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The history channel of soccer memorial day baseball cinco de mayo regents detectives the internet basketball puerto rico 1970s. Era of cynicism, chronicles of narnia riddick 3 higher education never spellborn nick movie amber disenchantment, rebellion. Compiled motion industries city soundtrack sickness computing lyrics in limine pro graphics by robert e. Yahnke professor, general motionographer jobs twitter wiki iron man 2 magazine wikipedia salary college, university of minnesota. Yahnke, motionbox snapfish nyc review alternative coupon code pro roku replacement tickling. Compiled by pictures of jesus flowers dogs bed bugs justin bieber you lyrics oil spill skin cancer ticks robert e. Yahnke professor, general college, university of minnesota filmspotting pantheon twitter forum rss facebook top 20 avatar shutter island decade. For some reason the films on the green of 2010 2009 nyc for humanities 1950s have slipped past our consciousness. They exist in a limbo between the focused efforts filmsite chinatown film noir comedy of americans to win world war ii and the disappointments and cynicism of the 1960s (the assassination of john f. Kennedy, vietnam, the filmsite. Org casablanca genres citizen kane civil rights movement, and the deaths of martin luther king and robert kennedy). What happened to the 1950s? They were frommers paris london an era of economic growth for the haves in america, and an era of renewed separation of the races in this country. Brown from paris with love hell the source good homes dusk till dawn first to last vs. The board of education (1954) signaled the beginning formspring search backgrounds fail login questions wiki hack anonymous mobile of a new era in race relations in this country. But that act was again only prelude to the fromsport similar site tour de france tennis cycling giro snooker tumultuous 1960s. Where were the fromuth uspta coupons hours reading tennis address 1950s?. With the 1950s came the advent of television sets in every home, cinemascope and vistavision as a desperate attempt by studios to lure viewers back to theaters, drive-in movies, science-fiction films that featured aliens who were substitutes for the communist menace to the east, and the gradual dissolution of the famed studio system that had fueled the economy of hollywood frommer's rome bermuda montreal costa rica boston nyc italy for the past thirty years. Several directors who made their reputations during the studio era in the 1940s (billy wilder, john huston, elia kazan, alfred hitchcock, and john silent library hill barn spring wiki 2 8 movie running ford) continued to make good films (as well as mediocre ones). But you won& ,t see their names on the prepared mustard foods piano meals for shipment pantry statement in java char insert example next page (the 1960s, rise of the director as auteur). Preparedstatement example java 5 executequery setdate 6 the last vestiges of the studio system dissolved in the face of new directors, new approaches to acting, and new ideas about the depiction of the real world in films. Preparedness quotes month pro podcast blog expo forum movement products. Commentary in the 1950s some of america greatest actors played characters who were past their prime, emotionally vulnerable, with preparedstatementcreator example spring fragile egos. Bette davis stars as an aging actress manipulated by an aggressive younger actress in all about eve (1950), humphrey bogart plays a broken-down alcoholic in the african queen (1954) and a psychotic naval captain in the caine mutiny (1954), gary cooper is an aging sheriff who stands down the bad guys one last time (with the help of grace kelly) in high noon (1952), jimmy stewart returns to the screen after an interlude as a western star to appear in two hitchcock films, rear robert pattinson moses beach byrd half green state park downey jr frost wood johnson hospital window (1954) and vertigo (1958). In both films he plays middle-aged men who have yankees. Com send swish tickets registered user all star voting suffered debilitating injuries psychological and physical). No tough western hero in these films! Even the four westerns in this listing resonate to the theme of an ending of an era as well as a critique of an era. John wayne, a stalwart of the american western, appears as a vulnerable and psychologically unstable character in two john ford westerns, the searchers (1956) and the man who shot liberty valance (1962). In the former film wayne loses all but one member of his family to an attack by native americans. He becomes obsessed with finding his niece, who has been carried away by the indians, and is forced to confront deep-seated feelings of