The Horse's Head

#54) 13 Lakes (2004)

OR “The Lake Takes”

Directed, Written, Produced, Filmed, & Edited by James Benning

Class of 2014

The Plot: 13 identically framed 10-minute shots of 13 different American lakes. That’s it. That’s the film.

Why It Matters: The NFR compares Benning’s “moving landscape paintings” to the works of Monet! I go back and forth on whether you should read Scott MacDonald’s essay on the film before or after your viewing.

But Does It Really?: At first I thought, “Oh boy, hunker down, this one’s going to be a long one.” But then I got into it and, well it won me over. This film makes you stop and think about the world around you, which is what any good movie should do. The difference is, this film is making you think about the physical world around you. How are lakes the same? How are they different? What do we as people use lakes for? How does one little sound or movement affect its flow? What’s that thing in the background? I found myself being saddened when a shot ended, as I wasn’t ready to leave that place yet. Each shot allows the viewer to just sit and be alone with their thoughts and come to their own conclusions about nature.

Everybody Gets One: James Benning started out going to school on a baseball scholarship, but the political climate of the late ‘60s led to him dropping out and becoming an activist. He started making films around that time and eventually got his MFA from the University of Wisconsin. He has spent the better part of 35 years teaching film at various colleges, and when your film professor has work in the National Film Registry you better take good notes.

Wow, That’s Dated: This one left me hanging, what with nature being timeless and all. Umm…well, it was made on film at a time when most movies were converting to digital. There’s that.

Seriously, Oscars?: I mean, you could try to sneak this film into the Documentary category, but the Oscars would never go for it.

Other notes

• Did anyone else see the title and just assume this was a horror film?
• As of this writing, “13 Lakes” is the most recent film to appear on the Registry, and one of only three films from the 21^st century to be preserved. “13 Lakes” is also one of the few films to be inducted on the list after the minimum 10-year eligibility period.
• They forgot Lake Wobegon.

Legacy

• Jackson Lake: Left the lake business to become a successful real estate agent.
• Moosehead Lake: Rode success of “13 Lakes” to Hollywood, currently has three-picture deal with Paramount.
• Salton Sea: ‘66. Editor, National Lampoon Magazine.
• Lake Superior: Joined a convent, is now Mother Superior Lake Superior.
• Lake Winnebago: Married Wendy Peffercorn. They have nine kids!
• Lake Okeechobee: Future site of Camp Anawanna.
• Lower Red Lake: Regrets their participation in “13 Lakes” and did not respond to my emails.
• Lake Pontchartrain: Took the Midnight Pontchartrain to Georgia.
• Great Salt Lake: Caught in political scandal, demoted to “Just Okay Salt Lake”.
• Lake Iliamna: Occasionally hosts Turner Classic Movies, and has led several panel discussions on women in film. [Sorry, that’s Illeana Douglas.]
• Lake Powell: Whereabouts unknown.
• Crater Lake: Will be back in “You Only Lake Twice”.
• Lake Oneida: Currently on the faculty of CalArts.

Further Viewing: You can find a lot of James Benning’s work online. I recommend this film’s companion piece, “10 Skies”.

#53) Ella Cinders (1926)

OR “Funnies Girl”

Directed by Alfred E. Green

Written by Mervyn LeRoy and Frank Griffin. Based on the comic strip by William M. Conselman and Charles Plumb.

Class of 2013

The Plot: Ella Cinders (Colleen Moore) is a beautiful young woman treated unfairly by her stepmother and two step sisters (get it?). When a Hollywood studio announces a contest to become their next big star, Ella leaps at the chance and does her darndest to win. It gets very ‘20s from there.

Why It Matters: The NFR calls the film “an archetype of 1920s comedy” and praises Moore’s performance as well as her place in flapper girl history. Moore would eventually be eclipsed in fame and ‘20s influence by Clara Bow, who had a certain….je ne sais quoi, if you will.

But Does It Really?: I say, “Hey why not?” “Ella Cinders” is a very fun comedy featuring an endearing and energetic performance by Moore. And as far as Cinderella films go, I like this Cinderella a lot. No fairy godmother for her, if she wants something she goes out and actually works to get it. Right on, flapper woman!

