Posts Tagged ‘movies’
The Found Footage Festival is a one-of-a-kind event that showcases footage from videos that were found at garage sales and thrift stores and in warehouses and dumpsters across the country.
Curators Joe Pickett and Nick Prueher take audiences on a guided tour of their latest and greatest VHS finds, providing live commentary and where-are-they-now updates on the people in these videotaped obscurities. From the curiously-produced industrial training video to the forsaken home movie donated to Goodwill, the Found Footage Festival resurrects these forgotten treasures and serves them up in a lively celebration of all things found…
Explore the wonders at the Found Footage Festival.
[TotH to my friends at the always-illuminating Recommendo]
* Emmanuel Ax
As we watch, wide-eyed, we might recall that it was on this date in 1933 that David O. Selznick accepted a job offer from his father-in-law, Lewis B. Mayer, and joined MGM as a Vice-President of Production.
Selznick has worked worked briefly at MGM earlier in his career, but had gotten momentum working at RKO (where he oversaw such hits as A Bill of Divorcement and King Kong). At MGM, he created a second “prestige production” unit, parallel to that of the powerful Irving Thalberg (Fitzgerald’s model for The Last Tycoon), who was in poor health. Selznick’s unit prodcued Dinner at Eight (1933), David Copperfield (1935), Anna Karenina (1935), and A Tale of Two Cities (1935).
In 1936, Selznick left to create his own production company. His successes continued with classics such as The Garden of Allah (1936), The Prisoner of Zenda (1937), A Star Is Born (1937), Nothing Sacred (1937), The Adventures of Tom Sawyer (1938), The Young in Heart (1938), Made for Each Other (1939), Intermezzo (1939) and Gone with the Wind (1939), which remains the highest-grossing film of all time (adjusted for inflation). Gone with the Wind won eight Oscars and two special awards– and Selznick won the Irving G. Thalberg Memorial Award that same year. In 1940 he produced his second Best Picture Oscar winner in a row, Rebecca, the first Hollywood production for British director Alfred Hitchcock.
While the rest of his career contained a number of successes (Spellbound, Since You Went Away, Duel in the Sun), it never again reached the heights he attained in 1939-40.
Freedocumentaries.org streams full-length documentary films free of charge, with no registration needed. For several films, we even offer the ability to watch trailers or to download the actual film.
The films are gathered by our researchers as we scour the web for well-produced videos and present them to our viewers. We adhere to all copyright laws and honor the wishes of the producers.
We created Freedocumentaries.org because we wanted to find an easy way to bring thought-provoking, educational, and entertaining documentaries to anyone with a high-speed internet connection. We believe that the mainstream media increasingly practices self-censorship, and that it ignores many opinions and historical events. With the media distorting or ignoring information, it’s often very hard to get an accurate picture of a problem, even while watching the news. Sites like Freedocumentaries.org are a much-needed counterbalance to corporate media: an industry dominated by special interests. Even though every dollar we make via advertising or donations is critical, we do not let any advertisers have any influence over which films we play. We would rather lose that money than lose our independence. And the fact that we won’t shy away from controversial films is one of the things that makes us unique.
While some of the films on our site have widespread distribution, others are created by independent filmmakers who depend on sites like ours to get their information to the public. The amount of work that these producers have put into making a 90-minute film is astounding. Different films create different reactions among different people.
There will be aspects of the films in which you may disagree or agree. After watching you may cry, become inspired, or you may get angry; in any case the films will get you thinking. We are proud that in the last two years, we have helped share these films with countless people that would not have seen the movies otherwise. We believe that we have made the world just a little better by doing so.
We are proud to help these independent filmmakers. We encourage you to visit their website and donate so that they can continue creating great films. If you haven’t done so yet, please watch a film. And if you enjoy the experience, tell your friends!
Over 450 choices, across an extraordinary range of topics, at Freedocumentaries.org.
* “The cinema is truth 24 frames-per-second” – Jon-Luc Godard
As we lean in to learn, we might send philosophical birthday greetings to Francois-Marie Arouet, better known as Voltaire; he was born in Paris on this date in 1694. The Father of the Age of Reason, he produced works in almost every literary form: plays, poems, novels, essays, and historical and scientific works– more than 2,000 books and pamphlets (and more than 20,000 letters). A social reformer, Voltaire used satire to criticize the intolerance, religious dogma, and oligopolistic privilege of his day, perhaps nowhere more sardonically than in Candide.
