Way too quiet here-we need something to keep the juices flowing until the Classics come back to the Ziegfeld. So what is a “Classic?”
Steven Spielberg said something interesting about this when he received his first Oscar in 1987, which is a producer’s award, the Thalberg:
Steven Spielberg on
Accepting
The Irving Thalberg Memorial Award
March, 1987
“Thank you very much.
Following in the footsteps of some of my heroes: Cecil B. DeMille, and George Stevens, Alfred Hitchcock, William Wyler, Ingmar Bergman, and Robert Wise, this award is truly a great honor for me. The Thalberg award was first given 50 years ago in 1937 which was the year of In Old Chicago, Captains Courageous, Dead End, The Life of Emile Zola, Lost Horizon, Stage Door, and A Star is Bornâ€"all having been nominated for best picture that year.
I’m told that Irving Thalberg worshipped writers and that’s where it all beginsâ€"that we are first and foremost storytellers and without, as he called it, the photoplay, everybody is simply improvising. He also knew that a script is more than just a blueprint. The whole idea of Movie Magic is that interweave of powerful image and dialogue and performance and music that can never be separated, and when it’s working right can never be duplicated or ever forgotten.
I’ve grown up; most of my life has been spent in the dark watching movies. Movies have been the literature of my life. The literature of Irving Thalberg’s generation was books and plays. They read the great words of great minds. And I think in our romance with technology and our excitement at exploring all the possibilities of film and video, we’ve partially lost something that we now have to reclaim. I think it’s time to renew our romance with the word. I’m as culpable as anyone in having exalted the image at the expense of the word. But only a generation of readers will spawn a generation of writers.
The five films nominated for best picture this year are as much the writer’s film as the director’s and it’s good news that each of these films has found it’s audience because this audience, who we all work for, deserves everything we have to give them. They deserve that fifth draft, that tenth take, that one extra cut and those several dollars over budgetâ€"and Irving Thalberg knew that. He would have been proud to have been associated with any of these films as I am proud to have my name on this award in his honor because it reminds me of really how much growth as an artist I have ahead of me in order to be worthy of standing in the company of those who received this before me.
So, my deepest thanks to the Board of Governors of the Academy and the audience out there in the dark.
Thank you very much."
Now, The Writers Guild of America has just come out with its list ot the 101 best screenplays ever written (the new “Premiere” Summer issue has narrowed it down to 25)
From The WGA:
“The Godfather, Casablanca, Citizen Kane, Chinatown, Schindler’s List – the greatest films of all time have one thing in common: each began as the vision of writer. Long before the parts were cast and the cameras rolled, a writer gazed upon a blank page and set in motion a classic story. For the first time ever, the Writers Guild of America, west (WGAw) and the Writers Guild of America, East (WGAE) are celebrating the best screenwriters and their timeless works with the release of the 101 Greatest Screenplays list.
101 Greatest Screenplays compiles the finest achievements in film writing, as voted upon by professional film and television writers. In the summer of 2005, ballots were sent out asking WGA members to list up to ten of their favorite produced screenplays. Any film, past or present, English-language or otherwise, was eligible. The resulting list is like a travelogue of the greatest films of the century, with all decades from the 1930s on represented among the rankings.
Like a composer of a classic symphony or an author of a beloved novel, the most memorable and moving pictures would not exist without their principal architect: the screenwriter. Too often classic films are linked only to their stars or directors, overlooking the original artists who first put pen to paper – or more recently keyboard to laptop – to create the kind of enduring works that have entertained and inspired generations of movie-going audiences around globe. 101 Greatest Screenplays will finally set the record straight by celebrating the best in film writing and bringing recognition to the wizards behind the curtain: the men and women who wrote the greatest films of all time.
And now, on with the list…"
CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play “Everybody Comes to Rick’s” by Murray Burnett and Joan Alison
THE GODFATHER
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
CHINATOWN
Written by Robert Towne
CITIZEN KANE
Written by Herman Mankiewicz and Orson Welles
ALL ABOUT EVE
Screenplay by Joseph L. Mankiewicz. Based on “The Wisdom of Eve,” a short story and radio play by Mary Orr
ANNIE HALL
Written by Woody Allen and Marshall Brickman
SUNSET BLVD.
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
NETWORK
Written by Paddy Chayefsky
SOME LIKE IT HOT
Screenplay by Billy Wilder & I.A.L. Diamond. Based on “Fanfare of Love,” a German film written by Robert Thoeren and M. Logan
THE GODFATHER II
Screenplay by Francis Ford Coppola and Mario Puzo. Based on Mario Puzo’s novel “The Godfather”
BUTCH CASSIDY AND THE SUNDANCE KID
Written by William Goldman
DR. STRANGELOVE
Screenplay by Stanley Kubrick and Peter George and Terry Southern. Based on novel “Red Alert” by Peter George
THE GRADUATE
Screenplay by Calder Willingham and Buck Henry. Based on the novel by Charles Webb
LAWRENCE OF ARABIA
Screenplay by Robert Bolt and Michael Wilson. Based on the life and writings of Col. T.E. Lawrence
THE APARTMENT
Written by Billy Wilder & I.A.L. Diamond
PULP FICTION
Written by Quentin Tarantino. Stories by Quentin Tarantino & Roger Avary
TOOTSIE
Screenplay by Larry Gelbart and Murray Schisgal. Story by Don McGuire and Larry Gelbart
ON THE WATERFRONT
Screen Story and Screenplay by Budd Schulberg. Based on “Crime on the Waterfront” articles by Malcolm Johnson
TO KILL A MOCKINGBIRD
Screenplay by Horton Foote. Based on the novel by Harper Lee
IT’S A WONDERFUL LIFE
Screenplay by Frances Goodrich & Albert Hackett & Frank Capra. Based on short story “The Greatest Gift” by Philip Van Doren Stern. Contributions to screenplay Michael Wilson and Jo Swerling