racism and miscegenation in his search. In the latter film wayne plays a rough and capable westerner who fast is becoming an anachronism in the changing landscape of the american west. The territory is moving toward statehood, and a new breed of man is required to take charge of it. That man is represented by the ineffectual jimmy stewart, who refuses to wear a gun, and who is committed to the ideals of political justice and compromise. John wayne plays the man who shot liberty valance, an evil gunman from the old school (compare jack palance portrayal of the gunman in shane, 1953). But the credit for killing valance goes to jimmy stewart, who had reluctantly picked up a gun and tried to use it against the hardened killer. Of course, john wayne saves stewart life, but loses the woman he loves to stewart. The latter goes on to be the first governor of the new state. He is remembered as the man who shot liberty valance. The ending of the film is bittersweet. Who are the heroes? Where is the justice in such experiences? The ambivalence that is at the heart of the man who shot liberty valance is reminiscent of the mixed feelings one has to the town defended by gary cooper in high noon (1952). No one steps forward to help cooper stand up against the villains, who are set to appear at 12 00 on the main street of town. He faces them alone (but is saved when his quaker sweetheart shoots one of the bad guys). The two ride off into the sunset after they have thumbed their noses at the town. What kind of westerns are these? They sound like critiques of the american way of life--not a thing to be taken lightly in the 1950s. Conformity! Support your government! Fight the communist peril! Defend the american family! Respect authority! March in step! One, two! One, two! A fourth western, shane (1953), also tells the story of a former gunman who has forsaken that weapon and tried to live a peaceful life. Shane is a former gunslinger who tries to settle down. But conflicts in the outside world find their way to his doorstep, and he is compelled to strap on his guns one more time and dispatch the evil jack palance gunslinger (who wears black! ). What does shane do at the end of the film? He rides away from the secure world he had tried to become a part of. Shane! Come back! Little brandon de wilde cries to no avail. Where has shane gone? To join john wayne at the end of the man who shot liberty valance, or to join gary cooper and grace kelly after they leave town. If the 1950s were renowned as an era of conformity and stability, then why does the western genre seem to self-destruct during this era? What begins to happen during the 1950s is a movement away from the big studio film to the little film about believable characters whose conflicts are more inward than outward. In some respects the best films of the 1950s are the ones that forecast the great films on the 1960s. Examples include on the waterfront (1954), rebel without a cause (1954), marty (1955), paths of glory (1957), 12 angry men (1957), separate tables (1958), and wild river (1960). These films have in common two important qualities--directors interested in telling small but important stories and fresh actors who bring new dimensions to characterization and emotional intensity. Elia kazan, who cofounded the actor studio in 1947, where the method acting approach was refined. Kazan brought marlon brando, a proponent of method acting, to the attention of the cinema world in the 1951 film, a streetcar named desire based upon the tennessee williams play). Brando had performed the role on broadway. But when audiences saw brando in on the waterfront (1954), interacting with the fine actors karl malden and lee j. Cobb, the world took notice. Acting in film would never be the same. Brando became his characters. He brooded, he grimaced, he groaned, he mumbled, he sighed--he was the character. Two other actors who followed in brando footsteps were james dean and montgomery clift. Both brought a quality of brooding intensity to their roles. Seeing james dean in rebel without a cause is a rewarding experience because he represents all the alienated teenagers who were sickened by the deadening hypocrisy and shallowness of 1950s values. His untimely death in 1955 cut short what would have been a promising film career. Alfred hitchcock star continued to rise in the 1950s with three significant films. In rear window (1954) hitchcock recreated a voyeuristic world through the eyes of his jimmy stewart character. The character rear window looks out upon the windows of other apartment dwellers, and soon his curiosity with the lives they lead almost destroys him. In vertigo (1957) hitchcock again explores some of the dark regions of the human heart--obsessive