Hollywood on Oakton Street: 2012

Everything Hitchcock!

The time has come! The time I have been waiting for decades for! The time I might have been waiting for from the day I was born! It is here! Alfred Hitchcock has come back into the realm of popular culture with a vengeance!!!!

My family got their first VCR for the Bears’ January 1986 Super Bowl. Shortly thereafter, I discovered Hitchcock. Having died in 1980, six years prior to my discovery of him, Hitchcock was no longer “in the news,” so to speak. I watched most of his movies and tried my best to find out everything I could about him, but most of the stuff I found was from ages ago. Yes, the occasional article would be written, but for the most part, Hitchcock was history!
History NO longer! There are 3…count them 3…new movies or television shows dedicated to the life and/or work of the Master of Suspense: Hitchcock, the feature film starring Anthony Hopkins as the director and Helen Mirren as his devoted wife, Alma; The Girl, an HBO movie starring Toby Jones as Hitchcock, about the making of The Birds; and Bates Motel, an A&E TV show starring Vera Farmiga as Mrs. Bates and Freddie Highmore as young Norman, about the early life of the Psycho family.
In addition to that (as if that wasn’t enough!), many of Hitchcock’s films are coming out on Blu-Ray and getting a lot of press, not to mention the British Film Institute and their months-long celebration of all things Hitchcock, to cap off their year-long “Rescue the Hitchcock 9” fundraiser to help restore nine of Hitchcock’s early British silent works. The event, appropriately titled The Genius of Hitchcock, was a full retrospective of his works plus guests and lectures speaking about all facets of Hitchcock.
So, basically, I’m on cloud nine. Finally, FINALLY, the masses are catching on to the brilliance and talent of Hitchcock. It’s about time!

Hitchcock Fest!

Recently, I flew to London to attend several days of the two-month-long The Genius of Hitchcock festival held at the British Film Institute’s Southbank campus.
Starting in June and ending after London’s yearly October film festival, the BFI pulled out all of the stops to honor one of their own…a British director who became an international sensation by helming such movies as Rear Window, Vertigo, Notorious and Psycho.

The Genius of Hitchcock celebration caps off the year-long fund-raising push entitled Rescue the Hitchcock 9, a campaign to save nine of Hitchcock’s early British silent films. These nine films are in dire need of restoration…without it, there is the chance they might be gone forever.
Being a BIT of a Hitchcock fan (OK…a little understatement —I’m obsessed), I would have loved to hunker down in London all four months, savoring classic after classic. But, there is this little thing called WORK, not to mention MONEY, of which staying in London requires a lot. So, alas, I settled on cramming in as many movies as I could in my limited time (five films, to be exact).
Have I seen all five before? You betcha. Do I own all five on DVD? Yes, I do. But, somehow, traveling over 3,700 miles to see movies I know by heart doesn’t seem all that silly to me. Obsessed, I tell you!
Like I said, I saw five of Hitchcock’s masterpieces (sadly none of the restored “Hitchcock 9” were playing when I was there). I watched a double feature of Shadow of a Doubt and The Man Who Knew Too Much (1956) on one night, followed by a double feature of Mr. and Mrs. Smith (no, not THAT one…the 1941 film with Robert Montgomery and Carole Lombard…the only romantic comedy Hitchcock ever made) and Strangers on a Train on the next.

