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National Film Registry 2005
Library of Congress Press Release
EMBARGOED UNTIL
10 A.M. EST, 12/27/2005
FILMS SELECTED TO
THE NATIONAL FILM REGISTRY,
LIBRARY OF CONGRESS - 2005
1) Baby Face (1933)
2) The Buffalo Creek Flood: An Act of Man (1975)
3) The Cameraman (1928)
4) Commandment Keeper Church, Beaufort South Carolina, May 1940 (1940)
5) Cool Hand Luke (1967)
6) Fast Times at Ridgemont High (1982)
7) The French Connection (1971)
8) Giant (1956)
9) H2O (1929)
10) Hands Up (1926)
11) Hoop Dreams (1994)
12) House of Usher (1960)
13) Imitation of Life (1934)
14) Jeffries-Johnson World's Championship Boxing Contest (1910)
15) Making of an American (1920)
16) Miracle on 34th Street (1947)
17) Mom and Dad (1944)
18) The Music Man (1962)
19) Power of the Press (1928)
20) A Raisin in the Sun (1961)
21) The Rocky Horror Picture Show (1975)
22) San Francisco Earthquake and FireApril 18, 1906 (1906)
23) The Sting (1973)
24) A Time for Burning (1966)
25) Toy Story (1995)
Embargoed until 10 a.m. Tuesday, December 27
December 27, 2005
Press contact: Sheryl Cannady (202) 707-6456, scannady@loc.gov
LIBRARIAN OF CONGRESS ADDS 25 FILMS
TO NATIONAL FILM REGISTRY
Librarian of Congress James H. Billington today announced
his annual selection of 25 motion pictures to be added to the
National Film Registry (see attached list). This group of titles
brings the total number of films placed on the Registry to 425.
Under the terms of the National Film Preservation Act, each year
the Librarian of Congress names 25 "culturally, historically or
aesthetically" significant motion pictures to the Registry. The list
is designed to reflect the full breadth and diversity of America's
film heritage, thus increasing public awareness of the richness of
American cinema and the need for its preservation. In making the
announcement, the Librarian said, "The moving picture is not so
much the art form as the language of our century. Motion pictures
are a national treasure and we must treat them as such. Our film
heritage is America's living past and a key part of our cultural
heritage we must save. By preserving American films, we
safeguard a significant element of American creativity and our
cultural history for the enjoyment and education of future generations."
Congress established the National Film Registry in 1989 and most
recently reauthorized the program in April 2005 when it passed
the "Family Entertainment and Copyright Act of 2005"
(Public Law 109-9). The Librarian noted: "This legislation signifies
great congressional interest in ensuring that motion pictures
survive as an art form and a record of our times." Among other
provisions, this important legislation reauthorized the National
Film Preservation Board, increased funding authorizations for
the private sector National Film Preservation Foundation, and
amended Section 108(h) of U.S. Copyright Law, so that for works
in their final 20 years of copyright, libraries and archives now may
make these works accessible for research and education if the
works are not already commercially available.
This year's selections span the years [insert range], and encompass
films ranging from Hollywood classics to lesser-known, but still vital,
works. Among the films named this year: [Insert blurbs on selected titles]
The Librarian chose this year's selections after evaluating nearly
1,000 titles nominated by the public and conducting intensive
discussions with the Library's Motion Picture division staff and
the distinguished members and alternates of his advisory group,
the National Film Preservation Board. The board also advises the
Librarian on national film preservation policy.
"The films we choose are not necessarily the 'best' American films
ever made or the most famous, but they are films that continue to
have cultural, historical or aesthetic significance -- and in many
cases represent countless other films also deserving of recognition,"
Billington observed. "The selection of a film, I stress, is not an
endorsement of its ideology or content, but rather a recognition of
the film's importance to American film and cultural history and to
history in general. The Registry stands among the finest summations
of American cinema's wondrous first 100+ years."
The 425 films in the National Film Registry represent a stunning range
of American filmmaking - including Hollywood features, documentaries,
avant-garde and amateur productions, films of regional interest, ethnic,
animated and short film subjects -- all deserving recognition,
preservation and access by future generations.