Screenwriters sending scripts to Essanay Studios, a Chicago company that produced silent films between 1907 and 1917, received this form rejection letter in response to their submissions. Here Essanay identified several common problems with scripts; some (“Too difficult to produce”) were probably more helpful to aspiring writers than others (“Not interesting”).
Essanay, named after the initials of its founders George Spoor and Gilbert Anderson, made Westerns and comedies from its Uptown Chicago headquarters and in California. (Its specialty in the Western explains the use of a stereotyped “Indian chief” head as logo.) Charlie Chaplin was a contract player for the company between 1915–1916 and made The Tramp while he was there. Chicago Tribune reporter Michael Wilmington suggests that Chaplin’s departure for a more lucrative contract in 1916 “hastened Essanay’s demise,” causing “a fatal rupture” between the two founders struggling with a sudden loss in income…
More (from the always-fascinating Rebecca Onion) at “A Harsh, but Efficient, Form Rejection Letter for Silent Film Screenwriters.
* Louis-Ferdinand Celine
As we inoculate our egos, we might spare a thought for Abel Gance; he died on this date in 1981. While Essanay was developing the comedic form, Gance– a French film director, writer, producer, actor, and theorist– was working across the Atlantic to lay the foundation for cinema as we’ve come to know it. One of the first to employ close-ups and dolly shots, he was instrumental in developing both the theory and the practice of montage as it came to be employed in film editing. He is probably best remembered for three major silent films: J’accuse (1919), La Roue (1923), and the monumental Napoléon (1927).
50+ examples: “Evolution of Horror Movie Poster Designs: 1922 – 2009.”
* Robert Anton Wilson
As we prepare to shriek, we might recall that it was on this date in 1947 that a secret executive order issued by President Harry Truman established Majestic 12, a secret committee of scientists, military leaders, and government officials empaneled to investigate UFO activity in the aftermath of the Roswell incident— or so many UFO conspiracy theorists believe. The purported documentary evidence of Majestic 12 has been judged fake by both the FBI and the Air Force (e.g., here)… but then, they would wouldn’t they…
Salvador Dali loved the Marx Brothers. He loved their madcap, anarchic comedy. In particular Dali loved Harpo Marx—the blonde corkscrew-haired comic mime whose visual comedy—unlike the quick witty repartee of his brother Groucho—was universal and needed no translation. Dali described Harpo as one of America’s three great Surrealists—the other two being Walt Disney and Cecil B. DeMille.
The pair first met at a party in Paris in 1936. Harpo told Dali how much he liked his paintings. Dali told Harpo how much he loved his films—in particular Animal Crackers, which he described as “the summit of the evolution of comic cinema.” Dali gushed over Harpo’s performance where he pulled fish and cutlery from his pocket and shot the hats of beautiful women—this was true Surrealism!
Understandably, the two men became friends…
Dali brought Harpo a gift—a movie script he wanted the Marx Brothers to make. The script was called Giraffes on Horseback Salads or The Surrealist Woman. It was a series of unconnected scenes typed in blue ribbon over twenty-two pages with various notes written in ink. Dali had already made two infamous films with his friend the director Luis Buñuel—Un Chien Andalou (1929) and L’Age d’Or. Now he wanted to cast Harpo and cinema’s “greatest Surrealist act,” the Marx Brothers, in a film that just might revolutionize Hollywood—or maybe not…
More on this extraordinary friendship– and a taste of Dali’s treatment for Giraffes on Horseback Salads— at “When Dali Met Harpo.”
[TotH to friend P.R.]
* Salvador Dali
As we recall that the Marx Brothers had a remarkable range of friends, we might send classy birthday greetings to one of them, Lou Gehrig; he was born Heinrich Ludwig Gehrig on this date in 1903. A first baseman for the New Your Yankees for 16 years, he was know (for his stamina) as “The Iron Horse.” A member of six World Series champion teams, he was an All-Star seven consecutive times, a Triple Crown winner once, an American League (AL) Most Valuable Player twice. He had a career .340 batting average, .632 slugging average, and a .447 on base average; he hit 493 home runs and had 1,995 runs batted in (RBI). Elected to the Baseball Hall of Fame in 1939– the year of his retirement– he was the first Major League player to have his uniform number (4) retired by a team.
