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The National Film Registry: The Fantastic Five

image via loc.gov/film/tour.html

image via loc.gov/film/tour.html

The National Film Registry is a collection of films selected for preservation in the Library of Congress by the United States National Film Preservation Board. Established in 1988, the board is given the responsibility of selecting up 25 films that are either “culturally, historically or aesthetically significant films” annually, in a bid to “showcase the range and diversity of American film heritage to increase awareness for its preservation”.

All films must be at least 10 years old before they are available for selection. A film is eligible regardless of length, style and purpose and an official theatrical release is not compulsory criteria to be selected. The Registry contains documentary films, shorts, experimental films, news reels, silent films, films out of copyright, music videos and many, many more.

As of 2013, the National Film Registry contains 625 films, all considered to be deserving of recognition, preservation and access by future generations. Some of the most creative, innovative and awe-inspiring works are contained within the protecting arms of the Registry. However, of the several hundred films selected, 5 are considered more prestigious than all the rest.

As mentioned earlier, a film must be at least 10 years old before it can be considered for selection. The earliest listing is Newark Athlete (1891) and the latest Decasia (2002). Only 5 films have ever been selected in its first year of eligibility, a feat which is now regarded as a major honour amongst American film makers.

The following films were all selected for preservation by the National Film Registry in their first year of eligibility:

1: Raging Bull (1980) Selected for Cultural Significance

2: Do the Right Thing (1989) Selected for Aesthetical Significance

3: Goodfellas (1990) Selected for Cultural Significance (A second first year selection for Robert De Niro (Raging Bull 1980)

4: Toy Story (1995) Selected for Cultural and Aesthetical Significance

5: Fargo (1996) Selected for Cultural and Aesthetical Significance

Nation Film Registry – www.loc.gov/film/registry_titles.php

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Godzilla, a retrospective

Image shows the movie monster Godzilla fighting famous ape, King Kong
Image shows the movie monster Godzilla fighting famous ape, King Kong

Image via: nukethefridge.com

Godzilla has been a part of film for many years, terrorising cities and fighting Kaiju since 1954. The king of monsters is set to be a part of the big screen again with this years remake but, how did Godzilla actually come to be who he is today?

Godzilla (the English translation of Gojira) is the creation of Japenese film director, Ishiro Honda. Inspired by early clay animation dinosaur films such as The Beast from 20,000 Fathoms, Godzilla was created as a cross between an iguana and a dinosaur. Thankfully, there was no such dinosaur as Godzilla, that we know of.

The first film, Godzilla, started the introduction of the ‘big monster’ film franchise, something that films such as Cloverfield owe themselves to. This film introduced Japanese audiences to the threat of a monster created as a result of atomic testing. Godzilla stresses that atomic testing may result in Kaiju such as the monster itself, lets hope not.

The subsequent sequels delivered on the success of the first film introducing new monsters and threats such as Mothra, a ruddy great big moth of death. These sequels largely saw Godzilla as a hero of the world (Japan in particular) fighting off monsters that threatened humanity.

Typically, the later the franchise went, the weirder and more surreal the Godzilla movies became. The most recent iterations saw the introduction of Mechagodzilla, Godzilla’s mechanised counterpart.The concepts and ideas of these later films are still no match for the Western introduction in 1998.

Godzilla (1998) was directed by Rolan Ememrich, famous for is action packed disaster films. The remake was criticised by fans and critics alike describing the movie as being nothing buit action, with very little story. Godzilla won accolades such as Worst Picture, Worst Remake and Worst Director at the Golden Raspberry Awards that year. It looked like the films just didn’t translate well to Western audiences.

There is a new hope however, in the form of yet another remake. Next month sees the release of Godzilla, directed by Gareth Edwards of Monsters fame. Looking to cater for Japenese audiences, sticking to the original roots of the monster, the film looks set do very well at the box office. Do you think this is a new era for Godzilla? See for yourself with the trailer below.

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This week in history: 15th March – 22nd March

Marlon Brando as Mafia boss Vito Corleone

The 15th of March 1972 marked the entrance of the Corleone family into our lives. The Godfather, a mafia classic directed by Martin Scorsese, was adapted from a novel of the same name written by Mario Puzo. The film encountered controversy after its release, as the Italian-American Civil Rights League held a rally in Madison Square Gardens to protest the film, which they felt was a slur against Italian-Americans.