But, the crème de la crème, the pièce de résistance was the 3D showing of Dial M for Murder. No, this is NOT NEW 3D…this is old, classic 3D. This is when 3D was done for effect and not financial gain. This is when 3D was not a marketing ploy.
I have a strong distain for the new wave of 3D films sweeping through Hollywood, though I am much more against 2D films being re-released in 3D, such as Titanic (1997) and Beauty and the Beast (1991). When I saw Scorsese’s Hugo (which I heard nothing but great things about in 3D), I specifically sought out the 2D version.
Maybe I’m equating my lack of interest in modern 3D with my lack of interest in most contemporary animation. Look at Snow White and the Seven Dwarfs —imagine how tedious and superior the animation process was back in 1937 and compare that with today’s inferior “computer” animating. So OK, modern 3D is not that bad…but, RE-RELEASING already-shot films just to capitalize on the 3D bandwagon is the last straw. Where will it end?
Dial M for Murder is different. Hitchcock filmed it in 3D but it was released in 1954 in mostly 2D. Aside from a limited 3D re-release in the early 1980s, most people have not seen Dial M for Murder in the original 3D Hitchcock intended it to be shown. And, among filmies, it is supposed to be one of the best, if not THE best, example of 3D filmmaking. And, after seeing it, not only does it not disappoint but I would have to agree that the use of 3D was amazing.
Unlike much of 1950s’ Hollywood 3D, nothing here is done just for the 3D effect (such as no paddleballs bouncing at the screen, a la The House of Wax (1953)). Everything here is done for a reason…the use of foregrounds and backgrounds become more of a 3D element than in-your-face effects. In one scene, the infamous purse that becomes a key item in the plot stands boldly in the foreground, with character action going on behind it. The purse, a simple inanimate object, looks as if it is right in the audience’s lap. And that is how Hitchcock uses 3D throughout the entire movie…subtly but OH SO effectively. But then again, would we expect anything less from the Master himself?
Keep in mind that as long as Hollywood keeps making money off of 3D, they will keep making these so-so 3D movies and…even worse, keep re-releasing existing 2D movies in 3D. If The Bridge on the River Kwai in 3D comes out in cinemas, I’m moving to Mongolia and living in among the yak herders in a nice yurt!
Madness, Madness. Soapbox over.

Bond, James Bond

Admittedly, I do not go to the movies as much as I used to. It’s attributed to somewhat having no time…somewhat it’s too expensive. But, mostly it’s that there are not any “Theater Worthy” movies out there. If I am going to spend $12 on a ticket and then $12 on concessions (I could leave this part out but what would be the fun in that), the movie better be worth it…meaning something which I have to see NOW and not just wait for the DVD…something I MUST see on the big screen. Finally, that something has arrived.

I have been waiting ALL YEAR for the 23rd (official) installment of the James Bond series: Skyfall. So much so that I had midnight tickets (a first) for an IMAX theater (first time in 10+ years). Boy, was I excited.
And Skyfall did not disappoint. It is not the BEST Bond movie ever (even Daniel Craig’s first Bond outing as 007 in Casino Royale was slightly better) but it was extraordinarily entertaining and exceeded my high expectations.
Craig stars as the super-spy, the consummate British agent with the License to Kill and orders from Her Majesty’s government to do anything necessary to get the job done. As in his two previous outings as Bond (should we even count Quantum of Solace?), Craig plays the MI6 agent very close to the chest. He’s not particularly worried about being suave, as Sean Connery was. He’s not anywhere near droll, which Roger Moore specialized in and which Pierce Brosnan also excelled in. He’s not sex-less like Timothy Dalton. He’s a man’s man. He’s tough all the time, brutal when he needs to be, heartless at times, romantic at others, and sensitive when the situation calls for it (rarely, but it does happen). There is no facade here…Craig’s Bond seems to stick to the adage: what you see if what you get. And, after wise-cracking Moore and Brosnan, frigid Dalton and super-smooth Connery, we need a Bond who is all of those…and much more.
So, will it be two+ more long, cold, Bond-less years until I step into a theater again…desperately waiting for the 24th installment? I hope not. But, it will be a tall order to top this theater experience anytime soon!

Waking the Dead (television series)

Even though I am a sucker for British TV series, I had somehow skipped this one because I thought it would be too much like CSI for me. But, it most definitely is not...it's a must see for anyone who likes crime shows. If anything, it's unlike most crime shows because it focuses on cold cases...cases no one cares about anymore. And, yes, there is a certain CSI and Bones aspect to it...since one of the team members is an forensic pathologist. But, the show is much more than that. It's about a people and the relationships between all of the team. They have to battle themselves and the past when looking into these past cases. All in all, a great, fascinating show that will keep you glued to your TV.

Third Finger, Left Hand

An adorable, fun film starring two of my favorite unsung actors...Myrna Loy and Melvyn Douglas. Loy stars as a single lady who pretends to be married to keep all unwanted suitors away...one in particular. Through a series of comic events, Douglas begins passing himself off as her husband, who was supposedly away on business. Myrna Loy has never been better than she is here. She is vibrant and full of life. She is constantly irritated at Douglas' character, even though we know she's madly smitten with him at the same time. And Douglas, who always has a knack for comic timing, is spot-on here as the goofy, long-lost hubby. The chemistry between both of them is perfect and sure to please all. I had seen this film once ages ago on Turner Classic Movies and wanted to re-watch it instantly. Unfortunately, it was never put on VHS (at least not that I could find) and took a while coming out on DVD...so now that it is out, please do yourself a favor a check it out!