This key component of American cultural history, however, remains a
legacy with much already lost or in peril. Billington explained: "In spite
of the heroic efforts of archives, the motion picture industry and others,
America's film heritage, by any measure, is an endangered species. Fifty
percent of the films produced before 1950 and 80 to 90 percent made
before 1920 have disappeared forever. Sadly, our enthusiasm for watching
films has proved far greater than our commitment to preserving them. And,
ominously, more films are lost each year -- through the ravages of nitrate
deterioration, color-fading and the recently discovered 'vinegar syndrome,'
which threatens the acetate-based [safety] film stock on which the vast
majority of motion pictures, past and present, have been reproduced."
For each title named to the registry, the Library of Congress works to
ensure that the film is preserved for all time, either through the Library's
massive motion picture preservation program or through collaborative
ventures with other archives, motion picture studios and independent
filmmakers. The Library of Congress contains the largest collections of
film and television in the world, from the earliest surviving copyrighted
motion picture to the latest feature releases. For more information,
consult the National Film Preservation Board Web site at www.loc.gov/film.
# # #
EMBARGOED UNTIL
10 A.M. EST, 12/27/2005
FILMS SELECTED TO
THE NATIONAL FILM REGISTRY,
LIBRARY OF CONGRESS - 2005
1) Baby Face (1933)
2) The Buffalo Creek Flood: An Act of Man (1975)
3) The Cameraman (1928)
4) Commandment Keeper Church, Beaufort South Carolina, May 1940 (1940)
5) Cool Hand Luke (1967)
6) Fast Times at Ridgemont High (1982)
7) The French Connection (1971)
8) Giant (1956)
9) H2O (1929)
10) Hands Up (1926)
11) Hoop Dreams (1994)
12) House of Usher (1960)
13) Imitation of Life (1934)
14) Jeffries-Johnson World's Championship Boxing Contest (1910)
15) Making of an American (1920)
16) Miracle on 34th Street (1947)
17) Mom and Dad (1944)
18) The Music Man (1962)
19) Power of the Press (1928)
20) A Raisin in the Sun (1961)
21) The Rocky Horror Picture Show (1975)
22) San Francisco Earthquake and Fire, April 18, 1906 (1906)
23) The Sting (1973)
24) A Time for Burning (1966)
25) Toy Story (1995)
PR
12/27/05
ISSN
Baby Face (1933)
Smart and sultry Barbara Stanwyck uses her feminine wiles to
scale the corporate ladder, amassing male admirers who are
only too willing to help a poor working girl. One of the more
notorious melodramas of the pre-Code era, a period when
the movie industry relaxed its censorship standards. This
relative freedom resulted in a cycle of gritty, audacious films
that resonated with Depression-battered audiences. Films
such as Baby Face led to the imposition of the Production
Code in 1934.
The Buffalo Creek Flood: An Act of Man (1975)
This powerful documentary by the Kentucky-based arts and
education center Appalshop represents the finest in regional
film-making, providing important understanding of the
environmental and cultural history of the Appalachian region.
The 1972 Buffalo Creek Flood Disaster, caused by the failure
of a coal-waste dam, killed more than 100 people and left
thousands in West Virginia homeless. Local citizens invited
Appalshop to come to the area and make a film of the
historical record, fearing that the Pittston Coal Company's
powerful influence in the state would lead to a whitewash
investigation and absolve it of any corporate culpability
(indeed the Company maintained the flood was simply "an
Act of God"). Newsweek hailed the film as "a devastating
expose of the collusion between state officials and coal
executives."
The Cameraman (1928)
This film sadly marked the last of Buster Keaton's sublime
comedy classics. Here Keaton is an aspiring newsreel
cameraman out to win the heart of Marceline Day. A
seamless, ingenious blend of comedy and pathos,
featuring countless creative sight gags.
Commandment Keeper Church, Beaufort South Carolina, May 1940 (1940)
A set of field recordings made by a pioneering ethnographic
film team led by acclaimed author (and innovative
anthropologist/folklorist) Zora Neale Hurston, Jane Belo
and others. Amazing footage, especially worthy of recognition
since synchronous sound recordings were made, capturing
singing, instrumental music, sermons, and religious services
among this South Carolina Gullah community. These audio
recordings have recently been rediscovered and are being
reunited with the film footage.
