National Film Registry 2007

Library of Congress Press Release

								
EMBARGOED FOR RELEASE AT 8:00 A.M. THURSDAY, DECEMBER 27, 2007

December 27, 2007

Press contact: Jennifer Gavin (202) 707-1940, jgav@loc.gov
Public contact: Stephen Leggett (202) 707-5912, sleg@loc.gov 




LIBRARIAN OF CONGRESSANNOUNCES
NATIONAL FILM REGISTRY SELECTIONS FOR 2007


Librarian of Congress James H. Billington today named 25 motion
 pictures— classics from every era of American filmmaking—to the
 National Film Registry of the Library of Congress, including “Bullitt,”
 “Close Encounters of the Third Kind,” Grand Hotel,” “Oklahoma!”
 and “12 Angry Men.”

The selections were made as part of a program aimed at preserving the
 nation’s movie heritage. Under the terms of the National Film
 Preservation Act of 1992, each year the Librarian of Congress, with
 advice from the National Film Preservation Board, names 25 films to the
 National Film Registry to be preserved for all time. The films are
 chosen because they are “culturally, historically or aesthetically”
 significant.  This year’s selections bring to 475 the number of 
motion pictures in the registry.


“Even as Americans fill the movie theaters to see the latest 
releases, few are aware that up to half the films produced in this 
country before 1950—and as much as 90 percent of those made before 
1920—are lost forever,” said Billington. “The National Film Registry 
seeks not only to honor these films, but to ensure that they are 
preserved for future generations to enjoy.” 

With the passage of decades, more and more films are vanishing due 
to deterioration of the nitrate stock on which older films were 
shot, or to the more recently discovered “vinegar syndrome,” which 
threatens the acetate-based stock on which most motion pictures were reproduced.


Each year, hundreds of titles are nominated by the public, the 
National Film Preservation Board and the Library’s Motion Picture 
Division staff to be on the list of National Registry films.

Under the terms of the National Film Preservation Act, Congress 
established the National Film Registry in 1989 and reauthorized the 
program in April 2005 when it passed the "Family Entertainment and 
Copyright Act of 2005" (Public Law 109-9).

"This legislation signifies great congressional interest in ensuring
 that motion pictures survive as an art form and a record of our times," Billington said.

Among other provisions, the law reauthorized the National Film 
Preservation Board, mandated that the Librarian and Board update the 
national film preservation plan (published in the mid-1990s) as needed,
 increased funding authorizations for the private sector National 
Film Preservation Foundation, and amended Section 108(h) of U.S. 
Copyright Law, which enables libraries and archives to make works in 
their final 20 years of copyright protection accessible for research
 and education if the works are not already commercially available.

For each title named to the registry, the Library of Congress works 
to ensure that the film is preserved for future generations, either 
through the Library’s massive motion- picture preservation program 
or through collaborative ventures with other archives, 
motion-picture studios and independent filmmakers.

In July 2007, the Library of Congress opened its new Packard Campus of the National Audio-Visual Conservation Center, which will dramatically expand the Library's preservation capacity. This facility was made possible thanks to the generosity of David Woodley Packard, through the Packard Humanities Institute. "The National Audiovisual Conservation Center represents an ideal, a bold statement that we as a people have declared this part of our cultural heritage worth saving for posterity," said Billington. "The great generosity of David Woodley Packard, through the Packard Humanities Institute, is a prime example of the public-private partnership the Library encourages to gain the resources needed for the work we do. The Library of Congress Packard Campus is not only a remarkable gift to the American people, but also an enduring promise that our nation’s creative patrimony will be preserved for today and tomorrow."

Founded in 1800, the Library of Congress, the nation’s oldest 
federal cultural institution, is the world’s preeminent reservoir of 
knowledge. It seeks to further human understanding and wisdom by 
providing access to knowledge through its magnificent collections of 
books, manuscripts, films and art objects from all over the globe. 
Explore the Library’s award-winning Web site at www.loc.gov/







LIBRARY OF CONGRESS
NATIONAL FILM REGISTRY SELECTIONS FOR 2007

Back to the Future (1985)
Before "Beowulf" or "The Polar Express," writer/director Robert Zemeckis explored
the possibilities of special effects with the 1985 box-office smash
"Back to the Future." With his writing partner Bob Gale, Zemeckis
tells the tale of accidental time-tourist Marty McFly.  Stranded in the year 1955, 
Marty (Michael J. Fox)—with the help of Dr. Emmett Brown (played masterfully 
over-the-top by Christopher Lloyd)—must not only find a way home, but 
also teach his father how to become a man, repair the space/time 
continuum and save his family from being erased from existence. 
All this, while fighting off the advances of his then-teenaged 
mother.  It's “The Twilight Zone” meets Preston Sturges. 