He is pictured here with friends:
Though routinely credited, as above, as “Film Editor,” Tregoweth Edmond “Treg” Brown was the genius sound-effects wizard responsible for sound editing the Warner Brothers’ Looney Tunes and Merrie Melodies cartoons starting in 1936…
His musique concrète artistry worked directly in conjunction with Carl Stalling‘s hyper-active left-field orchestral scores to create the soundtrack to generations of kids lives. So many of these sounds are completely ingrained into our collective pop-culture (un)consciousness. So much so, that reviewing some of the old Looney Tunes cartoons as an adult, you tend to ignore how utterly ridiculous the doinks and twangs are, for they sound totally natural in context—a testament to Brown’s flawless editing of sounds demanded by the images.
In addition to his incredible sound design which won him a Sound Effects Oscar in 1965 for The Great Race, Brown is also credited with giving legendary Warner Brothers’ voice actor Mel Blanc his big break…
More at “The Sound Effects Madman Behind the Looney Tunes and Merrie Melodies Cartoons.” And much more– with wonderful examples– in this short documentary (part 2 here):
* David Lynch
As we perk up our ears, we might send melodic birthday greetings to Jerrald King “Jerry” Goldsmith; he was born on this date in 1929. One of film and television”s most accomplished composers and conductors, Goldsmith scored such noteworthy films as The Sand Pebbles, Logan’s Run, Planet of the Apes, Patton, Papillon, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Alien, Poltergeist, The Secret of NIMH, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films– in a career during which he was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards. In 1976, he was awarded an Oscar for The Omen.
While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany’s, The Pink Panther) said of Goldsmith, “… he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us.”
The lights begin to dim, ambient noises fade away, suddenly there is a burst of light overhead and you are transported… this is the premise of [photographer and one-time trial attorney Rick] Finkelstein‘s newest body of work: Sitting in the Dark with Strangers. In this latest series Finkelstein uses miniature figurines and meticulously fabricated sets to compose his images and explore the experience of the movies…
Sitting in the Dark with Strangers is on display at Robert Mann Gallery in New York City through the end of this month.
More images (and background) at “Artist Spotlight: Richard Finkelstein” (from whence these images), The Mann Gallery’s site, and “Photos of the Cinema-Going Experience Capture the Magic of Movies in Miniature.”
* Charles Chaplin (before he became famous as Charlie)
As we salt our popcorn, we might that it was on this date in 1941 that Paramount Picture’s released Preston Sturges’ Sullivan’s Travels. A picaresque satire that celebrates that movies, it has been selected for preservation in the United States National Film Registry by the Library of Congress, named one of the “Greatest Movies of All Time” by the American Film Institute.
The filmmaker was already on a roll. Not only had he been granted the honor of being one of Hollywood’s first writer/directors, but his last two films,The Great McGinty and The Lady Eve, were critical and commercial hits. Given as much creative freedom as a studio like Paramount could offer in 1941, Sturges crafted a smart, original fable about a comedy film director (Joel McCrea) who takes off to suffer in order to gain the experience necessary to make an “important” serious drama, Oh Brother, Where Art Thou? (a title later appropriated by the Coen brothers). Along the way, he teams up with “the Girl” (Veronica Lake), an aspiring actress who brings a dose of reality to the director’s noble aim. But just as soon as he learns his lesson, he’s robbed, thrown on a train, then arrested and put in prison in the Deep South. Sturges, who’d wanted to satirize contemporary high-toned depression dramas, was inspired by the tales of John Garfield living as a hobo in the 1930s. Towards the end of the film, Sullivan, who is taken with his prison chain gang to an African-American church, learns the real power of comedy when a Disney carton comes on the screen. This scene, often cited in reviews as demonstration of Sturges’ deft mix of social realism and mad comedy, in many ways accomplishes what Sullivan set off to do by paradoxically dismissing the importance of such social realistic filmmaking. What people in poverty and injustice need is a good laugh. But the scene has resonated for others in far different ways. The secretary of the NAACP wrote Sturges a letter praising his “dignified and decent treatment of Negroes in this scene.” On the other hand, the U.S. government’s Office of Censorship refused to approve the film for export, claiming that its portrayal of a chain gang, showing “the brutality and inhumanity with which the prisoners are treated” might serve as enemy propaganda. Most Americans, however, just found it hilarious, making the film Sturges’ next big hit.