Cool Hand Luke (1967)
Paul Newman in a classic loner, anti-hero role of the
chain-gang prisoner who refuses to give in to the attempts
of guards to crack him: "What we've got here is a failure
to communicate." The legendary egg-eating scene is certain
to raise cholesterol levels in any viewer.
Fast Times at Ridgemont High (1982)
Considered by many as arguably the finest teen comedy
of recent decades, this Amy Heckerling 1980s cultural
film icon combines a tender, compassionate treatment
of adolescence with hilarious performances. The script
was based on 22-year old Rolling Stone writer (and
later film director) Cameron Crowe's spending nine
months undercover as a student at San Diego's
Clairemont High School (As Crowe noted wittily: "I
dated lightly during that time. My agent told me there
was a morals clause in my contract and I believed him.")
The cast contains an appealing mix of soon-to-be-famous
young talent (Jennifer Jason Leigh, Judge Reinhold)
spending serious time at the Mall ("You're the one who
told me I was going to get a boyfriend at the Mall.") and
working in fast-food restaurants ("I shall serve no fries
before their time.") Most memorable is Sean Penn who
steals the show as the spaced-out, ultimate surfer-dude
Jeff Spicoli ("This is U.S. History, I see the Globe right
there.")
The French Connection (1971)
Maverick cop thriller which reinvented car chases and
the way to shoot New York City (cinematography by Owen
Roizman). Features gripping action scenes and a
career-making performance from intense, bend-the-rules-
when-necessary cop Gene Hackman as Popeye Doyle.
Giant (1956)
A monumental "event" film, from the era when Hollywood
made truly "BIG" pictures. George Stevens and a
memorable cast (Elizabeth Taylor, Rock Hudson and
James Dean) bring Edna Ferber's epic sprawling novel
of the Texas plains to life with panoramic visual style
and memorable small touches. Over 3 hours long, but
one of the top films from the 1950s and a breathtaking
example of the American film as spectacle.
H2O (1929)
Renowned experimental film by Ralph Steiner, who later
served as cameraman and/or director on documentary
classics such as The City and The Plow that Broke the
Plains. H2O is a cinematic tone poem to water in all its
forms, using lovely images and editing techniques of
movement, shading and texture to produce striking
visual effects.
Hands Up (1926)
As a comic actor, Raymond Griffith was worlds away
from the frantic, rubber?faced funnymen who
stereotypically appeared in silent films. An easy
elegance was his stock?in?trade: when Mr. Griffith
performed a gag, he executed it with understatement
and panache. In the Civil War saga Hands Up, Griffith
is not only an amusingly intrepid Confederate spy, but
also an endearing romantic figure with two young
women vying for his attentions.
Hoop Dreams (1994)
This groundbreaking, multi-year account of two
inner-city Chicago kids trying to win college basketball
scholarships provides an intimate and comprehensive
account of the life and limited options of lower class
black families in America.
House of Usher (1960)
The talents of Vincent Price, writer Richard Matheson,
director Roger Corman, and the legacy of Edgar Allan
Poe combined in the first of American International
Pictures's series of films that dominated horror on the
screen in the 1960s. Despite shooting schedules that
rarely ran more than three weeks or budgets over
$500,000, the AIP Price-Corman-Matheson-Poe series
offered elegant, literary adaptations and luminous decor
and color photography that established a new standard
for screen horror. Corman's prodigious output includes
over 50 films directed and over 300 produced. His
films helped launch the careers of a galaxy of Hollywood
talent including Jack Nicholson, Robert DeNiro, Dennis
Hopper, Francis Ford Coppola, Martin Scorsese, Ron
Howard and James Cameron.
Imitation of Life (1934)
One of American cinema's most famous example of the
"woman's picture," melodramas which focused on the
emotions, problems and concerns of women. This
John Stahl film adaptation of Fannie Hurst's novel has
an innovative ahead of its time theme involving a
white widow (Claudette Colbert) who starts a business
partnership with her African-American maid (Louise
Beavers), and is arguably the first Hollywood studio
film to treat African-American characters in a dignified
fashion with richly-developed roles, and not merely
comics or entertainers.
