The Horse's Head

#31) The Blood of Jesus (1941)

OR “The Devil Went Down to Texas”

Directed & Written by Spencer Williams

Class of 1991

Watch the whole film below, and download it for free courtesy of the Southern Methodist University Central University Libraries.

The Plot: Sister Martha (Cathryn Caviness) is baptized by her local church. Her newlywed husband Razz (Spencer Williams) is not very religious and does not attend the ceremony, opting to go hunting instead. When he arrives home, his gun accidentally discharges, the bullet hits Martha and her chances of survival do not look good. While bedridden, an angel (Rogenia Goldthwaite) appears and leads Martha to the crossroads between Heaven and Hell. The angel makes a case for Heaven, but Martha is tempted by the Devil (Jas. B. Jones) and his assistant, Judas Green (Frank H. McClennan). Martha’s faith is put to the ultimate test, with a gospel choir soundtrack that can’t be beat.

Why It Matters: The film’s significance as a long-lost “race film” is mentioned by the NFR. An essay by University of Texas Professor Dr. Mark S. Giles puts the film in its proper historical context. “The Blood of Jesus” was the first film made entirely by African-Americans to be included on the Registry.

But Does It Really?: As entertainment, I think it could have used some trimming, but its cultural and historical importance cannot be denied. Films like these always fascinate me; the kind of film made by a small town working together. One wonders what it must have been like for Spencer Williams to convince everyone to make this. The result is a bit rough around the edges, but ultimately “The Blood of Jesus” is a well-meaning and at times touching expression of a community’s strong Christian faith. Take that, “The War of the Worlds”.

Everybody Gets One: Spencer Williams is best remembered as Andy on the TV version of “Amos ‘n’ Andy”, but his life prior to that is much more interesting. “The Blood of Jesus” was the first of 12 films he directed and produced. Prior to that he helped write “The Melancholy Dame” (considered by many to be the first all-black talkie) and served as a Sergeant Major during World War I. Sadly, virtually nothing is known about the rest of the cast, all of who were non-actors who lived in Texas at the time of production. Tragically, cast member Frank H. McClennan died at the age of 28 in 1940, just prior to the release of this film.

Wow, That’s Dated: Mainly the idea that any sort of urban living is a sin.

Other notes

• Man, that cast list credit stays on screen for a long time. Is there going to be a test on it?
• The major thing this film has that I missed in my own religious upbringing is the concept of harmonizing.
• When Sister Ellerby comes to visit Sister Jenkins, a hand reaches out and closes the door behind her. Who is that? Is it God? Does that mean He’s opening a window somewhere else?
• Even Spencer Williams isn’t safe from the Chekhov’s gun principle.
• So the gun fell on the floor, discharged, shot Martha in what appears to be the ribs, went “clean through her” and symbolically hit the picture of Jesus located at a different angle in the room? Now that’s a magic bullet.
• Why are they surprised that Razz is taking this so hard? He accidentally shot his newlywed wife. You’d be distraught too.
• The footage of heaven is taken from a silent film (allegedly 1911’s “L’Inferno”). If you look closely, you can see the attempt to mask the title cards at the bottom of the frame.
• Of course The Devil utilizes door-to-door salesmen for his bidding.
• I get the feeling there isn’t a single frame of film that got cut from any of this.
• The film doesn’t make that bad a case for Hell. Just don’t work for Rufus Brown and it seems to be a lot of fun.
• Cool, the director knew an acrobat!
• More films should include a flatbed truck with a jazz combo on it.
• I can’t imagine it was pleasant for Cathryn Caviness to spend part of her day being filmed lying on rocks with blood dripping onto her face. You wanted to be in a picture, didn’t you?

Legacy

• Julie Dash cites this film as partial inspiration for her film (and future NFR entry), 1991’s “Daughters of the Dust”.

• The Devil knew he would have to up his game to take down mankind, so he waited until Mia Farrow and John Cassavetes were apartment hunting to make his next move.