Bullitt (1968) 
For his first American film, British director Peter Yates made an inspired
decision: shoot a crime drama on location in San Francisco, rather than
on the usual streets of L.A. or New York City.  The pitched streets and 
stunning vistas of San Francisco, backed by a superb Lalo Schifrin score, 
play a central role in this film renowned for its exhilarating 11-minute 
car chase, arguably the finest in cinema history.  Steve McQueen as the 
cop in the title role romances Jacqueline Bisset and solves a murder case 
while fighting off the mob and a sleazy district attorney, played by Robert 
Vaughn. 

Close Encounters of the Third Kind (1977)
After his 1975 blockbuster “Jaws,” Steven Spielberg produced this intelligent 
sci-fi film in which the climactic scene is set far from an ocean: Devil’s Tower 
National Monument in Wyoming.  Long a sacred place in Native American folklore, 
the monument served as an iconic image around which to construct this film about 
the quest for extraterrestrial life and UFOs. Also making the film effective and 
believable is Richard’s Dreyfuss’ Everyman character Roy Neary: “I wanna speak to 
the man in charge."   The five-tone musical motif used for communication with the 
aliens has become as quotable as any line of movie dialogue.   

Dance, Girl, Dance (1940)
Although there were numerous women filmmakers in the early decades of silent cinema,
by the 1930s directing in Hollywood had become a male bastion—with one exception.  
Dorothy Arzner graduated from editing to directing in the late 1920s, often exploring 
the conflicted roles of women in contemporary society. In “Dance, Girl, Dance,” her most 
intriguing film, two women (Lucille Ball and Maureen O’Hara) pursue life in show business 
from opposite ends of the spectrum: burlesque and ballet. The film is a meditation on the 
disparity between art and commerce.  The dancers strive to preserve their own feminist
integrity, while fighting for their place in the spotlight and for the love of male lead 
Louis Hayward.


Dances With Wolves (1990)
A personal project for star Kevin Costner, “Dances with Wolves” disproved a reputation  
Western films had acquired in the latter years of the 20th Century for being money-losers. 
The film also became the second Western to win the Academy Award for Best Film. The movie 
presents a fairly simple, intimate story (the quest of a cavalry soldier to get to know a 
nearby Sioux tribe and his resulting spiritual transformation) in an epic fashion, with 
sweeping cinematography and a majestic John Barry score. The film marks one of the more 
sympathetic portraits of Native-American life ever shown in American cinema, and introduced 
the American public to Lakota Sioux folklore, traditions and language.

Days of Heaven (1978)
Often called one of the most beautiful films ever made (acknowledging the sublime 
cinematography of Nÿstor Almendros and Haskell Wexler), “Days of Heaven” is an impressionist 
painting for the screen. The wheat fields and prairies of the Texas Panhandle—filmed in Alberta—
shine and undulate in wind currents and storms, framing the tale of a love triangle (Richard 
Gere, Brooke Adams and Sam Shepard)fated to end badly.  The dialogue is spare, punctuating 
an elegiac score by Ennio Morricone and haunting narration by Linda Manz, who speaks from 
a child’s point of view. After this film (his second after “Badlands”), director Terrence 
Malick disappeared from public view for 20 years, returning 
in 1998 with “The Thin Red Line.”


Glimpse of the Garden (1957)
Though Marie Menken’s volatile marriage to Willard Mass served as the inspiration for 
playwright Edward Albee in his 1962 play, “Who’s Afraid of Virginia Woolf,” her surprisingly 
joyful and simple films rate among the more accessible works of avant-garde filmmakers. 
The beautifully lyrical “Glimpse of the Garden” is a serendipitous visual tour of a flower 
garden set to a soundtrack of bird calls.

