The Horse's Head

#85) The Learning Tree (1969)

OR “Summer of ‘22”

Directed & Written by Gordon Parks. Based on his novel.

Class of 1989

The Plot: “The Learning Tree” is Gordon Parks’ semi-autobiographical slice of life and coming of age in rural 1920s Kansas. Young African-American Newt Taylor (Kyle Johnson) discovers life and love amongst the seething racial intolerance of his town’s white community. Newt dreams of growing up and getting out of Kansas, but his steadfast mother Sarah (Estelle Evans) reminds him to use his time here as a way of understanding the world around him (his “learning tree” if you will). Newt’s positive outlook is contrasted by the more jaded views of his childhood friend Marcus (Alex Clarke), who is constantly harassed by the town’s racist Sheriff Kirky (Dana Eclar).

Why It Matters: The NFR cites the film’s historical significance as the first studio-backed film to be directed by an African-American. The write-up also calls the film “visually beautiful and moving, if somewhat sentimentally melodramatic”. An essay by Maurice Berger discusses the film, as well as Parks’ work to achieve racial tolerance throughout his life.

But Does It Really?: Historically, of course. The film itself is not perfect, but it’s an important stepping-stone for depicting African-Americans on screen with more complexity and diversity than before. I don’t know if “The Learning Tree” would make my list of the first 25 films to be inducted into the NFR, but it deserves a place on the list; not only for its historical merits, but also for being an introduction to the work of Gordon Parks.

Everybody Gets One: Though not his only film on the Registry (See “Legacy” below), I’ll take this opportunity to highlight the amazing life of Gordon Parks. His brief tenure as a filmmaker is just one chapter in a life that had already included being a photojournalist, author/poet and composer. Kyle Johnson is known for two things: being the lead in this film, and being Nichelle Nichols’ son.

Wow, That’s Dated: Through no fault of its own, the whole film has the vibe of an Old Hollywood studio film that had not yet embraced New Hollywood’s way of making movies.

Title Track: Sarah says “learning tree” once about a half hour into the film. In addition, we get a title song.

Seriously, Oscars?: Sure it was groundbreaking and well-received in 1969, but how could you give any Oscar nominations to “The Learning Tree” when “Hello, Dolly!” came out in the same year? (That was sarcasm. The film version of “Hello, Dolly!” sucks on toast.)

Other notes

• Much of this film was shot on location in Gordon Parks’ hometown of Fort Scott, Kansas.
• For those of you paying attention, this is the second film from the NFR’s inaugural class of 1989 that takes place in Kansas and prominently features a tornado.
• Finally, someone named “Newt” who isn’t repulsive beyond belief.
• Surprising no one, a film directed by a photojournalist has excellent cinematography. Shout-out to Burnett Guffey, quite an accomplished cinematographer himself, though I’m sure Gordon had plenty to say about the film’s compositions.
• He wrote it, directed it, and produced it, but Gordon Parks’ score is the only part of his multi-hyphenate I have a problem with. It’s just a little too intrusive; at times it sounds like everyone’s going to break out into song.
• Sarah is played by Estelle Evans, whose sisters were fellow actors Rosanna Carter and Esther Rolle (aka Florida from “Good Times”). Esther is the only one of the three who didn’t change her name for showbiz.
• Warner Bros.’ stance on post-code nudity? Butts and plenty of ‘em!
• No matter what your creed or color, we can all agree that potato sack races are stupid.
• I appreciate the complexity in which the film presents the town’s racism and bigotry, except for the scene with the principal. A little too “white savior” for my taste.
• Uncle Rob’s wish for a world filled with multi-colored people would eventually come true with “Doug”.
• The film takes its time meandering from one episode to another, but the last third of the film involving the courtroom brings it all together. It’s especially heartbreaking once you start to figure out where it’s all leading. 

Legacy

• Gordon Parks’ next picture? “Shaft”.

Further Viewing: Produced by Denzel Washington and narrated by Alfre Woodard, “Half Past Autumn: The Life and Work of Gordon Parks” is a wonderful overview of Gordon Parks’ astounding life, as told by the man himself.

