National Film Registry 2008: SERGEANT YORK, THE PERILS OF PAULINE
Gary Cooper in Sergeant York
National Film Registry 2008 Article
National Film Registry 2008 Line-Up: Part I
The March (1964)
George Stevens Jr., who headed the United States Information Agency (USIA) Motion Picture Service unit from 1962-67, brought in several young talented documentary filmmakers such as Charles Guggenheim, Carroll Ballard, Kent McKenzie, Leo Seltzer, Terry Sanders, Bruce Herschensohn, and James Blue, who directed "The March." This period ushered in the "Golden Era" of USIA films. Examining the 1963 Civil Rights March on Washington from the ground-level and focusing on the idealistic passion, joy and synergy of the crowds, Blue’s documentary lets us see the event take shape from the planning stage — with sound checks and worries about whether people will attend — to the arrival of enormous crowds on parades of trains and buses. It culminates in Martin Luther King’s electrifying "I Have a Dream" speech. These USIA films were rarely seen in America because, fearing propaganda, the 1948 Smith-Mundt Act mandated that no USIA film could be shown domestically without a special act of Congress. These films are being rediscovered because a 1990 act of Congress (P.L. 101-246) authorized domestic screening 12 years after release.
No Lies (1973)
Done in faux cinéma vérité style, Mitchell Block’s 16-minute New York University student film begins on a note of insouciant amateurism and then convincingly moves into darker, deeper waters. Opening with a scene of a girl getting ready for a date, the camera-wielding protagonist adroitly orchestrates a mood shift from goofiness to raw pain as an interviewer tears down the girl’s emotional defenses after being raped. One of the first films to deal with the way rape victims are treated when they seek professional help for sexual assault, "No Lies" still possesses a searing resonance and has been widely viewed by nurses, therapists and police officers.
On the Bowery (1957)
"On the Bowery" is Lionel Rogosin’s acclaimed, unrelenting docudrama about the infamous New York City zone known as the Bowery. The film focuses on three of its alcoholic skid row denizens and their marginal existence amid the gin mills, missions and flop houses. Bosley Crowther in The New York Times wrote that "this is a dismal exposition to be charging people money to see." Rogosin and his small crew spent months on the Bowery observing and talking with residents. They crafted the film as a "synthesis" of Bowery life, and it remains a wrenching portrait of hopelessness, despair and broken dreams. The film’s writer, Mark Sufrin, wrote in an issue of Sight and Sound magazine: "Very few, once they hit the Bowery, ever leave, are reclaimed, or rehabilitated…I had escaped that frightening place. They still remain."
One Week (1920)
"One Week" is the first publicly released two-reel short film starring Buster Keaton. One of Keaton’s finest films and one of the greatest short comedies produced during the 1920s, the film, as critic Walter Kerr noted, shows Keaton as "a garden at the moment of blooming." Considered astonishingly creative even by contemporary standards, "One Week" is rife with hilarious comic, often surrealist, sequences chronicling the ill-fated attempts of a newlywed couple to assemble their new home.
The Pawnbroker (1965)
"The Pawnbroker" was the first Hollywood film to depict in a realistic, psychologically probing manner the trauma of a Holocaust survivor, a subject previously taboo because of the fear of poor box office or offending delicate sensitivities. Rod Steiger’s astounding performance — as he tries to repress his memories of the anguish, physical and emotional shame of being an internment-camp inmate — also serves a perfect allegory for American film’s own struggles to represent this major tragedy of 20th century history.
The Perils of Pauline (1914)
"The Perils of Pauline" was the first American movie serial. Produced in 20 episodes, in a groundbreaking long-form motion-picture narrative structure, the series starred Pearl White as a young and wealthy heiress whose ingenuity, self-reliance and pluck enable her to regularly outwit a guardian intent on stealing her fortune. The film became an international hit and spawned a succession of elaborate American adventure serial productions that persisted until the advent of regularly scheduled television programs in the 1950s. Although now regarded as a satirical cliché of the movie industry, "Perils of Pauline" in its day inspired a generation of women on the verge of gaining the right to vote in America by showing actress Pearl White performing her own stunts and overcoming a persistent male enemy.