Grand Hotel (1932)
Termed “The Lion Tamer” by critics for his skill in dealing with temperamental Hollywood 
stars, director Edmund Goulding (“Dark Victory,” “Razor’s Edge,” and “Nightmare Alley”) 
earned the plaudit many times over in “Grand Hotel.”  This film put much of the MGM star 
factory—Greta Garbo, Wallace Beery, John and Lionel Barrymore, Joan Crawford—into a single 
film with multiple plots, arguably the first use of the all-star formula later seen in 
“Airport,” “Dinner at Eight,” and “The Towering Inferno.” Crawford is reported to have 
told the Barrymores: “All right, boys, but don’t forget that the American 
public would rather have one look at my back than watch both your faces for an hour.” In 
this film Garbo uttered the line, “I want to be alone.”

The House I Live In (1945)
This short film directed by Mervyn LeRoy pleads for religious tolerance and won an honorary 
Academy Award in 1946.  Singer Frank Sinatra takes a break from a recording session to tell 
kids that in America, there are a hundred different ways of talking and going to church—but 
they are all American ways.  The film ends with Sinatra performing the title tune, an 
inspiring paean to America’s diverse cultural mosaic.  

In a Lonely Place (1950)  
“Rebel Without a Cause” is often given the nod as Nicholas Ray's greatest film, but his 
earlier scathing Hollywood satire, “In a Lonely Place,” may well rate that honor. Screenwriter 
Humphrey Bogart, brilliant at his craft yet prone to living with his fists, undergoes  scrutiny 
as a murder suspect while romancing insouciant starlet Gloria Grahame. Their tempestuous 
on-screen romance mirrors the real-life deteriorating marriage of Grahame and director 
Ray, who divorced shortly after the film was completed. With jaded passion 
and paranoid force of character, Bogart perfectly plays the talented but psychologically 
unstable artist who will not accept his society, proving it with periodic violent, 
self-destructive confrontations. The film’s cynical, fatalistic script marries film-noir 
themes and doomed romance: "I was born when she kissed me. I died when she left me. I lived 
a few weeks while she loved me."

The Man Who Shot Liberty Valance (1962)
John Ford, a filmmaker since 1914, already had given the movie-going public such classics as 
“The Iron Horse,” “Stagecoach,”“My Darling Clementine,” “Fort Apache,” “She Wore A Yellow 
Ribbon,” and “The Searchers”.  Ford’s last great Western, “The Man Who Shot Liberty Valance,” 
makes explicit everything that was implicit in the genre which Ford himself shaped so 
heavily. By clearly showing that the conquest of the west meant the triumph of civilization 
(embodied in Jimmy Stewart) over wild innocence (John Wayne) and evil (Lee Marvin), this 
elegiac film serves as a film coda for Ford and also meditates on what was lost as 
progress and statehood marched across the West. The film’s concluding aphorism has 
entered the American lexicon: “When the legend becomes fact, print the legend."  

Mighty Like a Moose (1926)
Actor/director/screenwriter Charley Chase is underappreciated in the arena of early comedy 
shorts. Chase began his film career in the teens, working for Mack Sennett with the likes of 
Charlie Chaplin and Fatty Arbuckle. Moving on to the Hal Roach Studios, 
Chase starred in his own series of shorts. “Mighty Like a Moose,” directed by Leo McCarey, 
is one of the funniest of his silents. A title card at the beginning tells us this is “a 
story of homely people—a wife with a face that would stop a clock—and her husband 
with a face that would start it again.” Unbeknownst to each other Mr. and Mrs. Moose 
have surgery on the same day to correct his buckteeth and her big nose. They meet on the 
street later, but don’t recognize each other; they flirt and arrange to meet later at 
a party. A side-splitting series of sight gags follows including Charley’s “fight with 
himself.” 