#84) Paris is Burning (1990)

OR “Vérité, You Stay”

Directed by Jennie Livingston

Class of 2016

The Plot: Focusing on the LGBT Ball Culture (aka The House System) in 1980s New York, “Paris Is Burning” centers around the ceremonial balls in which people walk the runway in drag (or a variety of other categories) to win prizes and trophies for their houses. Among those featured are house mother Pepper LaBeija, vogue dancer/aspiring performer Willi Ninja, Xtravaganza child Venus, who is saving her money for gender confirmation surgery, and Dorian Corey, a drag queen from an older generation who has a lot to say about “the children”.

Why It Matters: The NFR quotes Guardian writer Ashley Clark, who said, “Few documentaries can claim to have sparked as much discussion and controversy as [Paris Is Burning]”. The NFR’s write-up concludes by saying that the film “has greatly influenced popular culture.” Well duh. That’s why it’s on the list. That’s in your mission statement.

But Does It Really?: “Paris Is Burning” is the right documentary at the right time. It invites you into the culture and shows you that there are so many more layers to the gay community than most people preconceive, especially by conservative 1990 standards. Film is the perfect outlet to record a legacy and a culture that still struggles to find mainstream acceptance. And this film captures all of it at a time when, tragically, the culture was in serious danger of becoming extinct. I am delighted that “Paris Is Burning” has finally made the cut.

Shout Outs: Pepper LaBeija is watching “Ghostbusters” in her home, and later on makes a “Sunset Boulevard” reference. The film ends with a lip-sync of “Over the Rainbow”.

Everybody Gets One: Jennie Livingston was fresh out of Yale when she started documenting the ball culture seen in the film. Although she has only made a handful of films since “Paris Is Burning”, she continues to lecture and teach film throughout the country.

Wow, That’s Dated: The category is: ‘80s Realness. From camcorders to “Dynasty” to Paulina Porizkova, this could only be New York 1987.

Title Track: “Paris Is Burning” is the name of Paris DuPree’s grand ball and is said only once about halfway through the film.

Seriously, Oscars?: “Paris Is Burning” was one of many universally acclaimed documentaries of the late ‘80s/early ‘90s that failed to receive a Best Documentary nomination, eventually leading to the Academy’s decision in 1995 to review and tweak that category’s nominating process.

Other notes

• This film does an excellent job at bringing you into this world, which must have been especially impressive in 1990 when exposure to this culture was at a minimum. I also applaud the film’s ability to create sympathy for these people without resorting to any sort of cinematic manipulation. The mere reportage of it all shows you how difficult life is for everyone.
• Let’s get this out of the way right now; in addition to her long reign as a drag queen and being the glue that holds this film together, Dorian Corey had one last surprise for everyone. After her death in 1993, a mummified body was discovered in her home that had been dead for approximately 15 years. Dorian Corey had a literal skeleton in her closet.
• Some argue that the film’s focus on pageantry is mere spectacle, but that’s completely ignoring the chapter of the film that discusses the various categories. As explained by those interviewed, the balls are never just about putting on a dress. For this group it is about escape and finally being allowed to be the kind of person society will not let them be. Through that escape comes acceptance within their community, something no one in this culture feels when they’re out in “White America”.
• Speaking of, does anyone know who is on the Forbes magazine cover featured in the White America segment? I assume they’re all conservative enough that it would kill them to find out they’re in this film.
• Kinda hard to pull off “mopping” when you have a camera crew following you. Also, who knew that Roy Rogers were still a thing?
• As far as I can tell, the LGBT modeling community is small, but finally getting there.
• Surprise cameos from ball judges Fran Liebowitz, Geoffrey Holder and Gwen Verdon! God bless a movie that can bring those three together with no questions asked.

Legacy

• Voguing was still pretty underground during the making of the film, but during post-production Malcolm McLaren’s song “Deep in Vogue” (mentioned by Willi Ninja in the epilogue) brought the dance to a larger audience. Of course, as is often the case, voguing didn’t become a phenomenon until a straight white person did it.

