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National Film Registry Year by Year


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  • 10 months later...

Continuation of her favorite films:

She also mentioned on her twitter feed that she accidentally put Milky Way on both lists. She picked Topkapi.

Anna Biller mentioned this as well:

She highly recommends the film Madame X starring Lana Turner. I have yet to see the film, but I feel like I want to give it a try.

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On 12/15/2020 at 2:33 PM, Sepiatone said:

You do know, BLACHEFAN,  that  you could have put all that info in ONE post?  ;) 

Sepiatone

I appreciate what you say. But I have an idiosyncratic method that I would use instead of doing it the traditional way.

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On 12/19/2020 at 12:03 PM, fxreyman said:

Oh boy... here we go again with the listing of celebrities' favorite films....

If you have something to say about that. Then you have to put down your favorite movie list. Otherwise, as they say, suck it up.

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On 11/29/2019 at 11:41 AM, kingrat said:

Thank you for posting these. Too bad there isn't a cutoff date for eligibility: twenty, thirty, or forty years in the past, unless there's an urgent need for preserving a particular film. 2017 is a fairly dismal list. I'm not fond of Only Angels Have Wings, but choosing the least deserving among Guess Who's Coming to Dinner, Superman, Die Hard, and Titanic would be a Herculean task. Spartacus would probably be the most deserving.

2018 is a much stronger group. Rebecca, Leave Her to Heaven, The Lady from Shanghai, On the Town, Pickup on South Street, Bad Day at Black Rock, Days of Wine and Roses--most of these films should have been picked years ago. One-Eyed Jacks doesn't belong here; many superior westerns remain unchosen. As much as I like Brokeback Mountain, selecting a film only 14 years old makes no sense.

I have several favorites in 2017:  Gentleman's Agreement, Ace in the Hole, Memento, Dumbo,  Field of Dreams and, yes, Only Angels Have Wings.  But I agree that 2018 is a stronger selection, with my favorites being The Navigator, The Informer, Rebecca, Leave Her to Heaven, On the Town, Pickup on South Street, Bad Day at Black Rock, Days of Wine and Roses, Hud, My Fair Lady, Monterey Pop, Hearts and Minds, The Shining and Broadcast News.  (Of these, my top favorite is Hud.)

And let me also add my thanks, Blachefan, for reminding us about the National Film Registry yearly lists.  I believe we can make recommendations at their web site for the coming year, and I'm going to head over there right now.

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On 11/7/2021 at 9:42 PM, BLACHEFAN said:

If you have something to say about that. Then you have to put down your favorite movie list. Otherwise, as they say, suck it up.

I don't have to suck it up... I have listed my favorites... Look over on the Your Favorites Forum under the thread titled LISTS.

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Unfortunately the list has become, over the last several years, a slog of PC and corporate tie-in entries. The board that votes on this is made up of industry insiders. The actual meetings are top secret (that tells you a lot right there) and although they ask for the public to vote for films to be inducted, I doubt these votes are seriously considered.  Ultimately, the lists are about exclusion as much as they are about inclusion.

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  • 1 month later...

2021

Ringling Brothers Parade Film (1902)

Jubilo (1919)

The Flying Ace (1926)

Hellbound Train (1930)

Flowers and Trees (1932)

Strangers on a Train (1951)

What Ever Happened to Baby Jane? (1962)

Evergreen (1965)

Requiem-29 (1970)

The Murder of Fred Hampton (1971)

Pink Flamingos (1972)

Sounder (1972)

The Long Goodbye (1973)

Cooley High (1975)

Richard Pryor: Live in Concert (1979)

Chicana (1979)

The Wobblies (1979)

Star Wars Episode VI --- Return of the Jedi (1983)

A Nightmare on Elm Street (1984)

Stop Making Sense (1984)

Who Killed Vincent Chin? (1987)

The Watermelon Woman (1996)

Selena (1997)

The Lord of the Rings: The Fellowship of the Ring (2001)

WALL-E (2008)

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Chicana (1979)