Jeffries-Johnson World's Championship Boxing Contest (1910)
A signal moment in American race relations, this
recording of the July 4th heavyweight title fight
between champion Jack Johnson and former
champion James J. Jeffries became the most widely
discussed and written about motion picture made
before 1915's The Birth of a Nation. Several of
the leading American production-distribution
companies (all MPPC members) pooled their resources
to shoot the film for the one-off J. & J. Co.
An intense discourse on racial identity
engulfed press coverage of "white hope" Jeffries's
attempt to unseat the first African-American heavyweight
champion. In A Hard Road to Glory: A History of
African-American Athletes (1988), Arthur Ashe
concurs with other historians that Johnson's defeat
of Jeffries was, for black America, nothing less than
the most important event since Emancipation. The
feature-length motion-picture recording of Johnson's
victory remained the subject of debate and press
coverage for two years. The $100,000 production
was widely exhibited internationally, but also
often censored. Congress took up a bill to ban the
traffic prizefight pictures in 1910, ultimately making
it a federal crime from 1912 until 1940.
Making of an American (1920)
Produced by the State of Connecticut, this silent
short is a sincere, dramatically effective public
education film aimed at persuading immigrants to
learn English. The drama's protagonist is an
Italian laborer who attends night school and with
his newly-acquired English skills obtains a better
job. The film's intertitles address the audience
in English, Italian and Polish.
Unlike so many artifacts from the
post-WWI "Americanization" movement, this
film avoids ugly stereotyping or xenophobic
tone and a telling example both of regional
film-making and the "sponsored film."
Miracle on 34th Street (1947)
Beloved, timeless fantasy classic of a man
who goes to court to prove he is Santa Claus
and keep the holiday from becoming too commercial.
Mom and Dad (1944)
The most successful exploitation film of all time,
a low-budget but relentlessly promoted, socially
significant film which amazingly finished as the 3rd
highest grossing film during the 1940s.
Producer/promoter Kroger Babb made tens of
millions of dollars with this $62,000 sex-hygiene
exploitation film. He produced some 300 prints of
this feature drama and roadshowed it for more than a
decade, each print traveling with a lecturer (and
two nurses) who promoted Mom and Dad's
"educational" value, always a step ahead of the
censors. Time Magazine dryly noted that Mom
and Dad "left only the livestock unaware of the
chance to learn the facts of life."
The Music Man (1962)
A touchstone film in the "Small Town America"
film genre, this film adaptation of Meredith Willson's
dramatic paean to Iowa and the Midwest is
Americana at its finest. Con-man extraordinaire
Harold Hill (Robert Preston) brings his revolutionary
"think system" to the sleepy little town of River City,
Iowa, and his charismatic magnetism to the attention
of town misfit and repressed librarian Shirley Jones.
Preston's pulsating energy and classic musical
numbers ("Trouble," "76 Trombones,") make the
film's charms well-nigh irresistible.
Power of the Press (1928)
Frank Capra made so many world?renowned classics
in the sound era that we tend to overlook his impressive
and fascinating work from the 1920s. This dexterous
newspaper yarn features Douglas Fairbanks Jr. as a
reporter investigating a murder. When he discovers
rampant political chicanery afoot, what's a clever
young Capra hero to do? Expose the corruption, of
course, and set his hometown to rights.
A Raisin in the Sun (1961)
Model film adaptation of Lorraine Hansbury's classic
play about a black lower middle class family. The
legendary cast is a veritable who's who of the Civil
Rights era: Sidney Poiter, Claudia McNeil and Ruby Dee.
The Rocky Horror Picture Show (1975)
The penultimate "midnight movie," Rocky Horror
revolutionized prevailing notions of audience participation
during film screenings. Words to remember: "It's
astounding, time is fleeting, madness takes its toll."
San Francisco Earthquake and Fire, April 18, 1906 (1906)
Documentary landmark with footage depicting one
of the most horrific American natural disasters.
The Sting (1973)
Classic Newman and Redford con-game crime caper,
which also sparked a national resurgence of interest
in Scott Joplin's ragtime music used for the score
("The Entertainer," among other tunes). Brilliant,
evocative recreation of Depression-era Chicago.