Further Viewing: Spencer Williams followed up “The Blood of Jesus” with several “race films” throughout the ‘40s, though none as successful as this one. Many of his films have been archived and can be found on the internet for free. I’ll start you off with one that’s a slightly different tone than “The Blood of Jesus”; 1946’s “Dirty Gertie from Harlem U.S.A.”

#30) Fantasia (1940)

OR “Highbrowski by Stokowski (an actual proposed title for the film!)”

Directed by Ben Sharpsteen (as well as many many sequence directors)

Written by Joe Grant & Dick Huemer (and, again, many many sequence writers)

Class of 1990

This is my original post on “Fantasia”. You can read the greatly revised and expanded version here.

A trailer that makes way too many promises.

NOTE: The version I watched was a restoration of the original film with two noticeable differences; one character was deleted from “The Pastoral Symphony” (see Other Notes section), and, because of audio issues involving restored footage, Deems Taylor is re-dubbed by Disney voiceover go-to Corey Burton. It’s not that distracting once you’re into the film, but anyone looking for Mr. Taylor’s actual voice will have to hunt down an earlier print.

The Plot: A complete departure from his previous two features, Walt Disney’s “Fantasia” is a concert of classical music brought to life by animation. Performed by The Philadelphia Orchestra conducted by Leopold Stokowski, and introduced by music critic Deems Taylor, the program features eight pieces of music; Bach’s “Toccata and Fugue in D Minor”, Tchaikovsky’s “The Nutcracker Suite”, Dukas’ “The Sorcerer’s Apprentice”, Stravinsky’s “The Rite of Spring”, Beethoven’s “Symphony No. 6” (The Pastoral Symphony), Ponchielli’s “Dance of the Hours”, Mussorgsky’s “Night on Bald Mountain” and Schubert’s “Ave Maria”.

Why It Matters: The NFR calls it “Disney studios’ most ambitious animated feature”, though declares some of the pieces “kitschy” and deems their take on Beethoven “an irreverent treatment”.

But Does It Really?: Oh yes. I can only imagine what audiences made of this back in 1940. “Fantasia” is way ahead of its time. Animation had just evolved to feature-length; the jump from “Snow White” to “Fantasia” must have felt like crawling out of the water and immediately walking upright. For its unique and revolutionary approach to what the animated medium could be, “Fantasia” earns a place on the Registry.

Everybody Gets One: Leopold Stokowski was a rarity; a conductor who crossed over into the mainstream. He left the Philadelphia Orchestra in 1941 but kept conducting until the age of 93. At the time of “Fantasia”, Deems Taylor was known for his work as a music critic, and for providing commentary during the New York Philharmonic’s radio broadcasts. And that’s Walt Disney himself providing the voice of Mickey Mouse immediately following “The Sorcerer’s Apprentice”.

Wow, That’s Dated: Deems Taylor mentions that “The Nutcracker Suite” is not very well-known and is rarely performed today (“Nutcracker” would not become a holiday tradition until the 1960’s). During “Rite of Spring”, the extinction of dinosaurs is referred to as a “gigantic dust bowl”. Also, the xylophone as a jazz instrument.

Seriously, Oscars?: While not nominated in a single competitive category, “Fantasia” did receive two honorary Oscars at the 1941 ceremony; one for Walt Disney, William E. Garity and J.N.A. Hawkins for their creation of “Fantasound” (a precursor to Surround Sound), and another for Leopold Stokowski for his work on the film.

Other notes

• Stokowski conducts that same way I dry my hands in a bathroom when there’s no paper towels left.
• There’s a shot in “Toccata and Fugue” that looks like someone’s tooth is walking away.
• Pretty gutsy to do selections from “The Nutcracker Suite” but not the main march theme.
• The ending of “The Sorcerer’s Apprentice” always gives me chills.
• I can only imagine what theaters in Alabama would make of “The Rite of Spring” if Disney tried to release it today.
• Just a reminder that every effect you see in this film is drawn by hand. No computers, just sheer manpower.
• “Rite of Spring” was animated before the “giant meteor” theory of dinosaur extinction, which would not be first theorized until 1953, and not become commonly accepted until the 1990s.
• My brother and I always got a kick out of the “soundtrack” as kids, especially when it replicates a bassoon sound.