NORTH BY NORTHWEST
Written by Ernest Lehman
THE SHAWSHANK REDEMPTION
Screenplay by Frank Darabont. Based on the short story “Rita Hayworth and the Shawshank Redemption” by Stephen King
GONE WITH THE WIND
Screenplay by Sidney Howard. Based on the novel by Margaret Mitchell
ETERNAL SUNSHINE OF THE SPOTLESS MIND
Screenplay by Charlie Kaufman. Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth
THE WIZARD OF OZ
Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf Adaptation by Noel Langley. Based on the novel by L. Frank Baum
DOUBLE INDEMNITY
Screenplay by Billy Wilder and Raymond Chandler. Based on the novel by James M. Cain
GROUNDHOG DAY
Screenplay by Danny Rubin and Harold Ramis. Story by Danny Rubin
SHAKESPEARE IN LOVE
Written by Marc Norman and Tom Stoppard
SULLIVAN’S TRAVELS
Written by Preston Sturges
UNFORGIVEN
Written by David Webb Peoples
HIS GIRL FRIDAY
Screenplay by Charles Lederer. Based on the play “The Front Page” by Ben Hecht & Charles MacArthur
FARGO
Written by Joel Coen & Ethan Coen
THE THIRD MAN
Screenplay by Graham Greene. Story by Graham Greene. Based on the short story by Graham Greene
THE SWEET SMELL OF SUCCESS
Screenplay by Clifford Odets and Ernest Lehman. From a novelette by Ernest Lehman
THE USUAL SUSPECTS
Written by Christopher McQuarrie
MIDNIGHT COWBOY
Screenplay by Waldo Salt. Based on the novel by James Leo Herlihy
THE PHILADELPHIA STORY
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
AMERICAN BEAUTY
Written by Alan Ball
THE STING
Written by David S. Ward
WHEN HARRY MET SALLY
Written by Nora Ephron
GOODFELLAS
Screenplay by Nicholas Pileggi & Martin Scorsese. Based on book “Wise Guy” by Nicholas Pileggi
RAIDERS OF THE LOST ARK
Screenplay by Lawrence Kasdan. Story by George Lucas and Philip Kaufman
TAXI DRIVER
Written by Paul Schrader
THE BEST YEARS OF OUR LIVES
Screenplay by Robert E. Sherwood. Based on novel “Glory For Me” by MacKinley Kantor
ONE FLEW OVER THE CUCKOO’S NEST
Screenplay by Lawrence Hauben and Bo Goldman. Based on the novel by Ken Kesey
THE TREASURE OF THE SIERRA MADRE
Screenplay by John Huston. Based on the novel by B. Traven
THE MALTESE FALCON
Screenplay by John Huston. Based on the novel by Dashiell Hammett
THE BRIDGE ON THE RIVER KWAI
Screenplay by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle
SCHINDLER’S LIST
Screenplay by Steven Zaillian. Based on the novel by Thomas Keneally
THE SIXTH SENSE
Written by M. Night Shyamalan
BROADCAST NEWS
Written by James L. Brooks
THE LADY EVE
Screenplay by Preston Sturges. Story by Monckton Hoffe
ALL THE PRESIDENT’S MEN
Screenplay by William Goldman. Based on the book by Carl Bernstein & Bob Woodward
MANHATTAN
Written by Woody Allen & Marshall Brickman
APOCALYPSE NOW
Written by John Milius and Francis Coppola. Narration by Michael Herr
BACK TO THE FUTURE
Written by Robert Zemeckis & Bob Gale
CRIMES AND MISDEMEANORS
Written by Woody Allen
ORDINARY PEOPLE
Screenplay by Alvin Sargent. Based on the novel by Judith Guest
IT HAPPENED ONE NIGHT
Screenplay by Robert Riskin. Based on the story “Night Bus” by Samuel Hopkins Adams
L.A. CONFIDENTIAL
Screenplay by Brian Helgeland & Curtis Hanson. Based on the novel by James Ellroy
THE SILENCE OF THE LAMBS
Screenplay by Ted Tally. Based on the novel by Thomas Harris
MOONSTRUCK
Written by John Patrick Shanley
JAWS
Screenplay by Peter Benchley and Carl Gottlieb. Based on the novel by Peter Benchley
TERMS OF ENDEARMENT
Screenplay by James L. Brooks. Based on the novel by Larry McMurtry
SINGIN' IN THE RAIN
Screen Story and Screenplay by Betty Comden & Adolph Green. Based on the song by Arthur Freed and Nacio Herb Brown
JERRY MAGUIRE
Written by Cameron Crowe
E.T. THE EXTRA-TERRESTRIAL
Written by Melissa Mathison
STAR WARS
Written by George Lucas
DOG DAY AFTERNOON
Screenplay by Frank Pierson. Based on a magazine article by P.F. Kluge and Thomas Moore
THE AFRICAN QUEEN
Screenplay by James Agee and John Huston. Based on the novel by C.S. Forester
THE LION IN WINTER
Screenplay by James Goldman. Based on the play by James Goldman
THELMA & LOUISE
Written by Callie Khouri
AMADEUS
Screenplay by Peter Shaffer. Based on his play
BEING JOHN MALKOVICH
Written by Charlie Kaufman
HIGH NOON
Screenplay by Carl Foreman. Based on short story “The Tin Star” by John W. Cunningham
RAGING BULL
Screenplay by Paul Schrader and Mardik Martin. Based on the book by Jake La Motta with Joseph Carter and Peter Savage
ADAPTATION
Screenplay by Charlie Kaufman and Donald Kaufman. Based on the book “The Orchid Thief” by Susan Orlean
ROCKY
Written by Sylvester Stallone
THE PRODUCERS
Written by Mel Brooks
WITNESS
Screenplay by Earl W. Wallace & William Kelley. Story by William Kelley and Pamela Wallace & Earl W. Wallace
BEING THERE
Screenplay by Jerzy Kosinski. Inspired by the novel by Jerzy Kosinski
COOL HAND LUKE
Screenplay by Donn Pearce and Frank Pierson. Based on the novel by Donn Pearce
REAR WINDOW
Screenplay by John Michael Hayes. Based on the short story by Cornell Woolrich
THE PRINCESS BRIDE
Screenplay by William Goldman. Based on his novel
LA GRANDE ILLUSION
Written by Jean Renoir and Charles Spaak
HAROLD & MAUDE
Written by Colin Higgins
8 1/2
Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rond. Story by Fellini, Flaiano
FIELD OF DREAMS
Screenplay by Phil Alden Robinson. Based on the book by W.P. Kinsella
FORREST GUMP
Screenplay by Eric Roth. Based on the novel by Winston Groom
SIDEWAYS
Screenplay by Alexander Payne & Jim Taylor. Based on the novel by Rex Pickett
THE VERDICT
Screenplay by David Mamet. Based on the novel by Barry Reed
PSYCHO
Screenplay by Joseph Stefano. Based on the novel by Robert Bloch
DO THE RIGHT THING
Written by Spike Lee
PATTON
Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North. Based on “A Soldier’s Story” by Omar H. Bradley and “Patton: Ordeal and Triumph” by Ladislas Farago
HANNAH AND HER SISTERS
Written by Woody Allen
THE HUSTLER
Screenplay by Sidney Carroll & Robert Rossen. Based on the novel by Walter Tevis
THE SEARCHERS
Screenplay by Frank S. Nugent. Based on the novel by Alan Le May
THE GRAPES OF WRATH
Screenplay by Nunnally Johnson. Based on the novel by John Steinbeck
THE WILD BUNCH
Screenplay by Walon Green and Sam Peckinpah. Story by Walon Green and Roy Sickner
MEMENTO
Screenplay by Christopher Nolan. Based on the short story “Memento Mori” by Jonathan Nolan
NOTORIOUS
Written by Ben Hecht
So-All “Classics”?—What do you think? Which for the Ziegfeld?