Producer/director Sylvia Morales created “Chicana,” a 22-minute collage of artworks, stills, documentary footage, narration and testimonies, to provide a counterpart to earlier film accounts of Mexican and Mexican-American history that all but erased women’s lives from their narratives. Centering on successive struggles by women from the pre-Columbian era to the present to combat exploitation, break out of cultural stereotypes, and organize for national independence, women’s education, and the rights of workers, “Chicana” resurrects an arresting array of proto-feminist icons to inspire Chicana feminists with role models from their cultural past. In 1977, Morales, an artist and cinematographer who had worked at KABC in Los Angeles and was enrolled in UCLA’s film school, became enthralled with a slide show created by Chicano Studies teacher Anna Nieto-Gómez that included a history of Mexican women of which Morales was unaware. With Nieto-Gómez’s support, Morales conducted additional research with Cynthia Honesto, hired composer Carmen Moreno to score the film and renowned actress Carmen Zapata to narrate it, shot documentary footage, and recorded interviews with Chicana activists Dolores Huerta, Alicia Escalante, and Francisca Flores to incorporate as voice-overs into the film. Acknowledged as a brilliant and pioneering feminist Latina critique, “Chicana” has served as a stepping stone for Morales’ distinguished career as a writer and director of acclaimed cable and public television documentary and fiction productions. UCLA has digitally scanned the best surviving picture sources for interim preservation purposes and hopes to turn this provisional work into a full restoration effort.

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Cooley High (1975)

NPR has called “Cooley High” a “classic of black cinema” and “a touchstone for filmmakers like John Singleton and Spike Lee.” Set in Chicago’s Cabrini Green housing project, “Cooley” is — at least at its start — a coming-of-age comedy about African American friends making the most of their halcyon high school days. But they soon find their lives and futures threatened when a small scuffle at a party escalates and projects them into a series of legal jeopardies. Though often compared to 1973’s “American Graffiti,” “Cooley” stands beautifully on its own thanks to its unique sensibilities, the taut direction of Michael Schultz and the incredible naturalistic acting styles of its entire cast — which included Lawrence Hilton-Jacobs, Garrett Morris and Glynn Turman. Made on a small budget, “Cooley” would become one of the biggest critical and commercial successes of 1975. Retooled, “Cooley High” would also serve as the genesis for the successful TV sitcom “What’s Happening!!”

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Evergreen (1965)

Before co-founding The Doors and the band learning their craft in Los Angeles clubs such as London Fog and Whisky a Go, Ray Manzarek attended UCLA’s Film School, where he met fellow film student Jim Morrison. While at UCLA, credited as Raymond D. Manzarek, he created the student film “Evergreen,” about a jazz musician (Henry Crismonde) and his romance with an art student (played by Manzarek’s then girlfriend and future wife Dorothy Fujikawa). Manzarek was always a huge fan of the potential of cinema. He once noted, “Film is the art form of the 20th century, combining photography, music, acting, writing, everything. Everything that I was interested in all came together with that one art form.” In “Evergreen,” which has been called a “12-minute, West Coast, cool jazz, cinematic tryst,” one can definitely spot the influence of the French New Wave and filmmakers such as Jean Luc Godard. The film’s title reportedly comes from the Beat literary magazine, The Evergreen Review, and “Evergreen” features music by Herbie Mann/The Bill Evans Trio and the Jazz Crusaders. The location shots of mid-1960s Los Angeles comprise a magical time capsule of their own. Fujikawa sums up the impact of film on Manzarek and Morrison: “I think film informed his work and Jim’s work throughout their musical careers,” she said. “They always thought of their songs as cinematic expressions. They were always sort of little stories that were dramatic and told a story with music. In that way they were cinematic songs.” The film has been digitally restored by the UCLA Film and Television Archive.

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Flowers and Trees (1932)

In the darkest days of the Great Depression, audiences welcomed a diversion when they went to theaters. Studios responded with Busby Berkeley musicals, risqué pre-Code films and trippy animations such as the Fleischer Studios’ Betty Boop cartoons. Those attending the 1932 premiere of Disney’s “Flowers and Trees” watched birds singing and trees awakening, all in spectacular hues: “Flowers and Trees” was the first three-strip Technicolor film shown to the public, and the dawning of a new era. The overwhelming response convinced Walt Disney to make all future Silly Symphony shorts in color and a few years later came features like “Snow White and the Seven Dwarfs.” Even today, the hand-drawn animation and vibrant Technicolor continues to charm and dazzle, showing new audiences the magic cinema can bring.