Everybody Gets One: We get another Colleen Moore film once she converts to sound pictures, but this is her one representation at her peak as a silent film star. Along with her talent and choice of characters that helped revolutionize women in film, Moore helped popularize the famous flapper bob. Moore retired not too long after sound pictures came along, but invested wisely in the stock market and lived comfortably into her late ‘80s.

Wow, That’s Dated: The profession of Iceman, the term “sharpers”, mood music on film sets, photography that still required a sheet covering.

Other notes

• The first title card calls the town of Roseville the place “where the first bowl of wax bananas appeared on an American sideboard.” I’m already so very lost.
• That cross-eyed scene has some pretty amazing split-screen work. For a moment I thought Moore was really talented.
• Could Chaplin have sued this film for the “Gold Rush”-esque bit Ella does for the kids?
• Despite its association with the 1920s, the bob haircut works in any era.
• “Wimmin”? Was that ever an acceptable way to spell “women”?
• Apparently at least one of those actors on the train was actually Native American, so that’s good.
• Then they call Hollywood “the knicker district of Los Angeles – seat of the bosom heaving industry of America.” Title writer George Marion Jr. has an odd way of describing cities.
• And then he slams Armenian picnics outta nowhere! You’ve gone too far, Marion!
• That chase through the studio is hilarious. Take note, “Pee-wee’s Big Adventure”.
• That’s Mack Sennett clown Harry Langdon playing himself during the chase scene. You can see why he was paired with Oliver Hardy at one point.
• I assume that lion escaped from the MGM lot. Thank you!
• Oh come on, movie! She has to give up film stardom to marry what’s-his-name? Can’t she have both, like the contrived ending of “La La Land”?

Legacy

• Ella Cinders the comic strip continued until 1961. The Hollywood plotline from the film gave way to lots of other adventures.
• The Cinderella fairy tale has been told on film many many times over the years. But will any version be able to top “Caddyshack”?

• I’m gonna go ahead and blame this film for all films based on comic strips. We’ll start with “Garfield” and go from there.

#52) Dirty Harry (1971)

OR “The Creeps of San Francisco”

Directed by Don Siegel

Written by Harry Julian Fink & R.M. Fink and Dean Riesner. Story by Harry Julian Fink & R.M. Fink.

Class of 2012

The Plot: Clint Eastwood stars as “Dirty” Harry Callahan, Homicide Inspector for the SFPD who doesn’t play by the rules, and can never remember how many shots he fired. Earning his nickname by taking any dirty assignment that comes his way, Harry is chosen to track down a serial killer who calls himself “Scorpio” (Andy Robinson). Their cat-and-mouse game unfolds amongst the gritty San Francisco of the early ‘70s.

Why It Matters: In the wake of the Escobedo and Miranda rulings of the ‘60s that gave rights to the accused, “Dirty Harry” was a tip of the hat to the old school cops who didn’t play nice but always got results. The NFR also praises the work of Eastwood and Siegel, and includes an essay by “award-winning screenwriter” Matt Lohr (though I have yet to find the awards he’s won, or even the screenplays).

But Does It Really?: The “cop who doesn’t play but the rules” is cliché now, but “Dirty Harry” still feels fresh, which makes for an entertaining ride. Eastwood’s easy-going performance, plus some great San Francisco location shots, help add dimension to what could otherwise have been a pretty straightforward “cops and robbers” film. The era’s political and historical background (plus the film’s ongoing impact on the genre) help solidify a place on the Registry for “Dirty Harry”.

Everybody Gets One: Special mention to Andy Robinson in his film debut as “Scorpio”. He would go on to play Garak on “Star Trek: Deep Space Nine” before giving up acting in the mid-2000s. Also worth noting is Harry Guardino as Bressler, especially the scene where he sings.

Wow, That’s Dated: A long, unfiltered look at San Francisco in a simpler time, before the hipsters and tech-bros took over and turned one of the most unique cities in the world into their own personal playground, leading to the eviction of long-time citizens and effectively removing everything San Franciscan about San Francisco.

Also at one point Harry uses a pay phone.

Take a Shot: The name “Dirty Harry” first shows up 19 minutes in and is said a few times throughout (always preceded by, “I see why they call you…”).