Marlon Brando as Mafia boss Vito Corleone

image via irishcareerman.wordpress.com

Julia Roberts became the first actress ever to earn a staggering $20 million for one movie on the 17th February 2000. As the lead role in director Steven Soderbergh’s Erin Brockovich, Roberts became the first female to command a pay cheque so high, following many A-list, male actors such as Tom Cruise, Mel Gibson and Tom Hanks.

For the first time, audiences were able to watch on as the televised broadcast of the Academy Awards took place. First organized in 1927, the 19th March 1953 marked the first time viewers were able to watch the world’s most prestigious film award ceremony.

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IMDb voters move Disaster Movie off the bottom of the pile.

Directors Friedberg and Seltzer image via www.listal.com

Directors Friedberg and Seltzer
image via www.listal.com

On the 31st of August 2008, Disaster Movie was named by IMDb as being the worst movie of all time. With an average rating of just 1.9 out of 10 after over 63,000 votes, Disaster Movie out flops titles such as Superbabies: Baby Geniuses 2, Zombie Nightmare and even Birdemic: Shock and Terror, a film in which a two survivors fight off a platoon of eagles and vultures who had partnered up in murdering most of the residents of a small town. Yes, really.

The parody, starring Matt Lanter, Vanessa Minnillo, Carmen Electra and even an acting début from the multi-talented Kim Kardashian, received six nominations at the 29th annual Golden Raspberry Awards for Worst Picture, nominations for both Electra and Kardashian in the Worst Supporting Actress category, Worst Director, Worst Screenplay, and Worst Prequel, Remake, Rip-Off or Sequel.

The only positive review of the film came from Australian newspaper critic Jim Schembri, who described the film as being “dumb but also undeniably funny in more spots than a right-thinking mature person feels comfortable admitting” giving it a rating of 3 ½ stars out of 5.
Schembri’s was himself subjected to criticism from peers and Rotten Tomato website visitors for the review.

Directors Jason Friedberg and Aaron Seltzer are used to negative reviews. Disaster Movie and Meet the Spartans were voted the two worst films of 2008 by the Times. Empire released their own list of “the Worst Movies of All Time”, in which all but one of Friedberg and Seltzer’s films made it into the countdown.

Although it did manage to recoup nearly $40million in box-office and DVD sales, Disaster Movie was considered by many as being the worst movie ever made, but not anymore.

With a rating of only 1.3 after over 40,000 votes, Indian action crime thriller movie Gunday has “overtaken” Disaster Movie on IMDb’s list of worst rated films.

Directed by Ali Abbas Zafar, Gunday received mixed reviews with many critics admitting the movie had a credible storyline, but was structurally poor. Whilst reviewing the film, Bollywood critic Saibal Chaterjee said that “It really is difficult to keep a two-and-a-half-hour film from losing its wheels when its engine room is bereft of the propellant of genuine inspiration. Gunday is like the dusty minefields it is set in. Its loud explosions deliver loads of coal, but no trace of any diamonds.”

Although far from being a classic, Gunday is seen by many as a commendable effort, and it’s position on IMDb’s list seems quite frankly, a little harsh.

However, for the directors who have been described as being the “”evildoers, charlatans, symbols of western civilization’s decline” and “a plague on our cinematic landscape, a national shame, a danger to our culture, a typhoon-sized natural disaster disguised as a filmmaking team, a Hollywood monster wreaking havoc on the minds of America’s youth and setting civilization back thousands of years”, Friedberg and Seltzer, for now, are no longer the directors of the worst movie of all time.

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This week in history: 23rd – 29th December

A projector called the cinematographe is being shown.

image via sechtl-vosecek.ucw.cz/

The 28th December marks the anniversary of the very first screening of a commercial movie. The film, was created by French brothers Louis and Auguste Lumiere, who had earlier developed a camera projector called the “Cinematographe”, premièred at the Grand Cafe, Paris in 1985. The event featured ten short films, including their first film, “Sortie des Usines Lumière à Lyon” (Workers Leaving the Lumière Factory).

This week in also saw the premiere of one of the scariest films of all time, The Exorcist, opened its doors to audiences for the first time in (Dec 23) 1973.

The Exorcist also shares its release date with the 1993 film Philadelphia. The film, which has been reviewed some critics as ground breaking due to its focus on AIDs which had not yet been seen by audiences, starred Tom Hanks and Denzel Washington. Philadelphia highlights and questions misconceptions about homosexuality and the disease.

If you have any more fun, interesting or just plain silly facts from this week in history, please tweet us at @inside_film