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The Flying Ace (1926)

The Norman Film Manufacturing Company of Jacksonville, Florida, was an important producer of “race films,” movies made specifically for Black audiences. Although owned by Richard Norman, a white man, the studio’s films tended to portray a world in which whites, and thus racism, was completely absent and Black relationships are at the center of the story. “The Flying Ace” is an excellent example, a romance-in-the-skies drama with a compelling cast, including Kathryn Boyd playing a character inspired by Bessie Colman, the first African American woman pilot.

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Hellbound Train (1930)

This surreal and mesmerizing allegorical film by traveling evangelists James and Eloyce Gist is an important and, until recently, overlooked milestone in Black cinema. Painstakingly reassembled from more than 100 reels of 16mm at the Library of Congress by filmmaker S. Torriano Berry, this early example of independent community filmmaking is a fierce and entertaining condemnation of sinfulness with Satan portrayed as a tempting conductor.  The Gists showed this silent film in Black churches accompanied by a sermon and religious music.

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Jubilo (1919)

In the third film of his illustrious motion picture career, humorist and cowboy philosopher Will Rogers enacted the easy-going, likable tramp Jubilo, named after a Civil War song in which enslaved people using stereotypical dialect celebrate their hoped for emancipation. Theater organists and pianists no doubt played the tune repeatedly throughout the picture, and for years afterwards, it became a signature song for Rogers, a multiracial member of the Cherokee nation who often portrayed a comic trickster common in both African American and Native American cultures. Despite its predictable plot, “Jubilo” was distinguished by the uniquely human character Rogers created and the title cards he authored that gave national audiences a taste of the topical remarks he would casually toss off from the stage as he entertained New York audiences with his roping and horseback riding tricks. One card, appearing after his character spends a night trying to fix an automobile, satirizes Henry Ford’s recently unsuccessful political ambitions with the line, “No wonder he wasn’t elected to the Senate with everyone owning one of these.” Reviewers praised Rogers’ “wonderfully natural creation” and “rugged sense of humor,” and a few years later, director Erich von Stroheim commended Rogers’ pictures for their character-driven realism, a desired quality he found otherwise lacking in most of Hollywood’s more plot-dominated productions. The film is preserved by the Museum of Modern Art.

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The Long Goodbye (1973)

In “The Long Goodbye,” Elliott Gould, star of such counterculture classics as “M*A*S*H*” and “Little Murders,” brings Raymond Chandler’s iconic depression-era detective Philip Marlowe into a contemporary Hollywood-infused setting where his moral compass seems anachronistic. Robert Altman directed this richly complex, iconoclastic and highly entertaining detective mystery with a script by Leigh Brackett, who had co-authored the screenplay of the film noir classic “The Big Sleep,” in which Humphrey Bogart epitomized Chandler’s hard-nosed individualist hero for an earlier generation. The inspired, non-traditional cast, some of whom Altman encouraged to create their own characters and lines, includes Sterling Hayden, Jim Bouton, Nina van Pallandt, Mark Rydell and Henry Gibson. Shot by pictorially-inclined cinematographer Vilmos Zsigmond near the beginning of his illustrious career, “The Long Goodbye” employs unsettling, ever-moving camerawork and compositions that masterfully utilize the transparent and reflective surfaces common in southern California modernist architecture. Altman and Zsigmond’s technique allows viewers to eavesdrop on a corrupt world of trivial pursuits and shocking violence that has left many of its inhabitants impotent, indifferent or deeply scarred. Gould’s repeated signature line, “Its OK with me,” resonates throughout until Chandler’s shining knight ends the film with a morally ambiguous resolution. Zsigmond won the National Society of Film Critics’ award for best cinematographer for his work in “The Long Goodbye.”

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The Lord of the Rings: The Fellowship of the Ring (2001)

Director Peter Jackson kicked off his epic trilogy of films of J.R.R. Tolkien’s beloved oeuvre with this 2001 film. From its visually stunning depiction of Middle-Earth to his large, expert, all-star casting (Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, Hugo Weaving, John Rhys-Davies, Orlando Bloom, Christopher Lee and Andy Serkis), Jackson and company created a respectful, literate adaptation of one of the world’s most cherished series of written works. Key to making all this magic work and the story of Hobbits surprisingly human are the heartfelt performances (led by Wood as Frodo and McKellen as Gandalf). The combination of magnificent production values and scenes filmed in spectacular New Zealand locations made this a must-see, particularly on wide screens in a cinema.

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