps best known of their work is “Take the A Train”.