You have the “tongue of Cicero,” I can only aspire to be as articulate and inspirational as you, and I certainly hope that when the Classics return, I hear some introductions that you personally make to some of the screenings. Hell, all of us should be introducing these films. “Days of Heaven”-a title I didn’t even think of. I just watched “Pretty Baby” with Brooke Shields-I must have had the DVD for a year and for some reason watched it tonight. I had never seen this film before. A gorgeous, evocative work of art; I have an 80-inch screen with a front projection system-but it ain’t the Ziegfeld!!!
We’re in agreement. I can’t tell you how many voice mails I left for Craig, with no reply either. I just believe in perseverance. Today, I needed to see a foot doctor whose appointment schedule was totally booked. The only other option offered was an appointment in two weeks. I asked if my name and phone number could be held in case of a cancellation (something I do in my office), I was told absolutely NO! Just keep calling his office from 8 AM on to see if a cancellation was called in. However ridiculous this was to me, I had no other options. I called every half hour from 8AM on. By 1PM, I was told that there was a cancellation at 3 PM. My toe was taken care of and I am no longer in pain. I complained (nicely) to the doctor about his office policy and he told me that his office staff is so burdened with insurance nonsense and paperwork that unfortunately, requests like mine cannot be accommodated.
At my first classics visit, “West Side Story,” I believe, I was told that the building was landmarked by one of the staff. I called the NYC Landmarks Preservation Board to check this out. It is not landmarked. And even if it was landmarked, it could have the same fate as the Astor Plaza. The beautiful Bowery Savings Bank on 42 St. is now Cipriani’s, a beautiful catering hall.
All of which means that I am not willing to settle for “out of sync” prints like “Lawrence” either. To me, keeping an ongoing Classics program going in the midst of drivel like Scary Movie 4 is first priority. By the end of the “Lawrence” run, the comments here were much better. I think we can all work towards making the whole program (if it continues) much better.
I’m sure that Craig has to answer to the “suits” at Clearview and the “Bottom Line.” So, send ten more e-mails. Remember what Tim Robbins had to do in “Shawshank” to get his library.
We all want the same thing-the best Ziegfeld experience imaginable.
This is all going to take work until we can all buy the place and run it ourselves.
Terrific idea—this is exactly what I’m talking about when I suggest sending your suggestions to Craig at Clearview:
Craig is head of marketing at Clearview and the whole driving force behind the Classics series. Speak your mind-HE WANTS INPUT!!
Since there has not been a post here in 5 whole days, I have to presume that many are suffering from “classics” withdrawal. So here’s the GOOD NEWS! I e-mailed the above list (including your suggestions for additions and deletions) to Craig at Clearview and received the following response TODAY:
“WOW, this is a great list Gary!
I really appreciate all your help with The Ziegfeld. I am sure that we
will bring The Classics back to The Ziegfeld soon and it is people like
you and the good folks at Cinema Treasures that will make this happen.
Thanks again
Craig"
I take no credit for this because I have drawn my inspiration and enthusiasm from this entire group right here. Again, I would ask you individually to take a moment and send your comments to Craig at Clearview. The concept of the Ziegfeld as a periodic Classics revival house is just an incredible thing to me. Let’s indeed make it happen.
Beth:
Great suggestions, I especially like the Black & Whites—I think our whole group should be the programming committee. I would go to every one of these at the Ziegfeld. By weekend’s end, I’ll have about 100 films to send to Craig—so guys keep them coming. Ultimately, there is the issue of art vs. commerce, but so many of these ARE great and were successful and popular, that I think that Clearview could take a chance on quite a few. In other words, is there life after “Lawrence,” “Ben-Hur,” etc.?—ABSOLUTELY!
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
We are all in agreement—I remember seeing the first showing of “Who Framed Roger Rabbit” at the Ziegfeld. Incredibly hot summer day, the A/C, unfortunately, was barely working, the place was packed—and we all had a great time.
I received my Direct TV statement today with an enclosure for “pay per view” with this pitch—“No cell phones, No loud talkers, No popcorn crunchers.” “This May, stay home and have the theater all to yourself.”
With that said and what has been said above, I am still amazed that the Ziegfeld even exists today.
If the Ziegfeld could get an “exclusive” on “The DaVinci Code” next month(which it probably won’t), the lines would be back. But I’ll be there opening day.
Until then, in the hope of more “classics,” list some more favorites (Please)and send your comments and appreciations to Clearview.
Movieguy-the only good thing about the AMC 25 is the lobby!!
Thanks,
Gary
P.S. Check this out in Today’s Times for the state of the Multiplex:
OPINION | April 7, 2006
Op-Ed Contributor: The Last Picture Show
By NORA EPHRON
Going to see the movies, circa 2006. View link
I e-mailed the Seattle Cinerama, http://www.cinerama.com/default.asp
to see if they plan on any regular Cinerama programming. The web site is interesting as the theatre was restored with the idea of not only first run but also as a place where HTWWW could be shown in all its glory. I would go to Seattle for that. I’ve never seen “Heaven’s Gate” on the big screen, tried the DVD which is very poor quality, and gave up. So I definitely agree with you on that and “The Big Country.” Also would add “Rosemary’s Baby” along with “Planet of the Apes.” I’m also curious about the top suggestions as well as what didn’t work in this last series—e.g. how well did all three Indy films do?
Beth—I’ve never seen “Seven Brides for Seven Brothers”-would love to! In a few days, I want to send all this to Craig. So the more suggestions the better.
Anyone like-“Midnight Express”-that film really scared me!
Thanks for the feedback, please keep it coming-I’m looking to refine this list, with all your comments, and then send a revised list to Craig. I received a fund raising letter from Film Forum today, and the following really struck me:
“We select films based on quality, not the bottom line, independent documentaries and revived classics like "The Fallen Idol” do well. However, while most offerings are critically acclaimed, many play to small audiences with a special interest in the director, genre or subject matter."