Romeo and Juliet (1968)

BY FAR the best Romeo and Juliet adaptation out there, this film is a classic for The Bard himself would be proud of. Directed by Franco Zeffirelli and starring two then-unknown teenage actors as the star-crossed lovers, this movie oozes sensuality, humor and utter despair. Set, as the play is, in Verona, Italy, Romeo Montague meets Juliet Capulet and they fall in love at first sight. One MAJOR problem is that the Montagues and the Capulets are major enemies. We all know the rest of the story...what's special here is the way Zeffirelli captures the passion and the intensity of the romance. And by using teenagers, we focus on what their young, impulsive relationship might really have been like. After-all, no one is more impulsive than an adolescent. And, then there is the music Zeffirelli picked (probably the most famous part of the movie) and the way he shot the film with such lush colors and muted lighting. Basically, if you've never seen an adaption of this story, this is the one to watch. And if you have seen others, this one will surpass all!

Audiovisual DVD Lists

Film Fonts

How big a movie buff are you? Can you figure which movie this font is from?

Introducing the "Film Fonts" series. Every three months, the Cinema Cecilia logo will have a new font, based on a different movie. There will be adult, teen and kid films represented over the course of the year. Your challenge is to figure out what movie it's from.

Comment below if you figured it out!

Hitchcock and London 2012

As the Summer Olympics continue, I thought everyone might still be in a LONDON frame of mind. And since it is no secret that London is my favorite travel destination AND Alfred Hitchcck is my favorite film director, I decided to merge the two in honor of London 2012. Now, to make this list, the movie has to be shot ON LOCATION in London…not on a soundstage. Dial M for Murder is “set” in London, but it was shot in Hollywood. Using London as a location criteria, there are three films that make the list. Frenzy, I feel, is Hitchcock’s best USE of London on film but my personal favorite of his three set-in-London films is the 1956 version of The Man Who Knew Too Much, which is the first Hitchcock movie I ever saw.

This year, eyes and TV sets around the world will be focused on London, the capital of what is really a small island between the North Atlantic and the North Sea, also known as the United Kingdom. London is in England, one of four countries that make up the UK...the others being Northern Ireland, Wales and Scotland. What is it about London that makes it such a fascinating city?

Well, for one, unlike many European cities, London is seriously multicultural. VERY multicultural. And I'm not talking tourists. I'm talking residents. All races, religions, socioeconomic levels are on view throughout most parts of London. Yes, in some of the swankier sections (Knightsbridge, Mayfair to name two), most of the people have more than their fair share of Pound Sterling in their pockets. But, London is a mammoth, vast city with section upon section of diverse areas. Take Kensington...which borders ritzy area Knightsbridge and is not far from the also ritzy Chelsea. Kensington has more Indian restaurants than British restaurants it seems. The Indian dish Chicken tikka masala, not fish and chips, is even London's honorary national meal. When we think British, we think Protestant and white. In the countryside, maybe...but not in London.

I love movies and television. And I love the ins and the outs of Hollywood (OK – honestly I love it mostly so I can make fun of it, but still…). And usually when the two come together (meaning movies or TV shows ABOUT Hollywood), it rarely works. I mean there are hits…like The Player, Sunset Boulevard, or The Bad and the Beautiful. But, mostly there are misses. And then there are the movies that are set in the world of Hollywood but are more about other storylines and not really entirely focused on the movie business, such as Singin’ in the Rain, Hugo, Extras (well, that’s not HOLLYWOOD, per se, since it’s set in London, but it’s still a TV show about the movie/TV industry).

Episodes, like Extras, is a joint television presentation between Showtime and the BBC (Extras was between HBO and the BBC). And the cast is British/American too. The two main characters, TV screenwriters from London who move to Hollywood to “re-do” their hit UK show there, are British (Tamsin Greig as Beverly and Stephen Mangan as Sean). But, the “actor” who gets the part in the American version of the show is played by VERY-American actor Matt LeBlanc, best known for the iconic Joey on the iconic sitcom Friends. Because LeBlanc is the complete opposite of the character in the British version of the show, the entire show has to be re-worked to cater to LeBlanc’s younger, more attractive character. This, naturally, causes tension between Beverly and Sean since they know they have “sold out” for success and money.