• Surviving members of the film were further documented in 2006’s “How Do I Look?”

• “RuPaul’s Drag Race” has carried on a lot of what this movie stands for in the form of a reality TV competition. Season 6 contestant Vivacious was one of the few remaining “club kids” as depicted in “Paris Is Burning” to compete on the show.

• Deemed by some a spiritual sequel to this film, “Kiki” is a look at ball culture and the LGBT community in whatever we’re calling this decade. The twenty-teens?

#83) Drácula (1931)

O “El Hombre Que Muerde”

Dirigido por George Melford

Escrito por Baltasar Fernández Cué. Based on the novel by Bram Stoker and the play by Hamilton Deane and John L. Balderston.

Class of 2015

Read my take on the English-language version here.

No trailer, but here’s a little background on this version of Dracula.

Trama de la Pelicula: Carlos Villarías es el Conde Drácula, un vampiro de Transilvania que debe beber la sangre de los vivos. Asistido por su criado Renfield (Pablo Álvarez Rubio), viajan a Londres para arreglar el arriendo en una abadía al lado del sanatorio local. El conde se enamora de la hija Eva del médico (Lupita Tovar) y los planes para hacerla su novia siguiente. Pero el doctor Van Helsing (Eduardo Arozamena) sospecha los hábitos de vampiro de Drácula mientras estudia las misteriosas muertes que han ocurrido desde que Drácula llegó.

Por Qué Importa: Both the NFR description and the essay by Film History and Hispanic Studies professor András Lénárt discuss the history of multiple-language version films (or MLV for short) and debate which “Dracula” is the superior one.

Pero Realmente?: As a representation of MLV films, “Drácula” is tough to beat. Of the early sound films known to have an MLV, “Drácula” is the best known, and has enough key differences to warrant side-by-side viewing and comparisons. I’ll cover some of these in the “Other Notes” section, suffice it to say that both films have their pros and cons that prevent me from declaring one to be the obvious “better” one. Regardless, this “Drácula” belongs on the list.

Todo el Mundo Tiene Uno: Like many foreign actors in Hollywood, Carlos Villarías’ career consisted mostly of MLV films, as well as minor roles in “A” pictures and supporting roles in “B” pictures. Lupita Tovar continued making films in Hollywood and Mexico before finally settling down with “Drácula” producer Paul Kohner and raising two children, among them future actress Susan Kohner. Ms. Tovar lived to be 106 years old!

Wow, Eso Es Anticuado: Unlike the English-language “Dracula”, this one firmly establishes its present day setting. So let’s go with sanatoriums, as well as people who wear their cape and gloves to the symphony.

Toma un Trago: Dicen mucho el nombre del Conde. No hagas esto un juego de beber.

Seriamente, Oscars?: Like its English counterpart, “Drácula” did not receive any Oscar nominations. Of course I doubt MLV films were even eligible to begin with.

Otras Notas

• This film’s director, George Melford, oversaw production on several foreign-language films at Universal in the late ‘20s and early ‘30s. Weirdly enough, he didn’t speak Spanish and had to rely on an interpreter pretty much the entire time.
• Among the many differences, Melford’s direction involves more close-ups and feels a little more cinematic. Browning’s version feels a little bit more like the stage version.
• While Browning’s violence is implied rather than shown, this version shows us actual bite marks! Plus you see Dracula actually get out of his coffin!
• This Renfield has more of a Gene Wilder in “Young Frankenstein” quality to him.
• Yeah, the attack on the ship is way better in this one. Less cheesy.
• Don’t think I didn’t catch that, reused long shots of Bela Lugosi.
• Oh man, the Martín in this version is also a great comic relief. It’s an embarrassment of riches!
• How did I go the entire English-language “Dracula” without making a “Werewolves of London” reference?
• The “Van Helsing Mirror” scene is a very different but equally chilling take.
• Well there’s no use prolonging it: I have to compare Draculas. No offense to Carlos Villarías, but Lugosi wins hands down. Lugosi has a stillness to his Count that helps the overall creepiness of the film. Even when Villarías is standing still he does just enough movement to take me out of it. Plus he blinks. That’s no good either.
• Eva in lingerie. No wonder everyone thinks this version is better.
• That being said, Lupita Tovar’s take on Eva is much livelier than Helen Chandler’s. Their Jonathan Harkers, however, are the same amount of cipher no matter what the language.
• Yes, the Spanish version is about 29 minutes longer than the English version, but it didn’t feel bloated by comparison. If anything, it gives everything just a little bit more breathing room. Plus, the Spanish version provides additional dialogue and character details that, while not completely necessary, do add some extra dimension to the film.
• En caso de que se haya olvidado, ¡es una Pelicula de la Universal!