• And now we arrive at Sunflower. Sunflower is the incredibly racially insensitive black centaurette that primps all the other centaurettes for their dates. She is digitally removed from all commercial copies of the film, but her original footage is still out there.

• My six degrees of separation from this film is that I am friends with the grandson of the woman who was one of the physical inspirations for the centaurettes – specifically this one. She was dating Disney animator X. Atencio at the time. Oh you crazy kids.
• While the pieces in “Fantasia” have no unifying theme, a lot of the animation tells stories of light overcoming darkness, especially in the second half. I guess it’s Disney’s subconscious continuation of the good vs. evil story they’ve always been best at.
• “Dance of the Hours” is Disney animation returning to its Silly Symphony roots, utilizing everything they learned from “Snow White” and “Pinocchio”. It is, for me, a highlight.
• This film ends with Satan worshipping! No way it would get made today!
• I always felt sorry for the people who live in the town at the base of Bald Mountain. That can’t be fun.

Legacy

• A continuation 60 years later, “Fantasia 2000” is not without its charm, but I always thought it tried just a little too hard.

• Sorcerer Mickey appears throughout Disney culture, most notably in Fantasmic!

• There is a very, very loose adaptation of “The Sorcerer’s Apprentice” starring Nicolas Cage.

• Countless parodies over the years, most notably Merry Melodies’ “A Corny Concerto” and Art Clokey’s “Gumbasia”

• My favorite bit of tie-in for the 1990 rerelease; a “Fantasia” video game for SEGA.

• And finally, “Dance of the Hours” got some long overdue lyrics in 1963 by Allan Sherman.

Listen to This: Igor Stravinsky was the only one of the film’s composers still living when “Fantasia” was released, and he did not like what Disney had done to his composition. The same year “Fantasia” came to theaters, the New York Philharmonic recorded their own version of Stravinsky’s “Rite of Spring”. They not only presented the piece uncut (Disney’s version is about 8 minutes shorter), but they let the composer himself conduct it!

#29) Gone with the Wind (1939)

OR “Dixie Chicks”

Directed by Victor Fleming (and a few uncredited directors)

Written by Sidney Howard (and many many script doctors). Based on the novel by Margaret Mitchell.

Class of 1989

UPDATE: This is the original version of my “Gone with the Wind” write-up. The revised and expanded version goes into more detail. Much, much more detail.

The only decent trailer I could find comes from the 1961 re-release, commemorating the Civil War’s centennial.

The Plot: Set against the Civil War and its aftermath, “Gone with the Wind” tells the story of spoiled Georgian plantation daughter Scarlett O’Hara (Vivien Leigh), who pines over her neighbor Ashley Wilkes (Leslie Howard). When she learns he is to marry his cousin Melanie (Olivia de Havilland), she becomes jealous and accepts Melanie’s brother’s proposal out of spite. Houseguest Rhett Butler (Clark Gable) witnesses all of this and immediately sees through Scarlett’s games. What follows is a decade-long bout of sexual tension between the two, as well as Scarlett’s riches-to-rags-to riches story.

Why It Matters: The NFR calls it “the definitive example of filmmaking in the Hollywood studio era” and praises the cast as well as Max Steiner’s score. There’s also a loving essay by author and film professor Molly Haskell.

But Does It Really?: For its technical achievements, absolutely. This is one of those epic “no expense spared” films, and it shows. For cultural impact, it’s also a definite yes. Practically every shot in this film is iconic, some of it still quite powerful. But as entertainment, like so many of the old classics, it’s just fine. Not an awful film by any stretch, but kinda hard to justify a 4-hour runtime. That being said I was drawn to both Gable and Leigh. Their characters are both awful people, but the two of them give compelling, conflicted performances that draw you in. The film will always be a classic, but I wouldn’t be surprised if future generations don’t revere it as much as filmgoers past.