There are many films that I listed that I don’t consider classics (e.g. “Love Story”), but I tried to do a mix of titles that are not only classics but also some crowd pleasers like “Top Gun” which I never saw in a theater. Kind of one for me and one for the sake of filling seats in the hope that a classics festival can continue and be economically feasible at the same time. I really like the idea of people bringing their kids and others to see films that they enjoyed however many years ago-this will fill seats and perpetuate the heritage.
Ed-two questions:
(1) I saw “Waterworld” and really wanted to like it-but after the initial scene with Kostner on his boat “refining” his drinking water-this film did nothing for me. What did you see in it?
(2) I never saw the three strip Cinerama “How The West Was Won,” but did see, I guess, a 35mm version in my local theatre, The Crossbay (Ozone Park) and loved it, back in the 60’s. So, are you saying that if we can’t do the real Cinerama, don’t do it at all? just curious.
The “first-run” idea sounds great to me, and “Woodstock”—absolutely cannot be appreciated except at a venue like the Ziegfeld.
Thanks for the feedback, please keep it coming-I’m looking to refine this list, with all your comments, and then send a revised list to Craig. I received a fund raising letter from Film Forum today, and the following really struck me:
“We select films based on quality, not the bottom line, independent documentaries and revived classics like "The Fallen Idol” do well. However, while most offerings are critically acclaimed, many play to small audiences with a special interest in the director, genre or subject matter."
There are many films that I listed that I don’t consider classics (e.g. “Love Story”), but I tried to do a mix of titles that are not only classics but also some crowd pleasers like “Top Gun” which I never saw in a theater. Kind of one for me and one for the sake of filling seats in the hope that a classics festival can continue and be economically feasible at the same time. I really like the idea of people bringing their kids and others to see films that they enjoyed however many years ago-this will fill seats and perpetuate the heritage.
Ed-two questions:
(1) I saw “Waterworld” and really wanted to like it-but after the initial scene with Kostner on his boat “refining” his drinking water-this film did nothing for me. What did you see in it?
(2) I never saw the three strip Cinerama “How The West Was Won,” but did see, I guess, a 35mm version in my local theatre, The Crossbay (Ozone Park) and loved it, back in the 60’s. So, are you saying that if we can’t do the real Cinerama, don’t do it at all? just curious.
The “first-run” idea sounds great to me, and “Woodstock”—absolutely cannot be appreciated except at a venue like the Ziegfeld.
I’ve been feeling post-classics depression, and it’s been a little quiet here, and given “Ice Age 2” was #1 last weekend, I figured I would fantasize with enough classics for a few more festivals. I’d really like some input—I think these titles would be great on the big screen, would get an audience (with children for many), are all good films, although not necessarily all my favorites, and I welcome your additions (or deletions) and comments. My top choice would be “The Converstion” but I don’t think more than a handful would come.
Thanks,
Gary
The King & I
Bridge on The River Kwai
Psycho
The Guns of Navarone
The Magnificent Seven
The Great Escape
Oklahoma
The Music Man
How The West Was Won
Mary Poppins
The Sound of Music
Goldfinger
The Wild Bunch
The Graduate
Bonnie & Clyde
Funny Girl
The Lion in Winter
Butch Cassidy & The Sundance Kid ( I hate this movie)
The Sting
Midnight Cowboy
MASH
Love Story ( I’m not joking )
Woodstock
A Clockwork Orange
Fiddler on the Roof
The French Connection
Cabaret
The Exorcist
American Graffiti
The Towering Inferno
The Poseidon Adventure
Jaws
One Flew Over The Cukoo’s Nest
The Odd Couple
Network
Rocky
Taxi Driver
Saturday Night Fever
The Deer Hunter
Witness
An Officer and a Gentleman
Amadeus
Fatal Attraction
Moonstruck
Goodfellas
The Lion King
Beauty and the Beast
The Silence of the Lambs
Schindler’s List
The Shawshank Redemption
Apollo 13
Titanic
Aliens
Altered States
Dog Day Afternoon
Pollyanna
Young Frankenstein
From Russia With Love
Thunderball
The Dirty Dozen
The Way We Were
Grease
Superman
Back to the Future
Who Framed Roger Rabbit
Top Gun
Bullitt
Romeo & Juliet (1968)
Thanks, that is a great list by Al—I believe that “Cabaret” was my first Ziegfeld experience. Would love to see that again at the Ziegfeld. If you’re a Liza fan-a restored “Liza with a Z” on Showtime (which is supposed to be a free weekend preview) tonight at 8, I believe. (DVD comes out on Tues.) It’s a great show-and I only saw it at MTR, recently. It was shown at the Ziegfeld a few weeks ago during one of the closed days of the classics. Nobody invited me.
Thanks for the info, I had suggested Jaws to Monique—hope to see it on the next go round. Would love to do the intro!!
Here’s a question-anyone think that a few B and W titles might draw an audience. Anyone remember the Kirk Douglas and Burt Lancaster “Tough Guys” Festival from the 1980’s at the Ziegfeld? I saw a great double bill of “Sweet Smell of Success” and “Ace in the Hole” AKA “The Big Carnival.” Not too many people there, but I loved it. The second film has long been on the “mosted wanted” list on DVD.
I just don’t know if it’s feasible today-maybe more Film Forum territory!
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
The new issue of Premiere magazine has a survey of the 100 greatest performances in film history. That’s over 100 years-including silents, foreign films, etc. Peter O' Toole’s performance in “Lawrence” is rated # 1. Obviously, this will be as controversial as AFI’s lists, but check out the magazine to see why they picked him as # 1.
I am very happen to see that the spirit here not only has calmed down (that includes me), but also is looking at the series as a whole. I saw “West Side Story,” “Ben-Hur,” “Raiders,” “CE3K,” and “Lawrence.”
Just a suggestion, if , at this point, you want to contact Craig, perhaps sizing up the series as a whole with a listing of what worked for you and what didn’t—that might be helpful. I thought, for example, that “Chicago” was a mistake—the film is too new, and Monique told me that the turnout was not great. I would like to see a few more that parents will bring their children to,e.g. “Mary Poppins.” I loved seeing all the children at “Raiders.” Also,, it would fill more seats.
Although the prints were not new, I did not see one “faded” one-that’s a big issue with me. The “sync” problem with “Lawrence” definitely had to be addressed, but the picture looked great. “Volume” issues, “intermission” issues—all important.