A Time for Burning (1966)
Hailed by Fred Friendly as "the best civil rights film
ever made," this cinema verite documentary by Bill Jersey
chronicles the ultimately unsuccessful attempts of a Nebraska
Lutheran minister to integrate his church. Contains some
of the best observational "fly on the wall" footage ever
filmed, filled with incisive scenes showing people struggling
with their prejudices, anger, disillusionment, changing
social times and hopes for the future.
Toy Story (1995)
Changed animation's face and delivery system. The first
full-length animated feature to be created entirely by artists
using computer tools and technology. Andy's current toys
have to learn to live with his new fave playmate, "to infinity
and beyond," galactic superhero Buzz Lightyear.
12/27/05
Credits for Films Selected to
the 2005 National Film Registry
of the Library of Congress
[Note: Credits are provided for informational purposes
only and in no way meant to be definitive or comprehensive]
1) Baby Face (Warner Bros., 1933) 75 minutes, b&w
Director: Alfred E. Green
Screenplay: Gene Markey and Kathryn Scola,
based on a story by Mark Canfield
Cinematographer: James Van Trees, A.S.C.
Music/Lyrics: Harry Akst, Benny Davis and W.C. Handy
Editor: Howard Bretherton
Art Direction: Anton Grot
Cast: Barbara Stanwyck, George Brent, Donald Cook,
Alphonse Ethier, Henry Kolker, Margaret Lindsay, Arthur Hohl,
John Wayne, Robert Barrat, Douglas Dumbrille, Theresa Harris
2) Buffalo Creek Flood: An Act of Man (Appalshop, 1975)
40 minutes, b&w
Director: Mimi Pickering
3) The Cameraman (Metro-Goldwyn-Mayer, 1928) Silent, b&w,
69 minutes
Director: Buster Keaton
Producer: Edward Sedgwick
Scenario: Richard Schayer, based on a story by Clyde Bruckman
and Lew Lipton. Titles: Joseph Farnham
Cinematographers: Elgin Lessley and Reggie Lanning
Editor: Hugh Wynn or Basil Wrangell
Cast: Buster Keaton, Marceline Day, Harry Gribbon, Harold
Goodwin and Sidney Bracy
4) Commandment Keeper Church, Beaufort, South Carolina, May, 1940
42 minutes, silent with separate sound, b&w
Onsite project director: Zora Neale Hurston
Project Organizer: Jane Belo
Cinematographers: Lou Brandt and Bob Lawrence
5) Cool Hand Luke (Jalem Prod./Warner Bros.-Seven Arts)
126 minutes, Technicolor
Producer: Gordon Carroll
Director: Stuart Rosenberg
Screenplay: Donn Pearce and Frank R. Pierson, based on a
novel by Pearce
Cinematographer: Conrad Hall, A.S.C.
Editor: Sam O'Steen
Music: Lalo Schifrin
Cast: Paul Newman, George Kennedy, J.D. Cannon, Lou Antonio,
Robert Drivas, Strother Martin, Jo Van Fleet, Clifton James, Morgan
Woodward, Luke Askew, Marc Cavell, Richard Davalos, Robert
Donner, Warren Finnerty, Dennis Hopper, John McLiam, Wayne
Rogers, Harry Dean Stanton, Charles Tyner, Ralph Waite
6) Fast Times at Ridgemont High (Universal, 1982)
92 minutes, color
Producer: Art Linson and Irving Azoff
Director: Amy Heckerling
Writer: Cameron Crowe, based on his book
Cinematographer: Matthew R. Leonetti, A.S.C.
Editor: Eric Jenkins
Music: Joe Walsh
Cast: Sean Penn, Jennifer Jason Leigh, Judge Reinhold, Robert
Romanus, Brian Backer, Phoebe Cates, Ray Walston, Scott
Thomson, Vincent Schiavelli, Amanda Wyss
7) The French Connection (20th Century-Fox, 1971)
104 minutes, color
Producer: Philip D'Antoni
Director: William Friedkin
Screenplay: Ernest Tidyman, based on the book by Robin Moore
Cinematographer: Owen Roizman, A.S.C.