Everybody Gets One: Worth noting are appearances by Leslie Howard, Butterfly McQueen and future Jack Benny staple Eddie “Rochester” Anderson. Pretty much everyone else in this film is best remembered for being in “Gone with the Wind”.

Wow, That’s Dated: Process shots for stuff that doesn’t require it, like dancing or running.

Title Track: The film’s title appears only once, during the opening crawl as a metaphor for the end of an era. The title appears only once in the novel as well, but in a much less flowery way.

Seriously, Oscars?: After earning a record-breaking 13 nominations, “Gone with the Wind” won a record-breaking 8 Oscars; including Picture, Director, Actress (Leigh), and Adapted Screenplay. Supporting Actress Hattie McDaniel’s win is most noteworthy; it was the first time an African-American won an Oscar, let alone was nominated. And this was 1940! Max Steiner’s iconic score lost to the equally iconic “The Wizard of Oz”. The “Gone with the Wind” juggernaut was such a foregone conclusion that first-time emcee Bob Hope opened the ceremony by calling it a “benefit for [GTTW producer] David Selznick”.

Other notes

• This is my first roadshow picture! Big prestige pictures in the studio era were released as roadshows and treated like a play or an opera; reserved seating, fancy programs, and an intermission. What a time to go to the movies.
• Special mention to Olivia de Havilland: In the hands a lesser actor Melanie could have been too goody-goody, but de Havilland (as she does in so many of her films) gives Melanie a quiet inner strength that helps hold the film together.
• Also worth mentioning is Hattie McDaniel’s work as Mammy. I’m not going to try to defend the type of stock character she plays; all I will say is that within those confines, McDaniel is giving the kind of good, steady performance that the Academy tends to ignore. I’m glad they didn’t.
• Geez, David Selznick’s name is all over the credits of this film. Clearly we know who the muscle is.
• Yes, let us be wistful for the days of “master and slave”. [Deep Exhale]
• This film features a man named Leslie playing a man named Ashley.
• Speaking of, either native Englishman Leslie Howard is attempting a Southern accent and failing, or he’s not attempting one at all. I honestly can’t tell.
• Yes, the sweeping romanticism of marrying your cousin. Cue the Steiner!
• Oh don’t worry; clearly the O’Hara’s were the “good kind” of slave owners. [Even Louder Deep Exhale, Mixed with Eye Roll]
• Butterfly McQueen, ladies and gentleman. Please read up on her actual life, she’s much more interesting than Prissy.

• Melanie is having the calmest childbirth in the history of film.
• I must admit the burning of Atlanta is still thrilling.
• Love that intermission music. Sounds like an all-skate. Everybody on the rink!

• Oh no, a Union soldier! Boo! Or…yay! I’m so confused right now.
• This film was made the same distance from the Civil War as we are currently from World War II. Think about that, won’t you?
• Ultimately, this is a Rolling Stones movie; Scarlett doesn’t get what she wants (Love from either man she desires), but she gets what she needs (an inner sense of self, and just as important, the land, Katie Scarlett, the land).
• Oh geez, I got so caught up in the historical whitewashing I didn’t even cover the marital rape that happens in this film. Goddamn you, “Gone with the Wind”.

Legacy

• Margaret Mitchell vowed never to write a sequel to “Gone with the Wind”, but that didn’t stop her estate after a grace period. The novel “Scarlett” came out in 1991 and was met with very negative reviews. It was adapted into a TV mini-series in 1994.

• An attempt to musicalize the novel opened in Japan in the ‘60s and went on to be one of the biggest musical flops of modern theater.
• This film is responsible for the funniest costume/punch-line combo in sketch comedy history (although the sketch wins no points for racial sensitivity).