But I really think that there is a nice consensus that IT REALLY HAPPENED!
Let’s work to make it better-and how about every performance introduced by one of us. Enthusiasm is infectious. I feel it every time I visit this site.
I am so glad that I’ve gotten involved with this group ( and again deeply regret and apologize for losing my cool the other day)Reading the comments of Robert Harris right here is an absolute thrill-one of the giants in film restoration and preservation and certainly one of my heroes. Robert, I would like the opportunity to shake your hand one day for all that you have done.
Beth-I really believe that Craig wants this to work, and am happy not only that you contacted him but also that he responded so quickly. There is an old saying that it “takes 15 years to become an overnight success.” For me, this festival was a welcome beginning—and I don’t think it will take 15 years to reach its stride.
Chris:
Does the Cinerama Dome ever show Cinerama?
Thanks,
Gary
William
What is the record holder at Radio City?
Thanks,
Gary
What’s the record holder at the Rivoli?
Just got my Turner Classic on-line newsletter-interesting page on “What is a Classic” with feedback invited see:
View link
Thanks,
Gary
Bill:
Saw your letter re:“Around The World…” in Premiere. That would be nice at the Ziegfeld,too.
Gary
C'mon Gals and Guys:
Way too quiet here-we need something to keep the juices flowing until the Classics come back to the Ziegfeld. So what is a “Classic?”
Steven Spielberg said something interesting about this when he received his first Oscar in 1987, which is a producer’s award, the Thalberg:
Steven Spielberg on
Accepting
The Irving Thalberg Memorial Award
March, 1987
“Thank you very much.
Following in the footsteps of some of my heroes: Cecil B. DeMille, and George Stevens, Alfred Hitchcock, William Wyler, Ingmar Bergman, and Robert Wise, this award is truly a great honor for me. The Thalberg award was first given 50 years ago in 1937 which was the year of In Old Chicago, Captains Courageous, Dead End, The Life of Emile Zola, Lost Horizon, Stage Door, and A Star is Bornâ€"all having been nominated for best picture that year.
I’m told that Irving Thalberg worshipped writers and that’s where it all beginsâ€"that we are first and foremost storytellers and without, as he called it, the photoplay, everybody is simply improvising. He also knew that a script is more than just a blueprint. The whole idea of Movie Magic is that interweave of powerful image and dialogue and performance and music that can never be separated, and when it’s working right can never be duplicated or ever forgotten.
I’ve grown up; most of my life has been spent in the dark watching movies. Movies have been the literature of my life. The literature of Irving Thalberg’s generation was books and plays. They read the great words of great minds. And I think in our romance with technology and our excitement at exploring all the possibilities of film and video, we’ve partially lost something that we now have to reclaim. I think it’s time to renew our romance with the word. I’m as culpable as anyone in having exalted the image at the expense of the word. But only a generation of readers will spawn a generation of writers.
The five films nominated for best picture this year are as much the writer’s film as the director’s and it’s good news that each of these films has found it’s audience because this audience, who we all work for, deserves everything we have to give them. They deserve that fifth draft, that tenth take, that one extra cut and those several dollars over budgetâ€"and Irving Thalberg knew that. He would have been proud to have been associated with any of these films as I am proud to have my name on this award in his honor because it reminds me of really how much growth as an artist I have ahead of me in order to be worthy of standing in the company of those who received this before me.
So, my deepest thanks to the Board of Governors of the Academy and the audience out there in the dark.
Thank you very much."
Now, The Writers Guild of America has just come out with its list ot the 101 best screenplays ever written (the new “Premiere” Summer issue has narrowed it down to 25)
From The WGA:
“The Godfather, Casablanca, Citizen Kane, Chinatown, Schindler’s List – the greatest films of all time have one thing in common: each began as the vision of writer. Long before the parts were cast and the cameras rolled, a writer gazed upon a blank page and set in motion a classic story. For the first time ever, the Writers Guild of America, west (WGAw) and the Writers Guild of America, East (WGAE) are celebrating the best screenwriters and their timeless works with the release of the 101 Greatest Screenplays list.
101 Greatest Screenplays compiles the finest achievements in film writing, as voted upon by professional film and television writers. In the summer of 2005, ballots were sent out asking WGA members to list up to ten of their favorite produced screenplays. Any film, past or present, English-language or otherwise, was eligible. The resulting list is like a travelogue of the greatest films of the century, with all decades from the 1930s on represented among the rankings.
Like a composer of a classic symphony or an author of a beloved novel, the most memorable and moving pictures would not exist without their principal architect: the screenwriter. Too often classic films are linked only to their stars or directors, overlooking the original artists who first put pen to paper – or more recently keyboard to laptop – to create the kind of enduring works that have entertained and inspired generations of movie-going audiences around globe. 101 Greatest Screenplays will finally set the record straight by celebrating the best in film writing and bringing recognition to the wizards behind the curtain: the men and women who wrote the greatest films of all time.