The Naked City (1948)
During the oral narration of the credits at the opening, we are told this is a different 
kind of movie; not filmed on a Hollywood back lot but on actual locations in New York 
City.  Winning Oscars for best photography (William Daniels) and editing (Paul Weatherwax) 
and nominated for best writing (Malvin Wald), this cutting-edge, gritty crime procedural 
introduced a new style of film-making. “The Naked City” offers up slices of several stories, 
building and dove-tailing into a logical solution with a heart-pounding resolution. 
Based on six months of interviews with the NYPD and using three-dimensional characters, 
it changed the way police were portrayed in film and how crimes were solved. Another unique 
aspect of Mark Hellinger’s production and Jules Dassin’s direction was to hire local radio 
and theater actors new to film – it launched several character-acting careers.

Now, Voyager (1942)
The film’s title comes from Walt Whitman’s “Leaves of Grass:” “The untold want, by life 
and land ne’er granted/Now, Voyager, sail thou forth, to seek and find.” A resonant 
woman’s picture, “Now, Voyager” features Bette Davis as a dowdy spinster terrorized by 
her possessive mother and on the verge of a nervous breakdown.  Psychiatrist Claude Rains 
cures Davis and suggests a cruise, where she falls in love with married Paul 
Henreid.  The impossible romance does not depress Davis but rather transforms her into 
a confident, independent woman.  Davis’ final words electrify one of the most famous 
endings in romantic cinema: “Oh Jerry, don't let's ask for the moon. We have the stars.”

Oklahoma! (1955)
The publicity campaign said it all: “A motion picture as big as all outdoors.” In this 
beloved musical, an idealized vision of a turn-of-the-century small town, chicks and 
ducks and geese scurry right across the wide screen.  The literalized film treatment 
appeared a dozen years after the Rodgers and Hammerstein Broadway premiere. The film 
eliminated two songs and substituted breathtaking Technicolor vistas and stereo sound 
for theatrical innovation. Set shortly before Oklahoma statehood, the movie features such 
Western-film staples as the cowman/farmer feud (subject of a memorable song sung by 
Gordon MacRae). As choreographer Agnes de Mille noted: “It’s different, but I find it 
very beautiful to look at.”

Our Day (1938)
Wallace Kelly of Lebanon, Kentucky, made this exquisitely crafted amateur film at home 
in 1938. "Our Day" is a smart, entertaining day-in-the-life portrait of the Kelly household, 
shown in both idealized and comic ways. This silent 16mm home movie uses creative editing, 
lighting and camera techniques comparable to what professionals were doing in Hollywood. 
His amateur cast was made up of his mother, wife, brother and pet terrier.  
"Our Day" also contains exceptional images of small-town Southern life, ones that counter 
the stereotype of impoverished people eking out a living during the Depression. The 12-minute 
film documents a modern home inhabited by adults with sophisticated interests (the piano, 
literature, croquet) and simple ones (gardening, knitting, home cooking). Kelly was also 
an accomplished photographer, painter, and writer. He began shooting film in 1929 and 
continued until the 1950s.


Peege (1972)
Director Randal Kleiser (“Grease”) crafted this renowned, extremely moving student film 
while at the University of Southern California.  Members of a family visit their blind, 
dying grandmother Peege at a nursing home, but leave in despair at her condition.  Remaining 
behind, the grandson recounts memories to Peege and manages to connect emotionally with 
the lonely woman and bring a smile to her face.

The Sex Life of the Polyp (1928)
Humorist Robert Benchley’s career was both varied and distinguished: essayist, member of 
the Algonquin Round Table, writer for Vanity Fair and The New Yorker, actor in Hollywood 
features ( “Foreign Correspondent”) and several dozen short comedy subjects. “The Sex Life 
of the Polyp,” Benchley’s second short (following “The Treasurer’s Report”) features him 
as a daft doctor delivering a droll but earnest lecture on polyp reproductive habits to 
a women’s club.

The Strong Man (1926)
Harry Langdon, widely considered one of the great silent comedians, had a career that 
can only be described as meteoric. A vaudevillian for much of his professional life, Harry 
Langdon was discovered and brought to Hollywood by Mack Sennett in the early 1920s. But 
he languished until lightning struck in 1925, when director Harry Edwards and then-gagman 
Frank Capra worked with him on three features and several shorts. The features, “Tramp, 
Tramp, Tramp,” “Long Pants” and “The Strong Man” put Langdon solidly into the foursome 
Walter Kerr calls “The Four Silent Clowns” —with Charlie Chaplin, Buster Keaton and 
Harold Lloyd. “The Strong Man” predated “City Lights” by several years with its plot of a meek 
man in love with a blind woman.