The writing is rapier sharp…in all the right places. The humor is dark and sarcastic but super witty. The “Hollywood” characters have just the right tone of dishonesty/falseness. And the relationship between Beverly and Sean has just the right amount of homesickness, selfishness and pride. If you know anything at all about the goings-on of Hollywood, you will love this show. Even if you do not know about or even enjoy the “Hollywood” scene, I’m still thinking you will love it.

Movies I would JUST LOVE to see in 3D!

With the impending re-release of both Titanic (1997) and Beauty and the Beast (1991) in 3D, I decided I am fed up. Now, I confess to taking a 3D class in college (the class was actually Widescreen, 3D and Stereophonic sound). And I also confess that I would LOVE, LOVE, LOVE to see the 3D version of Alfred Hitchcock’s Dial “M” for Murder, that was filmed and never released. If anyone could do 3D like a master, it would ONLY be the Master of Suspense. But, I am tired of every movie and its mother being filmed in 3D, whether it is warranted or not. And RE-RELEASING already shot films just to capitalize on the 3D bandwagon is THE LAST STRAW. Where will it end, I thought.

So, I put together a list of other “sensible” (sarcasm intended) 3D re-releases. If any of these come out in cinemas, I’m moving to Mongolia and living in among the yak herders in a nice yurt!

10 Classic Movie Plots Condensed for Tweeting

Was sent this from a fellow blogger and reader of Hollywood on Oakton and LOVED IT! So I needed to share. Enjoy!

http://www.internetservice.net/2012/10-classic-movie-plots-condensed-for-tweeting/

Oscar show!

So, what did we think of the show? Well, even though Billy (Crystal) was back, the show still lacked some of its verve and vibrance from previous years. True, it was better than last year --but 2011 wasn't exactly a good year to compare things with, right? I mean at least Billy Crystal wasn't stoned (or at least didn't appear stoned) and he genuinely seemed like he was excited about hosting and being there. One good thing I can say for sure -- it was SHORT. I cannot remember a year when the Oscars doesn't hit the 3.5 hour mark. VERY GOOD in the length dept. In my own opinion, I could have done without the Cirque du Soleil and the overly self-serving montages of actors sharing why they love the movies. We get it...they are IN movies, so naturally they will LOVE movies. Move on!
Aside from all of that, I thought Billy Crystal did a good job of keeping the show moving forward at a good pace. Of course, there are always going to be draggy speeches and long, drawn-out parts (it is the Oscars after-all -- this is the pinnacle for Hollywood's ego). Over-all, though, I thought the show was pretty entertaining.
Now, for the winners (and losers). I am still a little sore that I was deprived of another George Clooney acceptance speech. And though Jean Dujardin was good in The Artist, Clooney was uncharacteristicly excellent in The Descendants...which is saying a lot considering that he's usually gives strong performances (Solaris, anyone???). And I though I love Meryl Streep like most other movie fans, I really, really wanted to see the double hit of Octavia Spencer (who won) and Viola Davis (who lost to Streep) from The Help. Davis got a lot of flack from being in a movie where she plays a Southern maid and I thought she really knocked it out of the park, regardless of controversy. Streep acted the heck out of Maggie Thatcher in The Iron Lady (just as Helen Mirren did several years ago with Queen Elizabeth II in her Oscar-winning performance in The Queen) but Meryl has won twice before and doesn't need another Oscar to prove her worth. An Oscar for Viola would have confirmed what moviegoers have known for a while: she's a powerhouse actress who's finally getting the acclaim she deserves.
Just my two cents from someone who loves the Oscars, loves the movies and loves talking about both!

Oscar Winners and Nominations from Sunday, February 26th

Best Picture
War Horse
The Artist *WINNER
Moneyball
The Descendants
The Tree of Life
Midnight in Paris
The Help
Hugo
Extremely Loud & Incredibly Close

Best Actress
Glenn Close, Albert Nobbs
Rooney Mara, The Girl With the Dragon Tattoo
Viola Davis, The Help
Meryl Streep, The Iron Lady *WINNER
Michelle Williams, My Week With Marilyn

Best Actor
Demian Bichir, A Better Life
George Clooney, The Descendants
Jean Dujardin, The Artist *WINNER
Gary Oldman, Tinker Tailor Soldier Spy
Brad Pitt, Moneyball

http://niles.patch.com/articles/artist-shines-silent-and-in-black-and-white

Oscar, Oscar, Oscar!!!!!!!!!!!!!!!!!!!!!!!!!!

