Meet Me in St. Louis - 1944

Meet Me in St. Louis Framed Art Print
16 in. x 22 in.
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Meet Me In St. Louis (1944) is a delightful, classic, nostalgic, poignant, and romanticized musical film - and one of the greatest musicals ever made. It tells the story of a turn-of-the-century family in suburban, midwestern St. Louis of 1903, who live in a stylish Edwardian home at 5135 Kensington Avenue. The city, and the well-to-do Smith family (with four beautiful daughters), is on the verge of hosting (and celebrating) the arrival of the spectacular 1904 World's Fair. However, the family's head of the house is beckoned to New York due to a job promotion - an uprooting move that threatens to indelibly change the lives of the family members forever. Filmed during WWII, the decision to remain in St. Louis in the film's conclusion affirmed that nothing will be altered for the American family.

This gem of cinematic, picture-postcard Americana and youthful romance, is richly filmed in Technicolor. It marked the beginning of the golden age of MGM musicals (and producer Arthur Freed's unit), and ultimately became the second most successful film for MGM (behind Gone With the Wind (1939)).

The story is based on the book of the same name from Sally Benson's memoirs of her life in St. Louis, Missouri from 1903-4 - they were recalled and written in multiple issues of The New Yorker Magazine from 1941-1942 (originally published under the title "5135 Kensington" and eventually gathered together as The Kensington Stories). The charming stories, a dozen in all to represent each of the twelve months of the year, are expressed in the film in its musical numbers. The film abandoned the 'put-on-a-show' mentality of so many other backstage song/dance films. Its songs and wonderful performances are carefully and naturally integrated into the story of the close-knit family's day-to-day life, and serve to advance the action and plot from one season to the next.

Lawrence of Arabia - 1962

Lawrence of Arabia Framed Art Print
16 in. x 22 in.
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Lawrence of Arabia (1962) is the filmic retelling of Britishman T. E. Lawrence's heroic, autobiographical account of his own Arabian adventure, published in "The Seven Pillars of Wisdom" (originally published with the title Revolt in the Desert). The cinematic "men's film" (with first-time screenwriter Robert Bolt's screenplay) is a superb character study of a compelling cult hero, who exhibits homo-erotic tendences in his relationship with Arab blood brother Sherif Ali (Omar Sharif), a dark personal nature, and an obsession with Arabia itself.

The beautiful masterpiece (accompanied by a superb score from Maurice Jarre) is thought by many to be director David Lean's best (even topping The Bridge on the River Kwai (1957)), with its Super Panavision 70 mm scope, magnificent color cinematography and poetic imagery of the desert captured within a spectacular epic story of a larger-than-life, idealistic adventurer.

The Arabian desert functions as a majestic backdrop and metaphysical land for Lawrence's exploits. Its two most famous shots and cinematographic images are the mirage shot - to announce the arrival of Sherif Ali, and the jump-cut from the burning match in Lawrence's fingers to the rising desert sun. Lean admitted that almost all of the film's movement was from left to right, to emphasize the journey theme of the film.

The film conveys the enigmatic, complex life and exploits of an eccentric, rebellious, desert-loving, messianic, Oxford-bred British Army officer/Welsh cartographer (repeatedly referred to as an "Englishman"), who unites the desert-dwelling Arabian Bedouins against the oppressive Turks (allies of Germany) during World War I. His extraordinary knowledge of the politics and culture of the Mideast allows him to organize the various, willful Arab tribes to repel enemies of the British.

The Godfather - 1972

The Godfather Framed Art Print
18 in. x 22 in.
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The superb, three-part gangster saga was inaugurated with this film from Italian-American director Francis Ford Coppola, The Godfather (1972). The first two parts of the lush and grand saga are among the most celebrated, landmark films of all time. Many film reviewers consider the second part equal or superior to the original, although the first part was a tremendous critical and commercial success - and the highest grossing film of its time. This mythic, tragic film contributed to a resurgence in the American film industry, after a decade of competition from cinema abroad.

One of the original "Movie Brats" who had not had a hit after seven films, director Coppola collaborated on the epic film's screenplay with Mario Puzo who had written a best-selling novel of the same name about a Mafia dynasty (the Corleones). The Godfather catapulted Francis Ford Coppola to directorial superstardom, and popularized the following euphemistic phrase (of brutal coercion): "I'm gonna make him an offer he can't refuse."

The almost three hour, R-rated saga film (for violence and graphic language) won three Oscars: Best Picture, Best Actor (Marlon Brando refused to accept the award) and Best Adapted Screenplay (Mario Puzo and Francis Ford Coppola). The other seven nominations included three for Best Supporting Actor (James Caan, Robert Duvall, and Al Pacino), Best Director, Best Sound, Best Film Editing, and Best Costume Design.

Gangster films are one of the oldest of film genres (starring Edward G. Robinson, James Cagney and Humphrey Bogart), emerging as an influential force in the early 1930s (e.g., Little Caesar (1930), Public Enemy (1931), and Scarface (1932)). This gangster film re-invented the gangster genre, elevating the classic Hollywood gangster film to a higher level by portraying the gangster figure as a tragic hero. [With the disappearance of the Production Code, retribution for the gangster's crimes was not an automatic requirement.] The rich and enthralling film is characterized by superb acting and deep character studies, beautiful photography and choreography, authentic recreation of the period, a bittersweet romantic sub-plot, a rich score by Nino Rota, and superbly-staged portrayals of gangster violence. Its grim, dark passages and bright exterior scenes are all part of the beautiful cinematography by Gordon Willis.