Sergeant York (1941)
Gary Cooper, in one of his favorite roles, won his first Oscar for his dead-on portrayal of Tennessee pacifist Sgt. Alvin York, who in an Argonne Forest World War I battle single-handedly captured over 130 German soldiers. A stirring film, which appeared six months before America entered World War II as a nation and inspired Americans through the later conflict, "Sergeant York" contains three main segments all masterfully directed by Howard Hawks: Cooper’s life in Tennessee, the war scenes, and post-war scenes in New York City where his newfound fame briefly tempts Cooper not to return to his Tennessee home. This film is Americana at its finest.
The 7th Voyage of Sinbad (1958)
Special-effects master Ray Harryhausen provides the hero with fantastic antagonists, including a giant cyclops, fire-breathing dragons, and a sword-wielding animated skeleton, all in glorious Technicolor. His stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a fantastic score by Bernard Herrmann ("Psycho," "North by Northwest," The Day the Earth Stood Still, "Citizen Kane," "Vertigo") makes this one of the finest fantasy films of all time.
So’s Your Old Man (1926)
While W.C. Fields’ talents are better suited for sound films — where his verbal jabs and asides still delight and astound — Fields also starred in some memorable silent films. Fields began his career as a vaudevillian juggler and that humor and dexterity shines through in "So’s Your Old Man." The craziness is aided immeasurably through the deft comic touches of director Gregory LaCava. In the film, Fields plays inventor Samuel Bisbee, who is considered a vulgarian by the town’s elite. His road to financial success takes many hilarious detours including a disastrous demo for potential investors, a bungled suicide attempt, a foray into his classic "golf game" routine and an inspired pantomime to a Spanish princess.
George Stevens World War II Footage (1943-46)
Having already directed classics such as "Swing Time," "Gunga Din" and "Woman of the Year," director George Stevens joined the U.S. Army Signal Corps and headed a motion picture unit under Gen. Eisenhower from 1943-46. He shot many hours of footage chronicling D-Day, including rare extant color film of the European war front; the liberation of Paris; American and Soviet forces meeting at the Elbe River; and horrific scenes from the Duben labor camp, thought to be a sub-camp of Buchenwald; and the Dachau concentration camp. The footage has become an essential visual record of World War II and a staple of documentary films.
The Terminator (1984)
In 1984, few expected much from the upcoming film "The Terminator." Director James Cameron, a protégé of legendary independent filmmaker Roger Corman, had made only two films previously: the modest sci-fi short "Xenogenesis" in 1978 and "Piranha Part Two: The Spawning" in 1981. However, "The Terminator" became one of the sleeper hits of 1984, blending an ingenious, thoughtful script — clearly influenced by the works of sci-fi legend Harlan Ellison — and relentless, non-stop action moved along by an outstanding synthesizer and early techno soundtrack. Most notable was Arnold Schwarzenegger’s star-making performance as the mass-killing cyborg with a laconic sense of humor ("I’ll be back"). Low-budget, but made with heart, verve, imagination, and superb Stan Winston special effects, "The Terminator" remains among the finest science-fiction films in many decades.
Water and Power (1989)
Winner of a Sundance Grand Jury prize, Pat O’Neill’s influential experimental work is in his own words "a landscape film that became animated by the beginnings of human stories." In this "city symphony," O’Neill juxtaposes images of downtown Los Angeles with scenes from the Owens Valley, Los Angeles’ source of water. This was a brilliant examination of water in all its forms and the one-sided sharing of energy between the two places, representing nature and civilization.
White Fawn’s Devotion (1910)
James Young Deer is now recognized as the first documented movie director of Native American ancestry. Born in Dakota City, Neb., as a member of the Winnebago Indian tribe, James Young Deer (aka: J. Younger Johnston) began his show-business career in circus and Wild West shows in the 1890s. When Pathé Frères of France established its American studio in 1910, in part to produce more authentically American-style Western films, Young Deer was hired as a director and scenario writer. Frequently in collaboration with his wife, actress Princess Red Wing (aka: Lillian St. Cyr), also of Winnebago ancestry, Young Deer is believed to have written and directed more than 100 movies for Pathé from 1910-1913. Many details of Young Deer’s life and movie career remain undocumented and fewer than 10 of his films have been discovered and preserved by U.S. film archives.
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Tags: Classic Movies, Gary Cooper, National Film Registry, Pearl White, Sergeant York, So's Your Old Man, The 7th Voyage of Sinbad, The Pawnbroker, The Perils of Pauline, The Terminator
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