Three Little Pigs (1933) 
Voted the 11th-best cartoon of all time in a 1990s poll of animators, “Three Little Pigs” falls 
midway through a series of classic shorts (“Skeleton Dance,” “The Band Concert,” “The Old 
Mill,”) that Walt Disney produced as he learned and refined the art of animation; each film 
marked another development in his path toward the 1937 feature “Snow White and the Seven 
Dwarfs.” The wildly popular “Three Little Pigs” proved a landmark in “personality animation”— 
each of the three pigs had a different personality—and the title tune “Who’s Afraid of 
the Big Bad Wolf” became a Depression-era anthem.

Tol'able David (1921)
Henry King (1886-1982) had a 50-year career in Hollywood, winning a reputation as one of the 
most talented directors in capturing the values, culture, history, personality, and character 
of the nation.  His nostalgia was honest, and often bittersweet. In "Tol'able David," 
King tells a coming-of-age story about a youth who must overcome savage, bullying neighbors 
as he takes on his first job delivering mail in rural Virginia. "Tol'able David" was studied 
by Russian filmmakers of the 1920s. They were inspired by King's memorable conjunctions 
of shots that evoked personalities and emotions without a need for explanatory titles. 
"Tol'able David" remains a powerful drama and is also known for its craftsmanship, which 
was tremendously influential on subsequent filmmaking.


Tom, Tom the Piper’s Son (1969-71)
Ken Jacobs’ landmark avant-garde film reverently re-photographs an early cinema short of 
the fairy tale song to explore the parameters of film art.  A “structuralist film” 
masterpiece, Jacobs uses techniques ranging from slow and studied examinations of individual 
paper print images to probing experiments in manipulation of motion and light.  

12 Angry Men (1957) 
In the 1950s, several television dramas acted live over the airways won such critical 
acclaim that they were also produced as motion pictures; among those already honored by the 
National Film Registry is “Marty” (1955).  Reginald Rose had adapted his original stage 
play “12 Angry Men” for Studio One in 1954, and Henry Fonda decided to produce a screen 
version, taking the lead role and hiring director Sidney Lumet, who had been directing for 
television since 1950. The result is a classic. Filmed in a spare, claustrophobic 
style—largely set in one jury room—the play relates a single juror’s refusal to conform 
to peer pressure in a murder trial and follows his conversion of one juror after another 
to his point of view. The story is viewed a commentary on McCarthyism, Fascism, or 
Communism.

The Women (1939)
Probably no movie in history has combined more leading Hollywood ladies (Norma Shearer, 
Joan Crawford, Rosalind Russell, Mary Boland, Paulette Goddard, Joan Fontaine) without, 
as advertising noted, "a man in sight." Yet “It’s all about men." Based on the hit play 
by Clare Boothe Luce, “The Women” explores the new options open to women with the possibility 
of divorce, following several intertwining paths to the courts in Reno. The characters 
learn of the various affairs and entanglements of their husbands with others, and are 
forced to decide between "freedom" and surrendering pride for love.  "See them with their 
hair down, and their claws out!" promised MGM, and delivered.  George Cukor secured his 
reputation as a women's director with this movie.

Wuthering Heights (1939)
Director William Wyler had great difficulty in convincing Laurence Olivier to leave England 
to play the part of Heathcliff in this adaptation of Emily Brontë’s work, especially since 
Olivier’s wife Vivien Leigh was not offered the leading- lady role of Cathy, which went to 
Merle Oberon.  Eventually, Olivier agreed and Leigh, while visiting Olivier during the 
filming, managed to get a screen test for what became her greatest role: Scarlett O’Hara 
in “Gone With the Wind.”  Producer Samuel Goldwyn always claimed credit for the film, 
reportedly once saying: “I made “Wuthering Heights;” Wyler only directed it.” Gregg 
Toland’s deep-focus cinematography deftly creates the moody, ethereal atmosphere of 
haunted love in a film universally acclaimed as one of cinema’s great romances.