Legado

• MLV films continued throughout the ‘30s, but since so many of these films were collaborations with Europe, World War II put an end to them. By the time the war ended, dubbing had become more commonplace.
• Thankfully, this version of “Dracula” is starting to get more recognition alongside the English version. Which one is better? Watch them both and find out for yourself.
• Once again, Blacula!

#82) Little Big Man (1970)

OR “Crabb’s People”

Directed by Arthur Penn

Written by Calder Willingham. Based on the novel by Thomas Berger.

Class of 2014

The Plot: 121-year-old Jack Crabb (Dustin Hoffman) recounts his early years in the old west; from being raised by Cheyenne leader Old Lodge Skins (Chief Dan George) after his parents were killed, to his brief Christian upbringing with repressed Louise Pendrake (Faye Dunaway), to his turn as a gunslinger alongside Wild Bill Hickok (Jeff Corey). Along the way Jack sees the Cheyenne culture and the white culture for all their pros and cons, never remaining loyal to or truly understanding either of them. His unique perspective on the American west is put to the test when he finds himself in the middle of General Custer (Richard Mulligan) and the Battle of Little Bighorn.

Why It Matters: The NFR praises the film for being “the Western reimagined for a post-1960s audience” and salutes Hoffman, Penn, Willingham, and makeup artist Dick Smith. There’s also an essay by Kimberly Lindbergs, freelance film writer and fellow WordPress film blogger.

But Does It Really?: I chalk this one up as a minor classic. Everyone involved has been in more famous films, but “Little Big Man” is important due to its unique views of the western genre, particularly with how it depicts Native Americans. “Little Big Man” was one of the first mainstream films to show that the West wasn’t won, it was stolen, and that the brave pioneers and cavalrymen we made our heroes may have actually been the villains.

Shout Outs: Some have suggested that Faye Dunaway’s seduction scene is an homage to “The Graduate”, but who knows if this was intentional or not.

Everybody Gets One: Many of the featured cast members, most notably future TV star Richard Mulligan.

Wow, That’s Dated: While many of the actors playing Native Americans were actually Native American (or in Chief Dan George’s case, First Nations), Cal Bellini (Younger Bear) was Malay and Aimee Eccles (Sunshine) was Chinese.

Take a Shot: “Little Big Man” is Jack’s Cheyenne name and is only uttered a handful of time during scenes with the Cheyenne.

Seriously, Oscars?: “Little Big Man” received only one Oscar nomination; Best Supporting Actor for Chief Dan George, making him one of the very few indigenous peoples to receive an Oscar nomination. He lost to British actor John Mills’ performance as a mentally impaired mute in “Ryan’s Daughter”, because Oscars.