Most of the things I’m going to talk about here are not original ideas (meaning that though they are my opinions, I’m not the first and only person to voice these comments). I try my best to be original, but alas, others might not be more original, but they are QUICKER with getting their opinions out there. I’m digressing…here are my thoughts on the 84th Oscar nominations announced on Tuesday, January 24th and to be presented on Sunday, February 26^th.

I was ECSTATIC about Demian Bichir in A Better Life getting a Best Actor nomination and even though a lot of people wanted poor Leonardo DiCaprio to get a nod for J. Edgar, watch both A Better Life and J. Edgar and I dare you to tell me that Leo was robbed! (Be prepared with your pillow for J. Edgar!)

No Young Adult nominations, especially none for potential Best Actress Charlize Theron. This one, I disagree with…I think Charlize deserved a nod here for this tough, honest performance about life after high school.

I also disagree with no David Fincher nomination for Best Director for The Girl with the Dragon Tattoo. Instead, Terrance Mallick for The Tree of Life gets the nomination. Really? Has the Academy seen The Tree of Life? Can they explain it to me? Yes, The Girl with the Dragon Tattoo is not a perfect film, but it is highly stylized and exceptionally shot. The Tree of Life is just exceptionally dull, confusing and BLAH.

No Best Supporting Actress nomination for Shailene Woodley from The Descendents…rather Janet McTeer got a nod for Albert Nobbs. Haven’t see Nobbs yet, but I think Shailene Woodley doesn’t have much to be upset about. She’s young and has a full career as an exceptional actress ahead of her. She’ll get a nomination one day.

No Drive nominations, including nothing for much-talked-about Best Supporting Actor candidate Albert Brooks. Instead, in this category, the Academy honored Jonah Hill from Moneyball and Max von Sydow from Extremely Loud and Incredibly Close. I haven’t seen Drive or Extremely Loud so I cannot speak about those, but I did see Moneyball and I fail to see what is the big deal about Jonah Hill’s performance. Brad Pitt, I understand, but Hill is just so-so. Any actor could have played this part. There is nothing exceptional in that performance.

Lastly, I have a MAJOR bone to pick with only ONE nomination for The Ides of March for Adapted Screenplay — notably missing is a Best Picture nod. The BRILLIANT (sarcasm) Academy decided to give Best Picture nods to instead to Extremely Loud and Incredibly Close and My FAV (sarcasm) The Tree of Life. The Ides of March is a strong film. It is a thriller, a drama, a political statement, a moral dilemma, and a statement of the current political situation in this country. It is not dull and confusing and mind-boggling, ala The Tree of Life. Again, I have yet to see Extremely Loud and Incredibly Close so I cannot speak of that one, but NO IDES OF MARCH is a travesty. The Academy was very proud of themselves when they announced in 2011 that there would not be a set number of Best Picture nominations…that the amount of Best Picture noms would be based on percentage of votes. Well, there must be a VERY LARGE percentage of the Academy sniffing glue!

OK – enough of me complaining. Here are the MAJOR categories with who I think is going to win IN BOLD and who I would love to see win IN RED. Where there is a just a RED pick, that means what I want to win and what I think will win are one in the same!

BEST PICTURE

‘The Artist’

‘The Descendants’

‘Extremely Loud & Incredibly Close’

‘The Help’

‘Hugo’

‘Midnight in Paris’

‘Moneyball’

‘The Tree of Life’

‘War Horse’

BEST DIRECTOR

Woody Allen, ‘Midnight in Paris’

Michel Hazanavicius, ‘The Artist’

Terrence Malick, ‘The Tree of Life’

Alexander Payne, ‘The Descendants’

Martin Scorsese, ‘Hugo’

BEST ACTOR

Demian Bichir, ‘A Better Life’

George Clooney, ‘The Descendants’

Jean Dujardin, ‘The Artist’

Gary Oldman, ‘Tinker Tailor Soldier Spy’

Brad Pitt, ‘Moneyball’

BEST ACTRESS

Glenn Close, ‘Albert Nobbs’

Viola Davis, "The Help"

Rooney Mara, ‘The Girl With the Dragon Tattoo’

Meryl Streep, ‘The Iron Lady’

Michelle Williams, ‘My Week With Marilyn’

BEST SUPPORTING ACTOR

Kenneth Branagh, ‘My Week With Marilyn’