Films Selected for the 2007 National Film Registry

•	Back to the Future (1985)
•	Bullitt (1968)
•	Close Encounters of the Third Kind (1977) 
•	Dance, Girl, Dance (1940)
•	Dances With Wolves (1990)
•	Days of Heaven (1978)
•	Glimpse of the Garden (1957)
•	Grand Hotel (1932)
•	The House I Live In (1945)
•	In a Lonely Place (1950)
•	The Man Who Shot Liberty Valance (1962)  
•	Mighty Like a Moose (1926)
•	The Naked City (1948)
•	Now, Voyager (1942)
•	Oklahoma! (1955)
•	Our Day (1938)
•	Peege (1972)
•	The Sex Life of the Polyp (1928)
•	The Strong Man (1926)
•	Three Little Pigs (1933)
•	Tol’able David (1921) 
•	Tom, Tom the Piper’s Son (1969-71)
•	12 Angry Men (1957) 
•	The Women (1939)
•	Wuthering Heights (1939)


###


PR 07-254
12/27/07 
ISSN 0731-3527



		EMBARGOED UNTIL 
								8 A.M. EST, 12/27/2007

CREDITS FOR FILMS SELECTED TO

THE NATIONAL FILM REGISTRY,

LIBRARY OF CONGRESS - 2007 

[Note: Credits are provided for informational purposes only and in no way meant to be 
definitive or comprehensive]

1)  Back to the Future (Universal, 1985)	color, 116 minutes

Producers: Bob Gale and Neil Canton
Director: Robert Zemeckis
Screenplay: Zemeckis and Bob Gale
Cinematographer: Dean Cundey
Music: Alan Silvestri
Editors: Arthur Schmidt and Harry Keramidas

Cast: Michael J. Fox, Christopher Lloyd, Crispin Glover, Lea Thompson, Claudia Wells, 
Thomas F. Wilson

2)  Bullitt (1968)		(Warner Bros., 1968) 	color, 113 minutes

Producer: Philip D’Antoni
Director: Peter Yates
Screenplay: Alan Trustman and Harry Kleiner, based on the novel “Mute
Witness” by Robert Fish
Cinematographer: William A. Fraker
Music: Lalo Schifrin
Editor: Frank Keller
Art Direction: Albert Brenner

Cast: Steve McQueen, Robert Vaughn, Jacqueline Bisset, Don Gordon, Robert Duvall, 
Simon Oakland, Norman Fell, Georg Stanford Brown, Justin Tarr, Carl Reindel, Felice Orlandi, 
Vic Tayback, Robert Lipton, Ed Peck, Pat Renella, Paul Genge, John Aprea, Al Checco, 
Bill Hickman
	

3)  Close Encounters of the Third Kind (1977) (Columbia, 1977) 
color, 135 minutes
	
	Producer: Julia Phillips and Michael Phillips
	Director: Steven Spielberg
Screenplay: Steve Spielberg
Cinematographer: Vilmos Zsigmond, with additional sequences by
Douglas Trumbull, William Fraker, John Alonzo, Laszlo Kovacs, Richard Yuricich, Dave 
Stewart, Robert Hall, Don Jarel 
Music: John Williams
Editor: Michael Kahn
Production Design: Joe Alves
Art Direction: Dan Lomino
Set Decoration: Phil Abramson

Cast: Richard Dreyfuss, Melinda Dillon, Francois Truffaut, Cary Guffey,
Teri Garr, Bob Balaban, J. Patrick McNamara


4)  Dance, Girl, Dance (1940)	(RKO, 1940)	90 minutes, b&w

Producers: Harry Edington and Erich Pommer
Director: Dorothy Arzner
Screenplay: Tess Slesinger and Frank Davis, based on a story by Vicki
Baum
	Cinematographer: Russell Metty
	Music: Edward Ward
	Editor: Robert Wise
	Art  Direction: Van Nest Polglase
	Choreography: Ernst Matray

	Cast: Maureen O’Hara, Louis Hayward, Lucille Ball, Virginia Field, Ralph 	
Bellamy, Maria Ouspenskaya

	5)  Dances With Wolves (Orion, 1990)	color, 181 minutes
	Producers: Jim Wilson and Kevin Costner
	Director: Kevin Costner
 	Screenplay: Michael Blake, based on his novel
	Cinematographer: Dean Semler
	Music: John Barry
	Editor: Neil Travis
	Art Direction: Jeffrey Beecroft