Editor: Jerry Greenberg
Music: Don Ellis
Cast: Gene Hackman, Fernando Rey, Roy Scheider, Tony
LoBianco, Marcel Bozzuffi, Frederic de Pasquale, Bill Hickman,
Ann Rebbot, Harold Gary, Arlene Farber, Eddie Egan,
Sonny Grosso
8) Giant (Warner Bros., 1956) 201 minutes, color
Producers: George Stevens and Henry Ginsberg
Director: George Stevens
Screenplay: Fred Guiol and Ivan Moffat, based on the
Edna Ferber novel
Cinematographer: William C. Mellor
Editors: William Hornbeck, Philip W. Anderson and Fred Bohanen
Music: Dmitri Tiomkin
Cast: Elizabeth Taylor, Rock Hudson, James Dean, Mercedes
McCambridge, Jane Withers, Chill Wills, Carroll Baker, Dennis
Hopper, Elsa Cardenas, Fran Bennett, Sal Mineo, Alexander
Scourby, Earl Holliman
9) H2O (Ralph Steiner, 1929) 14 minutes, Silent, b&w
Director/Cinematographer/Editor: Ralph Steiner
10) Hands Up (Famous Players-Lasky, Paramount, 1926)
Silent, b&w, 56 minutes
Producer: Adolph Zukor
Director: Clarence Badger
Screenplay: Monte Brice and Lloyd Corrigan, based on a story by
Reginald Morris
Cinematographer: H. Kinley Martin
Cast: Raymond Griffith, Marion Nixon, Virginia Lee Corbin, Mack
Swain, Montague Love, George Billings, Noble Johnson, Charles
K. French
11) Hoop Dreams (Kartemquin Films,KCTA-TV/Fine Line Features, 1994)
169 minutes, color
Director: Steve James
Cinematographers: Frederick Marx, Steve James and Peter Gilbert
Editors: Frederick Marx, Steve James and Bill Haugse
Narrator: Steve James
Appearing: Williams Gates, Arthur Agee, Emma Gates, Curtis
Gates, Sheila Agee, Arthur "Bo" Agee, Earl Smith, Gene
Pingatore, Isiah Thomas, Luther Bedford, Dick Vitale, Kevin
O'Neill, Bobby Knight, Joey Meyer, Spike Lee, Bo Ellis,
Bob Gibbons
12) House of Usher (American International Pictures, 1960)
85 minutes, color, CinemaScope
Producer/Director: Roger Corman
Screenplay: Richard Matheson, based on the story by Edgar Allen Poe
Cinematographer: Floyd Crosby, A.S.C.
Editor: Anthony Carras
Music: Les Baxter
Cast: Vincent Price, Mark Damon, Myrna Fahey, Harry Ellerbee
13) Imitation of Life (Universal, 1934) 109 minutes, b&w
Producer: Carl Laemmle, Jr.
Director: John M. Stahl
Screenplay: William Hurlbut, based on the Fannie Hurst novel
Cinematographer: Merritt Gerstad, A.S.C.
Editors: Philip Kahn and Maurice Wright
Cast: Claudette Colbert, Warren William, Rochelle Hudson,
Ned Sparks, Louise Beavers, Baby Jane, Sebie Hendricks,
Dorothy Black, Fredi Washington, Alan Hale,
Henry Armetta, Henry Kolker
14) Jeffries-Johnson World's Championship Boxing Contest (J&J Co., 1910)
15) Making of an American (Connecticut Dept. of Americanization, 1920)
14 minutes, silent, b&w
16) Miracle on 34th Street (Twentieth Century-Fox, 1947) b&w, 96 minutes
Producer: William Perlberg
Director: George Seaton
Screenplay: George Seaton, based on a story by Valentine Davies
Cinematographers: Charles Clarke, A.S.C. and Lloyd Ahern, A.S.C.
Editor: Robert Simpson
Cast: Maureen O'Hara, John Payne, Edmund Gwenn, Gene Lockhart,
Natalie Wood, Porter Hall, William Frawley, Alvin Greenman, Jerome
Cowan, Robert Hyatt, Philip Tonge
17) Mom and Dad (Hygienic Productions, 1944) b&w, 87 minutes
Producers: J. S. Jossey and Kroger Babb
Director: William Beaudine
Screenplay: Mildred Horn, based on an original story by Horn and Kroger Babb
Cinematographer: Barney Saracky
Music: Eddie Kay
Cast: Hardie Albright, Sarah Blake, Lois Austin, George Eldridge, June Carlson
Jimmy Clark, Bob Lowell
18) The Music Man (Warner Bros., 1962) 151 minutes, Technicolor
Producer/Director: Morton DaCosta
Screenplay: Marion Hargrove based on the Broadway musical by
Meredith Willson and Franklin Lacey
Cinematographer: Robert Burks, A.S.C.