Jonah Hill, ‘Moneyball’

Nick Nolte, ‘Warrior’

Christopher Plummer, ‘Beginners’

Max Von Sydow, ‘Extremely Loud & Incredibly Close’

BEST SUPPORTING ACTRESS

Berenice Bejo, ‘The Artist’

Jessica Chastain, ‘The Help’

Melissa McCarthy, ‘Bridesmaids’

Janet McTeer, ‘Albert Nobbs’

Octavia Spencer, ‘The Help’

BEST ORIGINAL SCREENPLAY

‘Midnight in Paris’

‘Margin Call’

‘A Separation’

‘The Artist’

‘Bridesmaids’

BEST ADAPTED SCREENPLAY

‘The Descendants’

‘Hugo’

‘The Ides of March’

‘Moneyball’

‘Tinker, Tailor, Soldier, Spy’

The Classics on DVD Decade by Decade From The National Film Registry

1900s-1920s

Blacksmithing Scene (1893) (part of the Treasures From American Film Archives)

Great Train Robbery, The (1903)

From The Manger to the Cross (1912)

In the Land of the War Canoes (1914)

Birth of a Nation, The (1915)

The Cheat (1915)

Regeneration (1915)

Hell's Hinges (1916) (part of the Treasures From American Film Archives)

Intolerance (1916)

The Immigrant (1917) (part of the Chaplin Mutuals)

Broken Blossoms (1919)

The Last of the Mohicans (1920)

The Kid (1921)

Tol’Able David (1921)

Foolish Wives (1922)

Nanook of the North (1922)

Salome (1922)

Safety Last (1923) (part of the Harold Lloyd Comedy Collection)

The Chechahcos (1924) (part of the Treasures From American Film Archives)

The Iron Horse (1924)

Peter Pan (1924)

Sherlock, Jr. (1924)

The Thief of Bagdad (1924)

Clash of the Wolves (1925) (part of the More Treasures From American Film Archives)

The Freshman (part of the Harold Lloyd Comedy Collection)

The Gold Rush (1925)

Lady Windermere's Fan (1925) (part of the More Treasures From American Film Archives)

The Lost World (1925)

Phantom of the Opera (1925)

Black Pirate, The (1926)

Mighty Like a Moose (1926) (part of the Charley Chase Collection)

Son of the Sheik, The (1926)

The Strong Man (1926) (part of the Harry Langdon Forgotten Clown collection)

Flesh and the Devil (1927)

General, The (1927)

It (1927)

Jazz Singer, The (1927)

Sunrise (1927)

The Cameraman (1928) (part of the Buster Keaton Collection)

The Fall of the House of Usher (1928) (part of the Treasures From American Film Archives)

There it is (1928) (part of the More Treasures From American Film Archives)

Applause (1929)

Big Business (1929) (Laurel and Hardy)

Hallelujah (1929)

1930s

All Quiet on the Western Front (1930)

The Big Trail (1930)

Little Caesar (1930)

City Lights (1931)

Dracula (1931)

Frankenstein (1931)

Front Page, The (1931)

Tabu (1931)

Freaks (1932)

Grand Hotel (1932)

I Am a Fugitive from a Chain Gang (1932)

Love Me Tonight (1932)

The Music Box (1932) (Laurel and Hardy)

Scarface (1932)

Trouble In Paradise (1932)

42nd Street (1933)

Baby Face (1933) (part of the Forbidden Hollywood Collection 1 set)

Duck Soup (1933)

The Emperor Jones (1933)

Footlight Parade (1933)

Gold Diggers Of 1933 (1933)

Invisible Man, The (1933)

King Kong (1933)

She Done Him Wrong (1933)

Imitation of Life (1934)

It Happened One Night (1934)

Punch Drunks (1934) (Three Stooges)

Tarzan and His Mate (1934)

The Thin Man (1934)

Twentieth Century (1934)

Bride of Frankenstein (1935)

A Night at the Opera (1935)

Top Hat (1935)

Dodsworth (1936)

Flash Gordon serial (1936)

Fury (1936)

Modern Times (1936)

My Man Godfrey (1936)

Swing Time (1936)

The Awful Truth (1937)

The Life of Emile Zola (1937)

The Prisoner of Zenda (1937)

Snow White and the Seven Dwarfs (1937)

The Adventures of Robin Hood (1938)

Bringing Up Baby (1938)

Jezebel (1938)