Seriously, Oscars?: Probably because of how polarizing the film was for some on its initial release, and probably because 1971 Oscar voters preferred that other detective movie, “Dirty Harry” received zero Academy Award nominations.

Other notes

• For you San Francisco serial killer buffs out there, “Scorpio” is based on the very real and then very current “Zodiac Killer”.
• Thanks to the many panoramic skyline shots, I can confidently say “I can see my house from here.”
• I always forget about the character of Chico, and that for a hot second “Dirty Harry” is a buddy cop film.
• Only in the ‘70s could Clint Eastwood dress as essentially a used-car salesman and still be a sex symbol.
• Ladies and Gentlemen, Hot Mary.
• It sounds like half of this film is dubbed later in ADR. Was it because of all the location shooting? Or is this par-for-the-course on a Clint Eastwood film?
• My favorite piece of background graffiti is the tag at Forrest Hill that simply reads “KYLE”.
• “Scorpio” seems to me like a proto-Crispin Glover we tried out in the ‘70s.
• For those of you who don’t want to make a drinking game out of “Dirty Harry”, there are plenty of rounds of Punch Buggy to be had here.
• Note that three years after the release of “Bullitt”(also a detective drama set in San Francisco), “Dirty Harry” has no major car chase.

Legacy

• Four sequels, but you really only need five words from the third one.

• As previously stated, every renegade cop film and TV series.
• This scene in “The Naked Gun”.

• The one Clint did with the monkey.

• MacGarnicle

• And of course, everyone, and I mean everyone, who asks the question, “Do you feel lucky, punk?”

#51) Fake Fruit Factory (1986)

OR “I’m Ready for My Extreme Close-Up, Ms. Strand”

Directed by Chick Strand

Class of 2011

The Plot: Filmed in Mexico in the early ‘80s, “Fake Fruit Factory” is a documentary short about a group of women who make papier-mâché fruit for sale. Through overlapping audio and with the camera’s zoom function set to the max, the film covers snippets of the women’s conversations, mainly about sex and their American boss.

Why It Matters: The NFR praises Strand for her “unique style that deftly blends documentary, avant-garde and ethnographic techniques.” The description goes on to drop the word “ethnographic” a second time. We’re all very impressed, college boy.

But Does It Really?: At long last, that rare type of NFR entry that defies description. I’m not quite sure what I saw, or what exactly, if anything, it was trying to say. But ultimately I dig it and give it a pass. Thanks for the ride, Chick Strand.

Everybody Gets One: Born Mildred D. Totman, her father gave her the nickname “Chick”, while Strand was her first husband’s last name. During her happenings in 1960s Berkeley, Chick helped fellow future-NFR filmmaker Bruce Baillie create the indie film distributor Canyon Cinema. Chick’s work was similar to the avant-garde type on display in “Fake Fruit Factory”, and much of it has been preserved over the years by such institutions as the Academy Film Archive and the American Film Institute.

Wow, That’s Dated: That soundtrack could only have come from the early ‘80s.

Seriously, Oscars?: No Best Documentary Short nomination for “Fake Fruit Factory”. Instead they opted for a film about female anti-nuclear activists (probably shot at a regular non-zoomed-in angle. Cowards.) Despite 20 films over the course of 30 years, Chick Strand never received an Oscar nomination.

Other notes

• About that extreme zoom: it definitely sets this film apart from others on the Registry. For me, that’s definitely a plus. It forces you to focus on what’s being said and gives the whole film a sense of mystery, since you (literally) don’t get the whole picture. Plus towards the end it gives the film an invasive, almost voyeuristic feel. I felt like I needed to apologize to these women after my viewing.
• I’m not going to pretend I understand everything that happened, but the one thing that I really didn’t understand was the 98 second shot (yes I counted) of a rear-view mirror as the employees travel to their picnic. What in God’s name was that about, Chick?

Legacy

• While Canyon Cinema no longer exists as a film distribution company, it lives on as a nonprofit film organization, specializing as always in the avant-garde. Visit their website here.

#50) The Front Page (1931)

OR “Same News, Different Editions”

Directed by Lewis Milestone

Written by Bartlett Cormack. Additional dialogue by Charles Lederer. Based on the play by Ben Hecht and Charles MacArthur.

Class of 2010

This is my original post on “The Front Page”; you can read the revised and expanded version here.