And now, on with the list…"
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play “Everybody Comes to Rick’s” by Murray Burnett and Joan Alison
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
Written by Robert Towne
Written by Herman Mankiewicz and Orson Welles
Screenplay by Joseph L. Mankiewicz. Based on “The Wisdom of Eve,” a short story and radio play by Mary Orr
Written by Woody Allen and Marshall Brickman
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
Written by Paddy Chayefsky
Screenplay by Billy Wilder & I.A.L. Diamond. Based on “Fanfare of Love,” a German film written by Robert Thoeren and M. Logan
Screenplay by Francis Ford Coppola and Mario Puzo. Based on Mario Puzo’s novel “The Godfather”
Written by William Goldman
Screenplay by Stanley Kubrick and Peter George and Terry Southern. Based on novel “Red Alert” by Peter George
Screenplay by Calder Willingham and Buck Henry. Based on the novel by Charles Webb
Screenplay by Robert Bolt and Michael Wilson. Based on the life and writings of Col. T.E. Lawrence
Written by Billy Wilder & I.A.L. Diamond
Written by Quentin Tarantino. Stories by Quentin Tarantino & Roger Avary
Screenplay by Larry Gelbart and Murray Schisgal. Story by Don McGuire and Larry Gelbart
Screen Story and Screenplay by Budd Schulberg. Based on “Crime on the Waterfront” articles by Malcolm Johnson
Screenplay by Horton Foote. Based on the novel by Harper Lee
Screenplay by Frances Goodrich & Albert Hackett & Frank Capra. Based on short story “The Greatest Gift” by Philip Van Doren Stern. Contributions to screenplay Michael Wilson and Jo Swerling
Written by Ernest Lehman
Screenplay by Frank Darabont. Based on the short story “Rita Hayworth and the Shawshank Redemption” by Stephen King
Screenplay by Sidney Howard. Based on the novel by Margaret Mitchell
Screenplay by Charlie Kaufman. Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth
Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf Adaptation by Noel Langley. Based on the novel by L. Frank Baum
Screenplay by Billy Wilder and Raymond Chandler. Based on the novel by James M. Cain
Screenplay by Danny Rubin and Harold Ramis. Story by Danny Rubin
Written by Marc Norman and Tom Stoppard
Written by Preston Sturges
Written by David Webb Peoples
Screenplay by Charles Lederer. Based on the play “The Front Page” by Ben Hecht & Charles MacArthur
Written by Joel Coen & Ethan Coen
Screenplay by Graham Greene. Story by Graham Greene. Based on the short story by Graham Greene
Screenplay by Clifford Odets and Ernest Lehman. From a novelette by Ernest Lehman
Written by Christopher McQuarrie
Screenplay by Waldo Salt. Based on the novel by James Leo Herlihy
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
Written by Alan Ball
Written by David S. Ward
Written by Nora Ephron
Screenplay by Nicholas Pileggi & Martin Scorsese. Based on book “Wise Guy” by Nicholas Pileggi
Screenplay by Lawrence Kasdan. Story by George Lucas and Philip Kaufman
Written by Paul Schrader
Screenplay by Robert E. Sherwood. Based on novel “Glory For Me” by MacKinley Kantor
Screenplay by Lawrence Hauben and Bo Goldman. Based on the novel by Ken Kesey
Screenplay by John Huston. Based on the novel by B. Traven
Screenplay by John Huston. Based on the novel by Dashiell Hammett
Screenplay by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle
Screenplay by Steven Zaillian. Based on the novel by Thomas Keneally
Written by M. Night Shyamalan
Written by James L. Brooks
Screenplay by Preston Sturges. Story by Monckton Hoffe
Screenplay by William Goldman. Based on the book by Carl Bernstein & Bob Woodward
Written by Woody Allen & Marshall Brickman
Written by John Milius and Francis Coppola. Narration by Michael Herr
Written by Robert Zemeckis & Bob Gale
Written by Woody Allen
Screenplay by Alvin Sargent. Based on the novel by Judith Guest
Screenplay by Robert Riskin. Based on the story “Night Bus” by Samuel Hopkins Adams
Screenplay by Brian Helgeland & Curtis Hanson. Based on the novel by James Ellroy
Screenplay by Ted Tally. Based on the novel by Thomas Harris
Written by John Patrick Shanley
Screenplay by Peter Benchley and Carl Gottlieb. Based on the novel by Peter Benchley
Screenplay by James L. Brooks. Based on the novel by Larry McMurtry
Screen Story and Screenplay by Betty Comden & Adolph Green. Based on the song by Arthur Freed and Nacio Herb Brown
Written by Cameron Crowe
Written by Melissa Mathison
Written by George Lucas
Screenplay by Frank Pierson. Based on a magazine article by P.F. Kluge and Thomas Moore
Screenplay by James Agee and John Huston. Based on the novel by C.S. Forester
Screenplay by James Goldman. Based on the play by James Goldman
Written by Callie Khouri
Screenplay by Peter Shaffer. Based on his play
Written by Charlie Kaufman
Screenplay by Carl Foreman. Based on short story “The Tin Star” by John W. Cunningham
Screenplay by Paul Schrader and Mardik Martin. Based on the book by Jake La Motta with Joseph Carter and Peter Savage
Screenplay by Charlie Kaufman and Donald Kaufman. Based on the book “The Orchid Thief” by Susan Orlean
Written by Sylvester Stallone
Written by Mel Brooks
Screenplay by Earl W. Wallace & William Kelley. Story by William Kelley and Pamela Wallace & Earl W. Wallace
Screenplay by Jerzy Kosinski. Inspired by the novel by Jerzy Kosinski
Screenplay by Donn Pearce and Frank Pierson. Based on the novel by Donn Pearce
Screenplay by John Michael Hayes. Based on the short story by Cornell Woolrich
Screenplay by William Goldman. Based on his novel
Written by Jean Renoir and Charles Spaak
Written by Colin Higgins
Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rond. Story by Fellini, Flaiano
Screenplay by Phil Alden Robinson. Based on the book by W.P. Kinsella
Screenplay by Eric Roth. Based on the novel by Winston Groom
Screenplay by Alexander Payne & Jim Taylor. Based on the novel by Rex Pickett
Screenplay by David Mamet. Based on the novel by Barry Reed
Screenplay by Joseph Stefano. Based on the novel by Robert Bloch
Written by Spike Lee
Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North. Based on “A Soldier’s Story” by Omar H. Bradley and “Patton: Ordeal and Triumph” by Ladislas Farago
Written by Woody Allen
Screenplay by Sidney Carroll & Robert Rossen. Based on the novel by Walter Tevis
Screenplay by Frank S. Nugent. Based on the novel by Alan Le May
Screenplay by Nunnally Johnson. Based on the novel by John Steinbeck
Screenplay by Walon Green and Sam Peckinpah. Story by Walon Green and Roy Sickner
Screenplay by Christopher Nolan. Based on the short story “Memento Mori” by Jonathan Nolan
Written by Ben Hecht
So-All “Classics”?—What do you think? Which for the Ziegfeld?
Thanks,
Gary
Ed:
You have the “tongue of Cicero,” I can only aspire to be as articulate and inspirational as you, and I certainly hope that when the Classics return, I hear some introductions that you personally make to some of the screenings. Hell, all of us should be introducing these films. “Days of Heaven”-a title I didn’t even think of. I just watched “Pretty Baby” with Brooke Shields-I must have had the DVD for a year and for some reason watched it tonight. I had never seen this film before. A gorgeous, evocative work of art; I have an 80-inch screen with a front projection system-but it ain’t the Ziegfeld!!!
BRAVO
Gary
Jeff:
We’re in agreement. I can’t tell you how many voice mails I left for Craig, with no reply either. I just believe in perseverance. Today, I needed to see a foot doctor whose appointment schedule was totally booked. The only other option offered was an appointment in two weeks. I asked if my name and phone number could be held in case of a cancellation (something I do in my office), I was told absolutely NO! Just keep calling his office from 8 AM on to see if a cancellation was called in. However ridiculous this was to me, I had no other options. I called every half hour from 8AM on. By 1PM, I was told that there was a cancellation at 3 PM. My toe was taken care of and I am no longer in pain. I complained (nicely) to the doctor about his office policy and he told me that his office staff is so burdened with insurance nonsense and paperwork that unfortunately, requests like mine cannot be accommodated.
