National Film Registry 2005
Library of
Congress Press Release
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)
12/27/2005
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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