NOTE: There are at least two versions of “The Front Page” out there; the “British” print which is the most commonly seen, and the higher quality “domestic” version that was recently restored by the Academy of Motion Picture Arts and Sciences. I was able to track down both versions for this post. The “domestic” print is vastly superior to the “British” print in sound and picture quality, and is comprised of almost entirely different takes. Check them both out below.

The “Domestic” Print

The “British” Print

The Plot: On the eve of the hanging of political prisoner Earl Williams (George E. Stone), Chicago newspaper reporter Hildy Johnson (Pat O’Brien) announces to his editor Walter Burns (Adolphe Menjou) that he’s leaving the business to get married. When Williams escapes the jail and takes refuge in the Criminal Courts press room, Hildy knows a scoop when he sees one and is torn between his love and his career. Also it’s a ‘30s movie so everyone’s wearing suits and hats and talks lots of slang real fast, see?

Why It Matters: The NFR highlights this film as an example of the rapid technological advances in film following the creation of sound pictures. The entire cast is praised, as is the screenplay. There’s also mention of the film’s recent Academy restoration.

But Does It Really?: Well, as an example of a talkie it’s just okay. If only there wasn’t a superior remake already on the Registry (See “Other notes” and “Legacy” below). If you only have room for one version, hands down go with the restored “domestic” print. But even then, I was more interested in the differences between the two prints than I was with the film itself.

Wow, That’s Dated: The usual ‘30s phrases like “in your hat” and “nerts”. Plus, shout outs to Mussolini and Clarence Darrow back when they were, ya know, alive.

Seriously, Oscars?: At the 4^th Annual Academy Awards, “The Front Page” garnered three nominations; Picture, Director, and Actor for Adolphe Menjou. It lost all three awards to, respectively, “Cimarron”, “Skippy”, and “A Free Soul”. Ever heard of any of those films? No, no you haven’t. Are any of them on the Registry? No, no they are not.

Other notes

• The infamous Howard Hughes produced this film. He put his stamp on this one sometime between “Hell’s Angels” and the original “Scarface”.
• If Bensinger sounds familiar to you, I guess you also watched “Fractured Fairy Tales” as a kid. And if Murphy sounds familiar too, imagine he’s a talking fox con artist in a Disney classic.
• And yes, Walter spends most of the film being addressed as “Mr. Burns.”
• I know it was the beginning of the sound era, but would it have killed anyone to throw in a few musical cues?
• The cinematography in this film is very inventive, though at times distracting. It’s almost as if they were too worried about this film being stage-bound. Regardless, my salutations to Glen MacWilliams, with potential uncredited assistance by Tony Gaudio and Hal Mohr.
• Anyone know any of the songs the reporters sing when Hartman shows up?
• Say what you will about the inferiority of the “British” print, but it’s the version where reporter Kruger flips off the mayor. God save the Queen!
• And then Burns and Johnson reunite on screen and they have a contest to see who can talk faster.
• Both this film and “His Girl Friday” tell the same story, but “Friday” does it clearer and faster, and therefore funnier. Perhaps “Front Page” could have benefited from more sexual tension between O’Brien and Menjou.
• Speaking of, “The Front Page” includes Burns’ line “Get back in there, you Mock Turtle!” which I always assumed was a Cary Grant ad-lib for “His Girl Friday”. Oh, Hollywood lore.
• And then there’s the famous censoring of “That son-of-a-bitch stole my watch”. The diegetic bleep comes across cleaner in the restored version, but it’s still kinda weird.
• Is this the type of film that really warrants a “The End?”

Legacy

• Nine years later Howard Hawks remade this film, but decided to make Hildy a woman and called it “His Girl Friday”. The result is everything “The Front Page” just falls short of.

• Billy Wilder adapted and directed another remake of “The Front Page” in 1974 with Jack Lemmon and Walter Matthau. It’s…fine.

• “The Front Page” was also a 1949 TV series that didn’t even make it a full season.
• As for the play itself, it comes back to Broadway every couple of decades, most recently as a limited-run event starring Nathan Lane and John Slattery.

Further Viewing: A brief comparison between the common “British” print and the newfound “domestic” print. I guess the narrator gets caught up in the spirit of the film, because boy does he talk fast.