• The search for an actress to play Scarlett O’Hara was so dramatic in its own right it eventually became a TV movie starring Tony Curtis.

• “Gone with the Wind” has helped fan the flame of Confederate pride over the years, so let’s blame this film for “Dukes of Hazzard”.

• And of course;

Further Viewing: Gone with the Wind…with Vampires!

#28) Rushmore (1998)

OR “Go Wes, Young Man”

Directed by Wes Anderson

Written by Anderson & Owen Wilson

Class of 2016

Original Trailer (PS: The film’s website doesn’t work anymore)

UPDATE: This is my original write-up of “Rushmore”. Read my updated and revised version here.

The Plot: Max Fischer (Jason Schwartzman, in his film debut!) is an underachieving student/overachieving everything else at Houston’s prestigious Rushmore Academy. In the fall of his sophomore year new teacher Rosemary Cross (Olivia Williams) joins the faculty and Max immediately takes notice. He starts to woo her, and she emphatically, but good-naturedly, rebuffs him. Around this time Max befriends local industrialist Herman Blume (Bill Murray) who also takes a liking to Rosemary. What follows is a bizarre love-triangle, followed by the culture shock when Max is expelled from Rushmore and has to go to public school for the first time.

Why It Matters: The NFR calls the film “a cultural milestone of Gen X and millennials” and praises the film’s “heightened reality”.

But Does It Really?: He’s only done eight films, but Wes Anderson has already made his mark on American film. It’s fun to watch this, only his second film, before you could start checking off boxes on your “Wes Anderson Bingo” card (I feel that kicks in around “Life Aquatic”). What Wes Anderson gives us here is a touching, funny, stylized but somehow still real look at the men who are children, and the children who are men.

Shout Outs: Anderson and Wilson have cited such NFR entries as “The Graduate” and “Harold and Maude” as influences on “Rushmore”. Be on the lookout for quick references to Schwartzman’s uncle’s films “The Godfather” and “Apocalypse Now”.

Everybody Gets One: Wes Anderson staples Jason Schwartzman, Brian Cox and Luke Wilson, as well as Olivia Williams. Plus that’s Alexis “Rory” Bledel as one of the students at Grover Cleveland High.

Wow, That’s Dated: Hard to find, what with Wes Anderson’s slightly dated style, but eagle-eyed viewers will notice such ‘90s things as tape recorders, desktop computers that take up a whole table, and people using taxi cabs as transportation.

Take a Shot: At long last, I found a film whose title makes a good drinking game. References to Rushmore come fast and loose in the beginning, but after that things level off and you get one every 10 minutes or so. Not too often, not too sparse, just right. Enjoy responsibly.

Seriously, Oscars?: Despite being a critical darling and winning a good number of precursor awards (including two Independent Spirit Awards), “Rushmore” was completely shut out at the 1998 Oscars. Bill Murray would have to wait five years and work with another Coppola to finally get his due. Anderson and Wilson would get their first nomination with their next project, “The Royal Tenenbaums”.