Other notes

• There was a real life Little Big Man, but there are few, if any, similarities between him and Dustin Hoffman’s character.
• That’s William Hickey at the beginning as I’m assuming the reporter for “The Framing Device Weekly”.
• What can I say about Hoffman’s old age makeup except Dick Smith you brilliant bastard. I can’t believe the Oscars wouldn’t have a make-up category for another 11 years (Smith finally won in 1984 for “Amadeus”).
• A lot of slams on the Pawnee in this film. The Cheyenne must be from Eagleton.
• I gotta say this is one of Faye Dunaway’s most underrated performances. It’s short, but very impactful and surprisingly funny. A nice departure from the roles I typically associate Ms. Dunaway with.
• Okay, someone’s having fun with the forced perspective between Jack and Wild Bill Hickok.
• Jack’s sort of a Zelig of the Old West.
• Just when you think this film is done showing you how diverse the Cheyenne were, along comes Little Horse, the tribe hwame.
• Ah yes, quick cuts and sudden spurts of violence. Truly this film is from the man who brought you “Bonnie and Clyde”.
• The music that accompanies Custer and his men sounds a lot like the “Patton” theme. They came out in the same year, so who copied whom?
• Ladies and Gentlemen, Dustin Hoffman’s ass!
• Technically this film intersects with the first season of “Deadwood”. I’d love to see that c********** crossover.
• Nope, just ignore Martin Balsam’s real leg sitting on top of his peg leg.
• Do you think Dustin Hoffman went full “Revenant” when Jack becomes a trapper?
• For those of you who know Richard Mulligan from “Empty Nest” and “Soap”, this is probably his most restrained performance. Fun Fact: His older brother is “To Kill a Mockingbird” director Robert Mulligan. Thanksgiving must have been fun at that house.

Legacy

• While the film never got a sequel, Thomas Berger wrote one for the original book in 1999 called “The Return of Little Big Man”. The book showcased Jack Forrest Gump-ing his way through such other historical Wild West moments as the Gunfight at the OK Corral.
• Old Lodge Skins’ line “Today is a good day to die” has been adopted by another culture, the Klingons.

Further Viewing: An excerpt from “The Many Faces of Dustin Hoffman” shows Dick Smith helping Dustin Hoffman age 88 years.

#81) The Hole (1962)

OR “An Animated Discussion”

Directed by John Hubley

Written by John & Faith Hubley

Class of 2013

The Plot: An “observation” on the nuclear arms race while it was still happening; two construction workers (voices of Dizzy Gillespie and George Matthews) debate the plausibility and outcome of nuclear fallout.

Why It Matters: The NFR calls the film a “chilling…meditation”. An essay by New York Magazine editor Greg Cwik is a history and appreciation of John & Faith Hubley.

But Does It Really?: I give it a pass for the work of the Hubleys, and as a conversational approach to the prospect of nuclear annihilation without resorting to propaganda and fear-mongering.

Everybody Gets One: While not their only work on the list, this is the only representation of John & Faith Hubley’s animated collaborations. In their 22 years of marriage they made 30 animated projects, as well as four live-action children. Actor George Matthews appeared in every western ever, and Dizzy Gillespie was a jazz musician of some kind.

Wow, That’s Dated: Reading newspapers and the threat of nuclear war. Wait, maybe not that last one.

Seriously, Oscars?: “The Hole” won the Oscar for Best Animated Short Film in 1962. Among those the Hubleys beat out were animation legend Chuck Jones and John’s former boss, Walt Disney.

Other notes

• John Hubley was an animator for Disney until their famous animator strike of 1941. He then worked for bizarro-Disney studio UPA until he was blacklisted. Storyboard Studios was a way for John to create his own work during the blacklist years. Among Faith Hubley’s odd jobs while animating was as script supervisor for the film “12 Angry Men”.
• Dizzy Gillespie’s real name is John. He earned his famous nickname in his early 20s due to his unpredictable behavior.
• Since when do average Joe construction workers admit to knowing regular ballroom dancing?
• George’s claim that they found Venus de Milo’s arms is a bit misleading. They did find broken arms nearby the discovery of the statue in 1820, but the arms in question could not conclusively be named hers. Of course, George could just be joking and this Google search was a complete waste of my time.
• Is Dizzy nude at the end of this?

Legacy/Further Viewing: John & Faith continued making great animation together until John’s death in 1977. Among those was another Oscar winner – “A Herb Alpert and the Tijuana Brass Double Feature”.

John & Faith’s daughter Emily is a successful animator in her own right, most notably as the producer and designer of the “Origins of Love” sequence from “Hedwig and the Angry Inch”.

Listen to This: Dizzy Gillespie’s big band sound and Latin jazz influence can be heard in all its splendor in the 1947 recording “Manteca”, added to the NRR in 2004.