Every seven years since 1964, in what’s known as the Up series, Granada Television has caught us up on the lives of 14 everyday people. The subjects of the documentary series were 7 years old when it began; in the latest installment, 56 Up, they are well into middle age.
Apted on what this experience has been like for him
“What can I say? I mean, it’s the favorite thing I’ve ever done, the thing I’m most proud of. It’s nerve-wracking, because you think you’re always going to blow it and you’ll wreck the whole thing. It seems fragile, and I’ve learned a lot of lessons about it. I’ve made mistakes on it and had to correct those mistakes. You know, particularly I got into a situation, I think, early on where I became judgmental about people — that if they didn’t agree with my standards of success, failure, happiness, whatever, then I would feel they were the lesser for it. And also I try to play God. I try to predict what might happen to people, and sort of set it all up for that. And I did that, and that was an embarrassing mistake. And I think what I’ve learned all the way through is the less I do, the better.”
Nominations are now being accepted for the 2020 Registry
The 2020 deadline for nominations is September 15, 2020.
The Library of Congress invites you to submit your recommendations for movies to be included on the 2020 National Film Registry. Public nominations play a key role when the Librarian and Film Board are considering their final selections. To be eligible for the Registry, a film must be at least 10 years old and be “culturally, historically, or aesthetically significant.”
Registry criteria does not specifically prohibit television programs, commercials, music videos or foreign productions, however, the original intent of the legislation that established the Registry was to safeguard U.S. films. Consequently the National Film Preservation Board and the Librarian of Congress give first consideration to American motion pictures.
The Registry is intended to reflect American society and the rich tapestry of American cinema since its inceptions around 1890. To that end, we strongly encourage the nomination of the full-range of American film-making: not just Hollywood classics or other well-known works, but also silent era titles, documentaries, avant-garde, educational and industrial films, as well as films representing the vibrant unmatched diversity of American culture, both in terms of content and all those who created these snapshots of America society: directors, writers, actors and actresses, cinematographers, and other crafts.
Looking for ideas on possible films to nominate? Check here for hundreds of titles not yet selected to the National Film Registry. View the complete list of films currently on the Registry.
The Peterloo Massacre took place at St Peter’s Field, Manchester, Lancashire, England on Monday 16 August 1819. On this day, cavalry charged into a crowd of around 60,000 people, who had gathered to demand the reform of parliamentary representation.
After the end of the Napoleonic Wars in 1815 there was an acute economic slump, accompanied by chronic unemployment and harvest failure, and exacerbated by the Corn Laws which kept the price of bread high. At that time only around 11% of adult males had the vote, very few of them in the industrial north which was worst hit, and reformers identified parliamentary reform as the solution. A mass campaign to petition parliament for manhood suffrage gained three-quarters of a million signatures in 1817 but was flatly rejected by the House of Commons. When a second slump occurred in early 1819, radical reformers sought to mobilise huge crowds to force government to back down. The movement was particularly strong in the north-west of England, where the Manchester Patriotic Union organised a mass rally in August 1819 addressed by well-known radical orator Henry Hunt.
Shortly after the meeting began, local magistrates called on the Manchester and Salford Yeomanry to arrest Hunt and several others on the platform with him. The Yeomanry charged into the crowd, knocking down a woman and killing a child, and finally apprehended Hunt. Cheshire Magistrates chairman William Hulton then summoned the 15th Hussars to disperse the crowd. They charged with sabres drawn, and 9-15 people were killed and 400–700 were injured in the ensuing confusion. The event was first labelled the “Peterloo massacre” by the radical Manchester Observer newspaper, in a bitterly ironic reference to the bloody Battle of Waterloo, which had taken place four years earlier.
When I was a critic, I thought that a successful film had simultaneously to express an idea of the world and an idea of cinema; La Règle du Jeu and Citizen Kane corresponded to this definition perfectly. Today, I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.
I believe a work is good to the degree that it expresses the man who created it.
These books were alive and they spoke to me.
HENRY MILLER, The Books in My Life
From Los Feliz to Long Beach, the 1997 classic exposes rot beneath the glamour of Los Angeles
“I remember the first time I got off the plane in LA. I came up to Hollywood, on La Brea or La Cienega, I can’t remember, through the oil fields,” says L.A. Confidential production designer Jeannine Oppewall. “And I thought to myself: ‘What the hell kind of city is this, with oil fields in the middle of it?’”
For Oppewall, who spoke to Curbed LA on the eve of the 1997 neo-noir’s 20th anniversary, the illusory romance of the City of Angels was stripped away in an instant. That’s what the movie does too, puncturing our inflated ideas of Old Hollywood glamour by plumbing the psychological depths of its key characters and (sometimes literally) exposing the rot underneath.
After a long wait, Quentin Tarantino’s Once Upon a Time in Hollywood has finally landed in theaters. Set in 1969 Los Angeles, the primary story features the fictional Rick Dalton (Leonardo DiCaprio) and his stunt double Cliff Booth (Brad Pitt). His career in decline, Dicaprio’s Dalton is thrilled to learn that two of the hottest new stars in Hollywood Roman Polanski and Sharon Tate have moved in next door to him. With the infamous Manson Family murders lurking over the story, Once Upon a Time traverses old school Hollywood on the eve of one of its darkest crimes. This serves as the backdrop for Once Upon a Time, which weaves in fictional characters and real life Hollywood stars into a revisionist history that only Tarantino could pull off—complete with subtle homages to classic cinema, characters, and celebrities. Below, we have a guide to all the characters who appear in Once Upon a Time in Hollywood and their real-life counterparts.
Soldier of Orange (Dutch: Soldaat van Oranje, IPA: [sɔlˈdaːt fɑn oˈrɑɲə]) is a 1977 Dutch film directed and co-written by Paul Verhoeven and produced by Rob Houwer, starring Rutger Hauer and Jeroen Krabbé. The film is set around the German occupation of the Netherlands during World War II, and shows how individual students have different roles in the war. The story is based on the autobiographical book Soldaat van Oranje by Erik Hazelhoff Roelfzema.
In the Hollywood movie industry, a four-quadrant movie is one which appeals to all four major demographic “quadrants” of the moviegoing audience: both male and female, and both over- and under-25s. Films are generally aimed at at least two such quadrants, and most tent-pole films are four-quadrant movies. A film’s budget is often correlated to the number of quadrants the film is expected to reach, and movies are rarely produced if not focused on at least two quadrants.
Although four-quadrant movies are generally family-friendly, this is not a requirement. Some other genres meeting this may be romantic (such as Titanic and Meet the Parents) or horror films (The Exorcist), or be crowd-pleasing in nature, such as high-profile action films or adaptations of popular novels. Four-quadrant movies often have both adult and child protagonists. They are often built on a “high-concept” premise with well-delineated heroes and villains, with emotion, action and danger present in the story.
Furthermore, screenwriting involves more than mere dialogue and plot. The choice between a cut and a camera movement or a close-up and a long shot, for example, may quite often transcend the plot. If the story of Little Red Riding Hood is told with the Wolf in close-up and Little Red Riding Hood in long shot, the director is concerned primarily with the emotional problems of a wolf with a compulsion to eat little girls. If Little Red Riding Hood is in close-up and the Wolf in long shot, the emphasis is shifted to the emotional problems of vestigial virginity in a wicked world. (To cut back and forth between the two characters is to emphasize their conflict; to enclose them within a circular camera movement is to emphasize their complicity.)
Directors, How Personal Can You Get?, Andrew Sarris
Confessions of a Cultist: On the Cinema, 1955-1969