Love Finds Andy Hardy (1938)

Destry Rides Again (1939)

Gone With the Wind (1939)

Gunga Din (1939)

Mr. Smith Goes to Washington (1939)

Ninotchka (1939)

Stagecoach (1939)

The Wizard Of Oz (1939)

The Women (1939)

Young Mr. Lincoln (1939)

1940s

Mark of Zorro, The (1940)

The Bank Dick (1940)

Dance Girl Dance (1940)

Fantasia (1940)

The Grapes of Wrath (1940)

The Great Dictator (1940)

His Girl Friday (1940)

Melody Ranch (Gene Autry) (1940)

The Philadelphia Story (1940)

Pinocchio (1940)

The Shop Around The Corner (1940)

The Blood of Jesus (1941)

Citizen Kane (1941)

How Green Was My Valley (1941)

The Lady Eve (1941)

The Maltese Falcon (1941)

Sergeant York (1941)

Sullivan's Travels (1941)

Casablanca (1942)

Cat People (1942)

Mrs. Miniver (1942)

Now, Voyager (1942)

Road to Morocco (1942)

To Be or Not To Be (1942)

Woman of the Year (1942)

Yankee Doodle Dandy (1942)

Lassie Come Home (1943)

The Ox-Bow Incident (1943)

Shadow of a Doubt (1943)

Stormy Weather (1943)

Why We Fight (Series Of Films) (1943)

Double Indemnity (1944)

Going My Way (1944)

Laura (1944)

Meet Me in St. Louis (1944)

Miracle of Morgan's Creek (1944)

National Velvet (1944)

The Lost Weekend (1945)

Mildred Pierce (1945)

Story of G.I. Joe, The (1945)

Tree Grows in Brooklyn, A (1945)

The Best Years of Our Lives (1946)

The Big Sleep (1946)

Detour (1946)

It's a Wonderful Life (1946)

Killers, The (1946)

My Darling Clementine (1946)

Notorious (1946)

Miracle on 34th Street (1947)

Out of the Past (1947)

Abbott and Costello Meet Frankenstein (1948)

Force of Evil (1948)

Letter from an Unknown Woman (1948)

Louisiana Story (1948)

The Naked City (1948)

Red River (1948)

The Treasure of the Sierra Madre (1948)

Adam's Rib (1949)

All the King's Men (1949)

Gun Crazy (1949)

The Heiress (1949)

Twelve O’clock High (1949)

White Heat (1949)

1950s

All About Eve (1950)

Asphalt Jungle, The (1950)

D.O.A. (1950)

In a Lonely Place (1950)

Sunset Boulevard (1950)

The African Queen (1951)

An American in Paris (1951)

The Day the Earth Stood Still (1951)

A Place in the Sun (1951)

A Streetcar Named Desire (1951)

The Thing from Another World (1951)

The Bad and the Beautiful (1952)

Bambi (1952)

High Noon (1952)

Singin' In the Rain (1952)

The Band Wagon (1953)

The Big Heat (1953)

Duck Amuck (1953) (Looney Tunes cartoon)

From Here to Eternity (1953)

The Hitch-Hiker (1953)

The Little Fugitive (1953)

The Naked Spur (1953)

Roman Holiday (1953)

Shane (1953)

War of the Worlds (1953)

Carmen Jones (1954)

Johnny Guitar (1954)

On The Waterfront (1954)

Rear Window (1954)

Sabrina (1954)

Salt of the Earth (1954)

Seven Brides for Seven Brothers (1954)

A Star Is Born (1954)

All That Heaven Allows (1955)

Kiss Me Deadly (1955)

Marty (1955)

The Night of the Hunter (1955)

Oklahoma (1955)

Rebel Without a Cause (1955)

The Court Jester (1956)

Giant (1956)

Invasion of the Body Snatchers (1956)

The Searchers (1956)

The Ten Commandments (1956)

12 Angry Men (1957)

The Bridge on the River Kwai (1957)

Face in the Crowd, A (1957)

Incredible Shrinking Man, The (1957)

Jailhouse Rock (1957)

Paths of Glory (1957)

Sweet Smell of Success (1957)

7th Voyage of Sinbad, The (1958)

Gigi (1958)

Touch Of Evil (1958)

Vertigo (1958)

Ben-Hur (1959)

Jazz On a Summer's Day (1959)

North by Northwest (1959)

Pillow Talk (1959)

Shadows (1959)