At my first classics visit, “West Side Story,” I believe, I was told that the building was landmarked by one of the staff. I called the NYC Landmarks Preservation Board to check this out. It is not landmarked. And even if it was landmarked, it could have the same fate as the Astor Plaza. The beautiful Bowery Savings Bank on 42 St. is now Cipriani’s, a beautiful catering hall.
All of which means that I am not willing to settle for “out of sync” prints like “Lawrence” either. To me, keeping an ongoing Classics program going in the midst of drivel like Scary Movie 4 is first priority. By the end of the “Lawrence” run, the comments here were much better. I think we can all work towards making the whole program (if it continues) much better.
I’m sure that Craig has to answer to the “suits” at Clearview and the “Bottom Line.” So, send ten more e-mails. Remember what Tim Robbins had to do in “Shawshank” to get his library.
We all want the same thing-the best Ziegfeld experience imaginable.
This is all going to take work until we can all buy the place and run it ourselves.
Thanks,
Gary
Andreco:
Terrific idea—this is exactly what I’m talking about when I suggest sending your suggestions to Craig at Clearview:
Craig is head of marketing at Clearview and the whole driving force behind the Classics series. Speak your mind-HE WANTS INPUT!!
Thanks,
Gary
Since there has not been a post here in 5 whole days, I have to presume that many are suffering from “classics” withdrawal. So here’s the GOOD NEWS! I e-mailed the above list (including your suggestions for additions and deletions) to Craig at Clearview and received the following response TODAY:
“WOW, this is a great list Gary!
I really appreciate all your help with The Ziegfeld. I am sure that we
will bring The Classics back to The Ziegfeld soon and it is people like
you and the good folks at Cinema Treasures that will make this happen.
Thanks again
Craig"
I take no credit for this because I have drawn my inspiration and enthusiasm from this entire group right here. Again, I would ask you individually to take a moment and send your comments to Craig at Clearview. The concept of the Ziegfeld as a periodic Classics revival house is just an incredible thing to me. Let’s indeed make it happen.
Happy Holidays to All,
Gary
Beth:
Great suggestions, I especially like the Black & Whites—I think our whole group should be the programming committee. I would go to every one of these at the Ziegfeld. By weekend’s end, I’ll have about 100 films to send to Craig—so guys keep them coming. Ultimately, there is the issue of art vs. commerce, but so many of these ARE great and were successful and popular, that I think that Clearview could take a chance on quite a few. In other words, is there life after “Lawrence,” “Ben-Hur,” etc.?—ABSOLUTELY!
THANKS,
GARY
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
Gary
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
Gary
We are all in agreement—I remember seeing the first showing of “Who Framed Roger Rabbit” at the Ziegfeld. Incredibly hot summer day, the A/C, unfortunately, was barely working, the place was packed—and we all had a great time.
I received my Direct TV statement today with an enclosure for “pay per view” with this pitch—“No cell phones, No loud talkers, No popcorn crunchers.” “This May, stay home and have the theater all to yourself.”
With that said and what has been said above, I am still amazed that the Ziegfeld even exists today.
If the Ziegfeld could get an “exclusive” on “The DaVinci Code” next month(which it probably won’t), the lines would be back. But I’ll be there opening day.
Until then, in the hope of more “classics,” list some more favorites (Please)and send your comments and appreciations to Clearview.
Movieguy-the only good thing about the AMC 25 is the lobby!!
Thanks,
Gary
P.S. Check this out in Today’s Times for the state of the Multiplex:
OPINION | April 7, 2006
Op-Ed Contributor: The Last Picture Show
By NORA EPHRON
Going to see the movies, circa 2006.
View link
I e-mailed the Seattle Cinerama, http://www.cinerama.com/default.asp
to see if they plan on any regular Cinerama programming. The web site is interesting as the theatre was restored with the idea of not only first run but also as a place where HTWWW could be shown in all its glory. I would go to Seattle for that. I’ve never seen “Heaven’s Gate” on the big screen, tried the DVD which is very poor quality, and gave up. So I definitely agree with you on that and “The Big Country.” Also would add “Rosemary’s Baby” along with “Planet of the Apes.” I’m also curious about the top suggestions as well as what didn’t work in this last series—e.g. how well did all three Indy films do?
Beth—I’ve never seen “Seven Brides for Seven Brothers”-would love to! In a few days, I want to send all this to Craig. So the more suggestions the better.
Anyone like-“Midnight Express”-that film really scared me!
Thanks,
Gary
Thanks for the feedback, please keep it coming-I’m looking to refine this list, with all your comments, and then send a revised list to Craig. I received a fund raising letter from Film Forum today, and the following really struck me:
“We select films based on quality, not the bottom line, independent documentaries and revived classics like "The Fallen Idol” do well. However, while most offerings are critically acclaimed, many play to small audiences with a special interest in the director, genre or subject matter."
There are many films that I listed that I don’t consider classics (e.g. “Love Story”), but I tried to do a mix of titles that are not only classics but also some crowd pleasers like “Top Gun” which I never saw in a theater. Kind of one for me and one for the sake of filling seats in the hope that a classics festival can continue and be economically feasible at the same time. I really like the idea of people bringing their kids and others to see films that they enjoyed however many years ago-this will fill seats and perpetuate the heritage.
Ed-two questions:
(1) I saw “Waterworld” and really wanted to like it-but after the initial scene with Kostner on his boat “refining” his drinking water-this film did nothing for me. What did you see in it?
(2) I never saw the three strip Cinerama “How The West Was Won,” but did see, I guess, a 35mm version in my local theatre, The Crossbay (Ozone Park) and loved it, back in the 60’s. So, are you saying that if we can’t do the real Cinerama, don’t do it at all? just curious.
The “first-run” idea sounds great to me, and “Woodstock”—absolutely cannot be appreciated except at a venue like the Ziegfeld.
Thanks again- more titles, please
Gary
Thanks for the feedback, please keep it coming-I’m looking to refine this list, with all your comments, and then send a revised list to Craig. I received a fund raising letter from Film Forum today, and the following really struck me:
“We select films based on quality, not the bottom line, independent documentaries and revived classics like "The Fallen Idol” do well. However, while most offerings are critically acclaimed, many play to small audiences with a special interest in the director, genre or subject matter."