	Cast: Kevin Costner, Mary McDonnell, Graham Greene, Rodney A. Grant, 	
Floyd “Red Crow” Westerman, Tantoo Cardinal, Robert Pastorelli, Charles
Rocket, Maury Chaykin, Jimmy Herman, Nathan Lee Chasing His Horse

6)  Days of Heaven (Paramount, 1978)	95 minutes, color
Producers: Bert and Harold Schneider
Director: Terrence Malick
Screenplay: Terrence Malick
Cinematographer: Nestor Almendros and Haskell Wexler
Music: Ennio Morricone
Editor: Billy Weber
Art Direction: Jack Fisk

Cast: Richard Gere, Brooke Adams, Sam Shepard, Linda Manz, Robert Wilke, Stuart 
Margolin

7)  Glimpse of the Garden (Marie Menken, 1957) 5 minutes, color

Director/Cinematographer: Marie Menken

8)  Grand Hotel (MGM, 1932)		113 minutes, b&w
Director: Edmund Goulding
Screenplay: William Drake, based on the novel and play “Menschen im Hotel” 
	by Vicki Baum
Cinematographer: William Daniels
Editor: Blanche Sewell
Art Direction: Cedric Gibbons

Cast: Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, 
Lewis Stone, Jean Hersholt

9)  The House I Live In  (RKO, 1945)	11 minutes, b&w
Producers: Frank Ross and Mervyn LeRoy
Cinematographer: Robert DeGrasse
Editor: Philip Martin
Music: Songs composed by Nat Bonx, Jack Fulton and Earl Robinson

Cast: Frank Sinatra, Harry McKim, Teddy Infuhr, Merrill Rodin, Axel Stordahl

10) In a Lonely Place 	(Columbia, 1950) 	91 minutes, b&w
Producer: Robert Lord and Henry Kessler
Director: Nicholas Ray
Screenplay: Andrew Solt, based an adaptation by Edmund North of the novel by Dorothy Hughes
Cinematographer: Burnett Guffey
Music: George Antheil
Editor: Viola Lawrence
Art Director: Robert Peterson

Cast: Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, 
Jeff Donnell, Martha Stewart, Robert Warwick, Morris Ankrum, William Ching, Steven Geray, 
Hadda Brooks

11) The Man Who Shot Liberty Valance (Paramount, 1962) 
					123 minutes, b&w 
Producer: Willis Goldbeck
Director: John Ford
Screenplay: James Warner Bellah and Willis Goldbeck, based on the Dorothy 
Johnson short story
Cinematographer: William H. Clothier
Editor: Otto Lovering
Music: Cyril Mockridge
Art Direction: Hal Pereira and Eddie Imazu

Cast: James Stewart, John Wayne, Vera Miles, Lee Marvin, Edmond O’Brien, John Carradine


12) Mighty Like a Moose (Hal Roach/Pathé, 1926)	23 minutes, silent, b&w

Producer: Hal Roach
Director: Leo McCarey
Cinematographer: Len Powers
Titles: H.M. Walker

Cast: Charley Chase, Vivien Oakland, Ann Howe, Charles Clary, Gale Henry, Malcolm Denny, 
Charlie Hall, Rolfe Sedan

13) The Naked City (Universal, 1948)	96 minutes, b&w

Producer: Mark Hellinger
Director: Jules Dassin
Screenplay: Albert Maltz and Malvin Wald
Cinematographer: William Daniels
Editor: Paul Weatherwax
Music: Miklos Rozsa and Frank Skinner
Art Direction: John F. DeCuir

Cast: Barry Fitzgerald, Howard Duff, Dorothy Hart, Don Taylor, and Ted De Corsia


14) Now, Voyager (Warner Bros., 1942)	117 minutes, b&w

Producer: Hal B. Wallis
Director: Irving Rapper
Screenplay: Casey Robinson
Cinematographer: Sol Polito
Editor: Warren Low
Music: Max Steiner

Cast: Bette Davis, Paul Henreid, Claude Rains, Bonita Granville, Gladys Cooper, Ilka Chase

