Initially the company published various one-off magazines with titles such as Carnaby Kinks, Young Lesbians, and Fuck Around the Clock before settling on a series of numbered titles. These were produced in A5 format, consisted of full-color photographs, and typically featured five or six photo sets of around ten pages each; each set would be accompanied by a short descriptive text. While not all the titles ran concurrently, subject matter from magazine to magazine frequently overlapped. Many themes, such as big bust, interracial, uniform, or ethnically themed sets would appear in any title, dependent on the activity being performed rather than the participants.
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The Barstow family films a memorable home movie of their trip to Disneyland. Robbins and Meg Barstow, along with their children Mary, David and Daniel were among 25 families who won a free trip to the newly opened Disneyland in Anaheim, Calif., as part of a "Scotch Brand Cellophane Tape" contest sponsored by 3M. Through vivid color and droll narration ("The landscape was very different from back home in Connecticut"), we see a fantastic historical snapshot of Hollywood, Beverly Hills, Catalina Island, Knott's Berry Farm, Universal Studios and Disneyland in mid-1956. Home movies have assumed a rapidly increasing importance in American cultural studies as they provide a priceless and authentic record of time and place.Expanded essay by Liz Coffey (PDF, 307KB)
Harry Smith made his mark in many fields. He was a painter, archivist and compiler of the landmark "Anthology of American Music" (which helped stimulate a folk and blues revival). Smith also was a groundbreaking avant-garde filmmaker whose revolutionary animation challenged traditional concepts of cinema. His films used batik, collage and optical printing to create a tumult of shapes and images that integrates chaos with control. Consisting of seven films made over a 17-year span, "Early Abstractions" is a lovely, ever-moving collage of abstraction, color and imagery.
George Stevens directed this adventure epic suggested by the Rudyard Kipling poem. Its screenplay was the brainchild of Joel Sayre, Fred Guiol, and the writing team of Ben Hecht and Charles MacArthur. Cary Grant, Victor McLaglen and Douglas Fairbanks, Jr. star as eternally brawling British sergeants in colonial India, with Sam Jaffe as their faithful Indian water bearer, Gunga Din. Grant and McLaglen scheme to keep Fairbanks in the army after he's announced his intentions to retire and marry the lovely Emmy (Joan Fontaine) in a scenario curiously reminiscent of the earlier Hecht-MacArthur collaboration "The Front Page." As the sergeants scheme to keep the trio together, they're tasked with quelling a revolution by a fanatical religious cult. To prove his worthiness to become the regiment's trumpeter, water bearer Gunga Din bravely comes to the rescue.
This well-crafted and suspenseful story, directed by Curtis Hanson, teams a trio of incompatible cops who ultimately bring down a corrupt police department and political machine. Hanson and Brian Helgeland adapted the James Ellroy novel and together they successfully interpret film noir's dark and seamy allure for new audiences. Detective Jack Vincennes (Kevin Spacey) an in-it-for-himself type, Officer Bud White (Russell Crowe), who believes in bending the law to enforce it, and Detective Ed Exley (Guy Pearce), a straight arrow whose self-righteousness alienates him from his colleagues, all possess some deep-rooted sense of honor that draws them together to untangle the film's web of corruption that climaxes in its virtuoso choreographed shootout. The cast is rounded out by Danny DeVito as the film's occasional narrator and reporter for "Hush-Hush" magazine, Kim Basinger as a Veronica Lake look-alike call girl, and James Cromwell as the duplicitous chief of police. Cinematographer Dante Spinotti infuses this homage with a Technicolor richness seldom seen in noirs of the 40s and 50s.
M-G-M was the studio generally associated with "prestige" pictures -- those with lavish sets and costumes, often boasting literary source material. Here the high-brow opulence is courtesy of Warner Bros., typically known for modern "ripped-from-the-headlines" stories, and the experiment in grandeur earned the studio an Oscar for Best Picture and another for best screenplay. William Dieterle directed Paul Muni as French novelist Zola who defends the falsely accused Captain Dreyfus (Joseph Schildkraut in an Oscar-winning performance). The Dreyfus case, which was a cause célèbre of antisemitism during the latter years of the Nineteenth Century, formed an exciting climax to Zola's career as a champion of truth and liberty, and is, consequently, the dramatic highlight of this film biography.
Lisze Bechtold created "Moon Breath Beat," a five-minute color short subject, in 1980 while a student at California Institute of the Arts under the tutelage of artist and filmmaker Jules Engel, who founded the Experimental Animation program at CalArts. Engel asked, hypothetically, "What happens when an animator follows a line, a patch of color, or a shape into the unconscious? What wild images would emerge?" "Moon Breath Beat" reveals Bechtold responding with fluidity and whimsy. Her two-dimensional film was animated to a pre-composed rhythm, the soundtrack cut together afterward, sometimes four frames at a time, to match picture with track, she says. The dream-like story evolved as it was animated, depicting a woman and her two cats and how such forces as birds and the moon impact their lives. Following graduation, Bechtold was the effects animator for the Disney short "The Prince and the Pauper" (1990) and principal effects animator for "FernGully: The Last Rainforest" (1992). Now primarily an author and illustrator, she claims many of her characters were inspired by pets with big personalities, including "Buster the Very Shy Dog," the subject of her series of children's books.
Screenwriter Callie Khouri began her script for "Thelma & Louise" with a single sentence premise: "Two women go on a crime spree." What emerged, from her word processor and eventually from the screen, became a feminist manifesto and a cultural flashpoint that eventually landed the film's stars, in character, onto the cover of "Time" magazine. Anchored by two career-defining performances from Susan Sarandon and Geena Davis (and a breakout early appearance by Brad Pitt), "Thelma & Louise" skillfully contrasts action-movie themes with a social commentary before building to an unforgettable climax. Directed by Ridley Scott, "Thelma & Louise" has become both a symbol of feminism.
Author Roald Dahl adapted his own novel, Leslie Bricusse and Anthony Newley wrote a memorable musical score, and producer David Wolper wisely cast Gene Wilder as Wonka in this film musical about a contest put on by an often-sadistic candymaker. Harkening back to the classic Hollywood musicals, "Willy Wonka" is surreal, yet playful at the same time, and suffused with Harper Goff's jaw-dropping color sets, which richly live up to the fanciful world found in one of the film's signature songs, "Pure Imagination." Wilder's brilliant portrayal of the enigmatic Wonka caused theatergoers to like and fear Wonka at the same time, while the hallucinogenic tunnel sequence has traumatized children (and adults) for decades, their nightmares indelibly emblazoned in memory like the scariest scenes from "The Wizard of Oz."Expanded essay by Brian Scott Mednick (PDF, 452KB) 2ff7e9595c
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