Some Like It Hot (1959)

1960s

The Apartment (1960)

The Fall of the House of Usher (1960)

Primary (1960)

Psycho (1960)

Dog Star Man (1961-1964) (By Brakhage collection)

Exiles, The (1961)

Flower Drum Song (1961)

The Hustler (1961)

A Raisin in the Sun (1961)

West Side Story (1961)

How the West Was Won (1962)

Lawrence of Arabia (1962)

The Man Who Shot Liberty Valance (1962)

The Manchurian Candidate (1962)

The Music Man (1962)

Ride the High Country (1962)

To Kill a Mockingbird (1962)

The Nutty Professor (1963)

Shock Corridor (1963)

Dr. Strangelove (1964)

Nothing but a Man (1964)

Point Of Order (1964)

Pink Panther, The (1964)

The Sound Of Music (1964)

Pawnbroker, The (1965)

The Endless Summer (1966)

Bonnie and Clyde (1967)

Cool Hand Luke (1967)

Don't Look Back (1967)

The Graduate (1967)

In Cold Blood (1967)

In The Heat of the Night (1967)

2001: A Space Odyssey (1968)

Bullitt (1968)

Faces (1968)

Night of the Living Dead (1968)

Planet of the Apes (1968)

The Producers (1968)

Once Upon a Time in the West (1968)

Butch Cassidy and the Sundance Kid (1969)

Easy Rider (1969)

Medium Cool (1969)

Midnight Cowboy (1969)

Salesman (1969)

The Wild Bunch (1969)

1970s

Five Easy Pieces (1970)

M*A*S*H (1970)

Patton (1970)

Woodstock(1970)

The French Connection (1971)

McCabe and Mrs. Miller (1971)

The Hospital (1971)

Shaft (1971)

Cabaret (1972)

Deliverance (1972)

The Godfather (1972)

Harold and Maude (1972)

Exorcist, The (1973)

The Last Picture Show (1972)

American Graffiti (1973)

Badlands (1973)

Enter the Dragon (1973)

Mean Streets (1973)

The Sting (1973)

Antonia: A Portrait Of The Woman (1974)

Blazing Saddles (1974)

Chinatown (1974)

The Conversation (1974)

The Godfather, Part II (1974)

A Woman Under the Influence (1974)

Young Frankenstein (1974)

Dog Day Afternoon (1975)

Hester Street (1975)

Jaws (1975)

Nashville (1975)

One Flew Over the Cuckoo's Nest (1975)

The Rocky Horror Picture Show (1975)

All the President’s Men (1976)

Grey Gardens (NF) (1976)

Harlan County, U.S.A. (1976) (NF)

Network (1976)

The Outlaw Josey Wales (1976)

Rocky (1976)

Taxi Driver (1976)

Annie Hall (1977)

Close Encounters of the Third Kind (1977)

Saturday Night Fever (1977)

Star Wars (1977)

Animal House (1978)

Days of Heaven (1978)

The Deer Hunter (1978)

Eraserhead (1978)

Halloween (1978)

Alien (1979)

All That Jazz (1979)

Apocalypse Now (1979)

The Black Stallion (1979)

Manhattan (1979)

Norma Rae (1979)

1980s-1990s

Airplane (1980)

Atlantic City (1980)

Empire Strikes Back, The (1980)

Raging Bull (1980)

Return of the Secaucus 7 (1980)

Raiders of the Lost Ark (1981)

Blade Runner (1982)

Chan is Missing (1982)

E.T. The Extra-Terrestrial (1982)

Fast Times at Ridgemont High (1982)

Tootsie (1982)

Koyaanisqatsi (1983)

Stranger Than Paradise (1984)

Terminator, The (1984)

This Is Spinal Tap (1984)

Back to the Future (1985)

Hoosiers (1986)

Sherman's March (1986)

The Thin Blue Line (1988)

Do the Right Thing (1989)

Sex, Lies and Videotape (1989)

Dances with Wolves (1990)

Goodfellas (1990)

Beauty and the Beast (1991)

Boyz N the Hood (1991)

Daughters of the Dust (1991)

Silence of the Lambs (1991)

El Mariachi (1992)

Malcolm X (1992)

Unforgiven (1992)

Groundhog Day (1993)

Schindler's List (1993)

Forrest Gump (1994)

Hoop Dreams (1994) (NF)

Toy Story (1995)

Fargo (1996)