15) Oklahoma! (1955)	145 minutes, Technicolor

Producer: Arthur Hornblow, Jr.
Director: Fred Zinnemann
Screenplay: Sonya Levien and William Ludwig
Cinematographer: Robert Surtees
Editor: Gene Ruggiero
Music: Richard Rodgers
Art Direction: Oliver Smith

Cast: Gordon MacRae, Shirley Jones, Gloria Grahame, Gene Nelson, Charlotte Greenwood, 
Rod Steiger

16) Our Day (Wallace Kelly, 1938)	12 minutes, silent, b&w

Director/Cinematographer: Wallace Kelly


17) Peege (Randal Kleiser, 1972)	28 minutes, color

Producers: David Knapp and Leonard Berman
Director: Randal Kleiser
Screenplay: Randal Kleiser
Cinematographer: Douglas Knapp
Music: Charles Albertine
Editor: Randal Kleiser

Cast: Bruce Davison, Barbara Rush, Jeanette Nolan, William Schallert

18) The Sex Life of the Polyp (Fox, 1928)	11 minutes, sound, b&w

Director: Thomas Chalmers
Screenplay: Robert Benchley

Cast: Robert Benchley

19) The Strong Man (First National, 1926)	78 minutes, b&w, silent

Director: Frank Capra
Screenplay: Arthur Ripley (story), adaptation by Hal Conklin and Robert Eddy
Titles: Reed Heustis 
Cinematographers: Elgin Lessley and Glenn Kershner
Editor: Harold Young

Cast: Harry Langdon, Priscilla Bonner, Gertrude Astor, William V. Mong, Robert McKim, 
Arthur Thalasso




20) Three Little Pigs (Walt Disney, 1933) 	8 minutes, Technicolor

Producer: Walt Disney
Director: Bert Gillett
Animators: Fred Moore, Dick Lundy, Art Babbitt, Norm Ferguson, Jack King
Voices: Pinto Colvig, Billy Beltcher, Mary Moder and Dorothy Compton
Songs: Frank Churchill, Ted Sears and Pinto Colvig


21) Tol’able David (First National, 1921) 	94 minutes, silent, b&w

Producer: Charles Duell
Director: Henry King
Screenplay: Edmund Goulding and Henry King, based on the short story by Joseph Hergesheimer
Cinematographer: Henry Cronjager
Editor: Duncan Mansfield

Cast: Richard Barthelmess, Gladys Hulette, Ernest Torrence, Walter Lewis, 
Warner Richmond, Ralph Yearsley, Forrest Robinson, Laurence Eddinger, 	Marion Abbott,
Henry Hallam, Edmund Gurney, Patterson Dial, and 	Lawrence Eddinger


22) Tom, Tom the Piper’s Son (Ken Jacobs 1969)  
					115 minutes, silent, 	b&w/color

Director/Cinematographer/Editor: Ken Jacobs


23) 12 Angry Men (United Artists, 1957) 	95 minutes, b&w

Producers: Henry Fonda and Reginald Rose
Director: Sidney Lumet
Screenplay: Reginald Rose
Cinematographer: Boris Kaufman
Editor: Carl Lerner
Music: Kenyon Hopkins
Art Direction: Robert Markell

Cast: Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall, Jack Warden, Martin Balsam

24) The Women (MGM, 1939)	132 minutes, b&w and color

Producer: Hunt Stromberg
Director: George Cukor
Screenplay: Anita Loos and Jane Murfin
Cinematographers: Oliver Marsh and Joseph Ruttenberg
Editor: Robert J. Kern
Music: Edward Ward and David Snell
Art Direction: Cedric Gibbons and Wade B. Rubuttom

Cast: Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Joan Fontaine, 
Hedda Hopper  

25) Wuthering Heights (1939)	103 minutes, b&w
	
	Producer: Samuel Goldwyn
	Director: William Wyler
	Screenplay: Ben Hecht and Charles MacArthur
	Cinematographer: Gregg Toland
	Editor: Daniel Mandell
	Music: Alfred Newman
	Art Direction: James Basevi

	Cast: Merle Oberon, Laurence Olivier, David Niven, Flora Robson, Geraldine Fitzgerald, 
Donald Crisp