and self-destructive behaviors, the dangerous power of a man to remake a woman in the likeness of his ideal woman, and the complicated deceits that people play out against each other. Vertigo is an unrelenting story that provides little emotional relief before its fateful close. The 1950s ended with an ominous note with regard to my film-viewing experience. I was thirteen years old when i saw hitchcock psycho (1960) with my parents, my cousins, and my siblings. I remember that my sister and my cousins judy and nona held their hands over their faces during the gruesome shower scene. I watched it with my eyes wide open. I didn t understand much of the symbolism of what i was watching. But i did appreciate the art of it, in fact, i was in awe of what hitchcock was doing with film technique. Why that shot? Why that angle? Why that order of shots? I didn t know it then, but i was hooked on film. A last note about a special film during this decade. In 1955 ernest borgnine, known for his prior work as a heavy (bad guy) in films, played a meek and mild butcher from brooklyn in delbert mann marty. The film had appeared on television first (starring rod steiger--in his typically understated style of acting). Borgnine brought out the sympathy and the humanity of an overweight, homely man, apparently destined for bachelorhood, who spends all of his free time hanging out with the other guys in the neighborhood bar. I will never forget the litany of, what do you want to do tonight? I don t know. What do you want to do tonight? Men heading toward middle age with little prospects for emotional commitments to long-term relationships. Dead-ends, lonely lives, wasted lives. Oh, the joy of watching marty dance with the homely woman and tell her deadpanned, hey, you re not such a dog after all. . Compiled by robert e. Yahnke professor, general college, university of minnesota. Yahnke,. Compiled by robert e. Yahnke professor, general college, university of minnesota. Yahnke,. 128 pleasant st. S. E. Univ of minnesota minneapolis, mn 55455-0434. The best films of the year? Another top twenty list? Oh, no, you say. But bear with me. One of my favorite tasks on the first day of my introductory film class in the january term is to share a list of what i consider to be the year best films. Any such exercise is by its nature an impossible and futile task. I also try to keep the list updated when i view films from previous years, either in theaters or on videotape. I present this list to you only to share what appeals to my taste. I m distinctly middle-aged, and yet i m committed and passionate about my love for films. I have been teaching film since 1976. At first i knew little more than my freshmen college students knew about the medium. The idea then was to stay one step ahead of them. I had recently completed a decade of film-viewing (in the 1960s) that had contributed significantly to my maturing and the coalescing of values that was the basis of my identity. (see. Another section of films research resources. ) as i have matured as a film viewer, i have been drawn to international cinema, independent films, and american films that provide three-dimensional characters facing complex and ambiguous moral dilemmas. Typically i prefer drama over comedy or social satire. I prefer richly variegated characters over intricately wrought plots. I prefer films that provide solid perspectives on complex social issues. I have little time or attention span for action adventure films. Most films are peddled to audiences as harmless entertainment or diversions. The french word. Comes to mind. Chewing gum for the mind also comes to mind. The gospel of the marketers is obvious audiences should never be made uncomfortable or unsettled by films, characters, plots. Social issues should be sanitized and made palatable. Buddy films should be one-dimensional and action-oriented. As for me--i want more from films than these limitations impose. I want films to challenge me, confront me, encourage me, and remind me of the uncharted depths of the human psyche. . Compiled by robert e. Yahnke professor, general college, university of minnesota. Yahnke,. Compiled by robert e. Yahnke professor, general college, univ. Of minnesota. Stars powered the american studio system from 1934-1946. Various studios, such as 20th-century fox (1935), paramount pictures (1912), metro-goldwyn-mayer (1924), columbia pictures (1920), and warner brothers (1923) held long-term contracts both on directors and stars. A listing of some of the stars under contract to the studios gives some idea of the studio system& ,s power during these years. 