Editor: William Zieglar
Music Score: Ray Heindorf, based on music/lyrics by Meredith Willson
Choreography: Onna White
Cast: Robert Preston, Shirley Jones, Buddy Hackett, Hermione Gingold,
Paul Ford, Pert Kelton, Al Shea, Wayne Ward, Vern Reed, Ronny Howard
19) The Power of the Press (Columbia, 1928) Silent, b&w, 62 minutes
Producer: Jack Cohn
Director: Frank Capra
Adaptation/Continuity: Frederick Thompson and Sonya Levien, based on a story by
Thompson
Cinematographers: Chet Lyons, A.S.C. and Ted Tetzlaff, A.S.C.
Editor: Frank Atkinson
Cast: Douglas Fairbanks, Jr., Jobyna Ralston, Mildred Harris,
Philo McCullough, Wheeler Oakman, Robert Edeson, Edwards
Davis, Del Henderson, Charles Clary
20) A Raisin in the Sun (Columbia, 1961) 128 minutes, b&w
Producers: David Susskind and Philip Rose
Director: Daniel Petrie
Screenplay: Lorraine Hansberry, based on her play
Cinematographer: Charles Lawton, Jr., A.S.C.
Editor: William A. Lyon and Paul Weatherwax
Music: Laurence Rosenthal
Cast: Sidney Poitier, Ruby Dee, Stephen Perry, Claudia
McNeil, Diana Sands, Ivan Dixon, Louis Gossett, Joel Fluellen
21) The Rocky Horror Picture Show (Twentieth Century-Fox, 1975)
95 minutes, color
Producers: Michael White, Lou Adler
Director: Jim Sharman
Screenplay: Jim Sharman and Richard O'Brien, based on O'Brien's play
Cinematographer: Peter Suschitzky, A.S.C.
Editor: Graeme Clifford
Choreographer: David Toguri
Music/Lyrics: Richard O'Brien
Cast: Tim Curry, Barry Bostwick, Susan Sarandon, Richard
O'Brien, Jonathan Adams, Nell Campbell, Peter Hinwood,
Meat Loaf, Patricia Quinn, Charles Gray
22) San Francisco Earthquake and Fire, April 18, 1906
silent, b&w, 13 minutes
23) The Sting (Universal, 1973) 129 minutes, Technicolor
Producers: Tony Bill, Michael and Julia Phillips
Director: George Roy Hill
Writer: David Ward
Cinematographer: Robert Surtees, A.S.C.
Editor: William Reynolds
Musical Adaptation: Marvin Hamlisch of music by Scott Joplin and
John Philip Souza
Cast: Robert Redford, Paul Newman, Robert Shaw, Robert Earl
Jones, Charles Durning, Ray Walston, Harold Gould, John Hefferman,
Dana Elcar, Eileen Brennan, Dimitra Arliss, Jack Kehoe
24) A Time for Burning
(Lutheran Film Associates & Quest Prod./Contemporary Films 1966)
58 minutes, b&w
Producer: William Jersey
Directors/Editors: William Jersey and Barbara Connell
25 Toy Story (Pixar/Disney, 1995) 80 minutes, color
Producers: Ralph Guggenheim and Bonnie Arnold
Supervising Technical Director: William Reeves
Director: John Lasseter
Screenplay: Joss Whedon, Andrew Stanton, Joel Cohen and Alec Sokolow, based on an
original story by John Lasseter, Andrew Stanton, Pete Docter and Joe Ranft
Music: Randy Newman
Art Director: Ralph Eggleston
Editors: Robert Gordon and Lee Unkrich
Supervising Animator: Pete Docter
Cast: Voices by Tom Hanks, Tim Allen, Don Rickles, Jim Varney, Wallace
Shawn, John Ratzenberger, Annie Potts, John Morris, Erik Von Detten,
Laurie Metcalf, R. Lee Ermey, Sarah Freeman, Penn Jillette
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