There are many films that I listed that I don’t consider classics (e.g. “Love Story”), but I tried to do a mix of titles that are not only classics but also some crowd pleasers like “Top Gun” which I never saw in a theater. Kind of one for me and one for the sake of filling seats in the hope that a classics festival can continue and be economically feasible at the same time. I really like the idea of people bringing their kids and others to see films that they enjoyed however many years ago-this will fill seats and perpetuate the heritage.
Ed-two questions:
(1) I saw “Waterworld” and really wanted to like it-but after the initial scene with Kostner on his boat “refining” his drinking water-this film did nothing for me. What did you see in it?
(2) I never saw the three strip Cinerama “How The West Was Won,” but did see, I guess, a 35mm version in my local theatre, The Crossbay (Ozone Park) and loved it, back in the 60’s. So, are you saying that if we can’t do the real Cinerama, don’t do it at all? just curious.
The “first-run” idea sounds great to me, and “Woodstock”—absolutely cannot be appreciated except at a venue like the Ziegfeld.
Thanks again- more titles, please
Gary
Hi Guys:
I’ve been feeling post-classics depression, and it’s been a little quiet here, and given “Ice Age 2” was #1 last weekend, I figured I would fantasize with enough classics for a few more festivals. I’d really like some input—I think these titles would be great on the big screen, would get an audience (with children for many), are all good films, although not necessarily all my favorites, and I welcome your additions (or deletions) and comments. My top choice would be “The Converstion” but I don’t think more than a handful would come.
Thanks,
Gary
The King & I
Bridge on The River Kwai
Psycho
The Guns of Navarone
The Magnificent Seven
The Great Escape
Oklahoma
The Music Man
How The West Was Won
Mary Poppins
The Sound of Music
Goldfinger
The Wild Bunch
The Graduate
Bonnie & Clyde
Funny Girl
The Lion in Winter
Butch Cassidy & The Sundance Kid ( I hate this movie)
The Sting
Midnight Cowboy
MASH
Love Story ( I’m not joking )
Woodstock
A Clockwork Orange
Fiddler on the Roof
The French Connection
Cabaret
The Exorcist
American Graffiti
The Towering Inferno
The Poseidon Adventure
Jaws
One Flew Over The Cukoo’s Nest
The Odd Couple
Network
Rocky
Taxi Driver
Saturday Night Fever
The Deer Hunter
Witness
An Officer and a Gentleman
Amadeus
Fatal Attraction
Moonstruck
Goodfellas
The Lion King
Beauty and the Beast
The Silence of the Lambs
Schindler’s List
The Shawshank Redemption
Apollo 13
Titanic
Aliens
Altered States
Dog Day Afternoon
Pollyanna
Young Frankenstein
From Russia With Love
Thunderball
The Dirty Dozen
The Way We Were
Grease
Superman
Back to the Future
Who Framed Roger Rabbit
Top Gun
Bullitt
Romeo & Juliet (1968)
Sorry, Ed-you gave me the “heads up” on the list. Too early in the AM!
Gary
Irv:
Thanks, that is a great list by Al—I believe that “Cabaret” was my first Ziegfeld experience. Would love to see that again at the Ziegfeld. If you’re a Liza fan-a restored “Liza with a Z” on Showtime (which is supposed to be a free weekend preview) tonight at 8, I believe. (DVD comes out on Tues.) It’s a great show-and I only saw it at MTR, recently. It was shown at the Ziegfeld a few weeks ago during one of the closed days of the classics. Nobody invited me.
Gary
Jeff and Peter,
Thanks for the info, I had suggested Jaws to Monique—hope to see it on the next go round. Would love to do the intro!!
Here’s a question-anyone think that a few B and W titles might draw an audience. Anyone remember the Kirk Douglas and Burt Lancaster “Tough Guys” Festival from the 1980’s at the Ziegfeld? I saw a great double bill of “Sweet Smell of Success” and “Ace in the Hole” AKA “The Big Carnival.” Not too many people there, but I loved it. The second film has long been on the “mosted wanted” list on DVD.
I just don’t know if it’s feasible today-maybe more Film Forum territory!
Gary
Jeff et.al:
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
Gary
Jeff et.al:
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
Gary
Jeff et.al:
Thanks for all the “fade” info—in paricular, I was referring to a recent “Barry Lyndon” at MOMA, a few months ago. The redcoats were certainly not pink, but not as red as I remember, and definitely not as good as the Warner’s DVD. I hear that there is a big problem with fade on “JAWS” prints-Spielberg has said it himself. I suggested “JAWS” as a title for the next classic series. You can be sure that I would bug Craig for Spielberg’s private print, or else, Robert Harris, how about a restoration on “JAWS”?
Gary
Irv:
The new issue of Premiere magazine has a survey of the 100 greatest performances in film history. That’s over 100 years-including silents, foreign films, etc. Peter O' Toole’s performance in “Lawrence” is rated # 1. Obviously, this will be as controversial as AFI’s lists, but check out the magazine to see why they picked him as # 1.
I am very happen to see that the spirit here not only has calmed down (that includes me), but also is looking at the series as a whole. I saw “West Side Story,” “Ben-Hur,” “Raiders,” “CE3K,” and “Lawrence.”
Just a suggestion, if , at this point, you want to contact Craig, perhaps sizing up the series as a whole with a listing of what worked for you and what didn’t—that might be helpful. I thought, for example, that “Chicago” was a mistake—the film is too new, and Monique told me that the turnout was not great. I would like to see a few more that parents will bring their children to,e.g. “Mary Poppins.” I loved seeing all the children at “Raiders.” Also,, it would fill more seats.
Although the prints were not new, I did not see one “faded” one-that’s a big issue with me. The “sync” problem with “Lawrence” definitely had to be addressed, but the picture looked great. “Volume” issues, “intermission” issues—all important.
But I really think that there is a nice consensus that IT REALLY HAPPENED!
Let’s work to make it better-and how about every performance introduced by one of us. Enthusiasm is infectious. I feel it every time I visit this site.
Thanks,
Gary
I am so glad that I’ve gotten involved with this group ( and again deeply regret and apologize for losing my cool the other day)Reading the comments of Robert Harris right here is an absolute thrill-one of the giants in film restoration and preservation and certainly one of my heroes. Robert, I would like the opportunity to shake your hand one day for all that you have done.
Beth-I really believe that Craig wants this to work, and am happy not only that you contacted him but also that he responded so quickly. There is an old saying that it “takes 15 years to become an overnight success.” For me, this festival was a welcome beginning—and I don’t think it will take 15 years to reach its stride.
Thanks all,
Gary