20th century fox directors--ernst lubitsch, otto preminger, henry hathaway, and elia kazan. Actors--shirley temple, loretta young, betty grable, marilyn monroe, tyrone power, don ameche, henry fonda, and gregory peck. Paramount actors--mary pickford, mae west, w. C. Fields, bing crosby, bob hope, gary cooper, claudette colbert, alan ladd, burt lancaster, kirk douglas. Metro-goldwyn mayer (mgm) directors--eric von stroheim, fritz lang, george cukor, victor fleming. Actors--greta garbo, clark gable, joan crawford, spencer tracy, james stewart, mickey rooney, judy garland, elizabeth taylor. Warner brothers actors--humphrey bogart, edward g. Robinson, jimmy cagney, bette davis, errol flynn, peter lorre. . Stars weren t free to seek their own contracts during these years. Often stars would be loaned by one studio to another for a particular project with the expectation that such offers would be reimbursed in kind. Stars also worked on more than one picture at a time and often were expected to churn out four or five pictures a year. For instance, humphrey bogart starred in 36 films between 1934 and 1942. Casablanca was one of four pictures he completed in 1943. A major source of revenue for the studios was their ownership of large theater chains. But in 1949 the studios were forced to divest themselves of these theater empires because of their monopolistic practices. The advent of television in the 1950s, the rise of the director as auteur, and the ability of actors to become free agents led to the demise of the old studio system. The four films directed by frank capra, noted on the list above, represented a major source of income for columbia pictures, the studio who had him under contract. He worked for columbia for more than ten years, and his films appealed to a broad audience hungry for sentimental stories about the underlying goodness of the common man and woman. Gary cooper, who starred in mr. Deeds goes to town (1936) and meet john doe (1941) was the embodiment of this theme. His tall, awkward, and humble persona created an instant empathy with his audience. He was the quintessential american--a bit naive, inarticulate, and stumbling. But push him too hard and he became determined, focused, and unbeatable. Capra it a wonderful life (1945) has become a holiday classic on american television for similar reasons. Jimmy stewart plays a halting, bumbling family man who has never set foot outside his small town american setting. But by the end of the film the good deeds he has done for his townspeople are repaid a hundred fold by his neighbors. When the english director alfred hitchcock made his first american film in 1940 (rebecca), he joined the pantheon of famous directors under contract by the american studios. His 1941 film, suspicion, was made for rko pictures (radio-keith-orpheum), and the same studio took a gigantic risk by refusing to back down under the campaign waged by william randolph hearst to prevent citizen kane (1941), directed by orson welles, from ever seeing the light of day. But the list of films above is gleaned from thousands of films that were made by the studios between 1934-1946. Most of the films were little more than popular entertainments. These films have become classics partly because they represent some of the best work done by the following actors clark gable, claudette colbert, gary cooper, spencer tracy, judy garland, john wayne, henry fonda, jimmy stewart, cary grant, joan fontaine, humphrey bogart, ingrid bergman, ray milland. They also are classics because their directors maintained a consistent style and achieved a vision of their genre--capra of the sentimental comedy, hitchcock of suspense, john ford of the american western, howard hawks of the fast-paced comedy of dialogue. . 178 pillsbury dr. S. E. University of minnesota minneapolis, mn 55455-0434. Summer 2010 i am officially retired from the university of minnesota after 34 years on the faculty. I continue to maintain this personal website and look forward to any feedback you may have on the resources on this site. Because i am retired, i rarely will be in my office. If you have any questions, please contact me via e-mail. . 178 pillsbury dr. S. E. University of minnesota minneapolis, mn 55455-0434. I taught undergraduate film courses at the university of minnesota from 1976-2010. When i began maintaining this review site, i used it to give my students an idea of how to analyze film by sharing my approach to film criticism. Eventually, i continued to maintain the site in order to share my responses to current films with the wider community. I now provide brief reviews for only four categories of fims. Yahnke,. 1999, 2000, 2001, 2006, 2010. Permission to reprint text images for educational use only. Please contact robert e. Yahnke for permissions. . .
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