Other notes

• A few notes on the people who helped make “a Wes Anderson film”; cinematographer Robert Yeoman has worked on all seven of Wes’ live-action films. He earned his first Oscar nomination for “The Grand Budapest Hotel”. Production designer David Wasco worked on the first three films, then moved on to many noteworthy projects, recently winning his first Oscar for “La La Land”. Costume designer Karen Patch worked on the first three films and still costumes regularly, most recently for “Pee-wee’s Big Holiday”. Composer Mark Mothersbaugh worked on the first four films and is probably best known as the lead singer of Devo and for composing this earworm.
• Do kids still do Model UN anymore?
• I’m always amazed at Bill Murray’s ability to give us his usual “Murrayisms” but still be totally within the style of a Wes Anderson film. What this performance must have looked like for people who were used to seeing Bill Murray in crap like this.
• The best line in the film; “In summation, I have only one question: Is Latin dead?”
• That’s legendary “Simpsons” writer Wally Wolodarsky as the referee when Max watches/participates in the wrestling team. Anyone know how he ended up in the film? The credits mention thanks to James L. Brooks. Connection or coincidence?
• One of my favorite things about “Rushmore” is Wes Anderson’s sense of setting. Most of this film’s dialogue could be taking place with two people sitting across a table and talking, but Wes and Owen Wilson open everything up. For example; the scene where Max pitches Herman the aquarium takes place while Herman is going through his routine inspection of his factory. And when in doubt, set your scene outdoors. Herman giving Rosemary Max’s letter takes place in an outdoor painting class, which gives us the great image of Bill Murray hiding behind a tree. A+ choices all around.
• Sneakers are an interesting choice of shoes for Max. I guess I had him pegged as a loafers guy.
• “I Am Waiting” must be the cheapest Rolling Stones track to get the rights to.
• Speaking of the soundtrack, “Oh Yoko”? Okay then…
• I do enjoy Seymour Cassel in this film as Max’s father Bert. For some reason I always thought he was French (maybe the last name) and that he just does a solid American accent. Turns out he’s from Michigan. We’ll see more of him on the Registry when I start watching John Cassavetes.
• Ah, that point in the ‘90s when we could really start to make fun of Vietnam. Good times.

Legacy

• Well, Wes Anderson. Isn’t that enough?
• Bill Murray: Act II
• Owen Wilson would give up his screenwriting career to voice a talking car.

• At one point Max is reading “Diving for Sunken Treasure” by Jacques Costeau. Now don’t you get any ideas, Wes.

Further Viewing: The best Wes Anderson spoof made so far, SNL briefly dug itself out its post-Wiig, pre-2016 election slump to bring us the expertly made “The Midnight Coterie of Sinister Intruders”.

#27) Edison Kinetoscopic Record of a Sneeze (1894)

OR “The Right Snuff”

Directed by William K.L. Dickson

Class of 2015

The whole film, courtesy of the Library of Congress

The Plot: The harrowing true story of a journalist and a photographer trapped in Cambodia during the Khmer Rouge regime…no, wait, that’s “The Killing Fields”. This film is just some dude sneezing.

Why It Matters: The NFR cites the film’s representation as “the invention of the movies” and goes into the film’s history and preservation.

But Does It Really?: Purely as film, yes. And I don’t mean film as in a movie, I mean the actual physical film itself. It is the first baby step in what we now know as cinema. I’m genuinely surprised that it took the NFR 26 years to add “The Sneeze” to the Registry.

Everybody Gets One: A brief note on Fred Ott; a respected surgeon and gynecologist in his native Cambodia…no, wait, that’s Dr. Haing S. Ngor from “The Killing Fields”. Fred Ott was just some dude who worked for Edison.

Other notes

• For God’s sake Fred, cover your mouth!

Legacy

• This is technically the first snuff film. Thank you!
• Since it’s in the public domain, this is a handy clip to have in your “Great Moments in the Movies” montage.
• Fred Ott followed this film up with “Fred Ott Holding a Bird”. Unfortunately, early cinema audiences recognized an inferior sequel when they saw it, and avoided that film in droves.

• Director William K.L. Dickson went on to invent the mutoscope and direct the short “What the Butler Saw”, possibly the first film whose goal was pure titillation.

• This film has been remade several times, most notably as “That Scene in ‘Annie Hall’ Where Alvy Sneezes on the Cocaine”.

• Thomas Edison would go on to steal some of the world’s greatest inventions.

Listen to This: The National Recording Registry has several Edison recordings, but one of its most unique is a cylinder recording for a talking doll the Edison Company made in 1888. You can listen to the doll’s rendition of “Twinkle Twinkle Little Star” here, and then have fun trying to go to sleep tonight. Also be sure to check out the Library of Congress’ catalogue of Edison Picture and Sound Recordings.