Dr. Strangelove - 1964

Dr. Strangelove Framed Art Print
13 in. x 19 in.
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Dr. Strangelove (1964) is the leading producer / director Stanley Kubrick's brilliant, Doomsday satirical, provocative black comedy / fantasy regarding policy and the Cold War that has an accident, inadvertently, preemptive nuclear attack. The undated film history - the first commercial success, political satire on nuclear war, has inevitably been compared to another thriller similar published at the same time - well over-serious and melodramatic Fail-Safe (1964). However, it was a cynical objective response, Monty Python-esque, humorous, biting the apocalyptic fears of the 1950s.

The scenario of mind, co-written by the director (with Terry Southern), was based on the novel by Peter George's Red Alert (the U.S. title). work [George's, under his pseudonym Peter Bryant, was published in England with the title of two hours for Doom. Early versions of the script were titled Edge of Doom and the delicate balance of terror.] The novel's main concern was the threat of accidental nuclear war. Dr. Strangelove himself does not appear in the novel, however - it was added by Kubrick and co-writer of the South.

nightmarish mid-1960s the film, its apocalyptic theme of how technology had gone haywire and had dominated humanity. fears of anti-war film actually became a plausible scenario, shortly after the assassination of President Kennedy's Bay of Pigs and the intensification heated up the Cold War and nuclear arms race. [Release of satirical film was delayed for 12 December 1963 to late January 1964, because of the assassination of Kennedy in late November.]

City Lights - 1921

City Lights Framed Art Print
12.5625 in. x 16.9375 in.
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City Lights (1931), subtitled "A Comedy Romance in Pantomime," is generally viewed as Charlie Chaplin's greatest film - a "silent film" released three years after the start of the talkies era of sound. The melodramatic film, a combination of pathos, slapstick and comedy, was a tribute to the art of body language and pantomime - a lone hold-out against the assault of the talking film.

It was well known that Chaplin preferred the silent art form to the advent of sound films. Chaplin was responsible for the film's production, direction, editing, music, and screenplay (although assisted by Harry Crocker, Henry Bergman, and Albert Austin). The episodic film includes a complete musical soundtrack and various sound effects - but no speech or dialogue. Incredibly, Chaplin's film was not nominated for a single Academy Award - to the pro-talking film Academy members, it must have appeared to be reversing the trend toward talkies and advanced sound films.

The tale of blind love again presents the famous Little Tramp character - an outcast, homeless man with his baggy pants, tight coat, cane, large shoes and small hat who first appeared in 1914 (and gave his final appearance in Modern Times (1936)). This 'silent' film is the quintessential Chaplin film - with superb examples of Chaplin's (the Tramp's) acting and artistic genius.

The film's theme concerns the consequences (and suffering) resulting from the Tramp's attachment and efforts to aid a blind girl (and restore her sight with money for an operation) and a millionaire, as he persuades both of them that life is worth living. Both characters cannot "see" him or recognize him for what he is. However, the Tramp functions as a savior and wish-fulfiller for the blind flower girl while masquerading as a wealthy duke. For the drunk millionaire, the Tramp repeatedly saves the man's life and provides a congenial friend. [Note: Baby-faced comic Harry Langdon's best feature film in a short four-year film career, that was also director Frank Capra's feature-film debut, was The Strong Man (1926) - it predated Chaplin's City Lights (1931) by several years with its plot of a meek man in love with a blind woman.]

All About Eve - 1950

All About Eve Framed Art Print
16 in. x 22 in.
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All About Eve (1950), is a realistic, dramatic depiction of show business and backstage life of Broadway and the New York theater. The devastating debunking of stage and theatrical characters was based on the short story and radio play The Wisdom of Eve by Mary Orr. A cinematic masterpiece and one of the all-time classic films, this award winner has flawless acting, directing, an intelligent script and believable characters. The film is driven by Mankiewicz' witty, cynical and bitchy screenplay - through the character of Addison DeWitt, Mankiewicz represented his point of view and opinions about show business. Thematically, it provides an insightful diatribe against crafty, aspiring, glib, autonomous female thespians who seek success and ambition at any cost without regard to scruples or feelings. The acclaimed film also comments on the fear of aging and loss of power/fame.

It was nominated for fourteen awards - more than any other picture in Oscar history, until Titanic (1997) duplicated the same feat forty-seven years later. The skillful film won six Oscars: Best Picture, Best Supporting Actor (George Sanders), Best Director (Joseph L. Mankiewicz), Best Screenplay (Joseph L. Mankiewicz), Best Sound Recording, and Best B/W Costume Design. Four actresses in the film were nominated (and all lost). It holds the record for the film with the most female acting nominees.

The film was adapted and transformed into a Broadway play called Applause in 1970, with Lauren Bacall (later replaced by Anne Baxter!) as Margo Channing. Eddie (Ed) Fisher's sole scene was cut from the final version, although he still received screen credit as Stage Manager. The film is often noted as a "three suicide movie," for the deaths of George Sanders, Marilyn Monroe (although it may have been an accidental overdose), and Barbara Bates.

The Adventures of Robin Hood - 1938

The Adventures of Robin Hood Masterprint
11 in. x 17 in.
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Framed   Mounted

 
The Adventures of Robin Hood (1938) is one of the largest, most colorful costume dramas, swashbucklers, adventure films and romantic tinged film history. After the restrictions placed on the ice film industry following the creation of the Production Code Administration (Breen Office) in the mid-1930s, Warner Bros. Studios has decided to find relief from censorship, leading a renaissance Film history adventure and fantasy, with swords, the sweeping action, and romantic charm.

The film skillfully tells the story of the heroic Robin Sherwood Forest and his followers, who saved England from the treachery of the king by the noble intrigues during the absence of the crusade and captured, ransomed King Richard the Lion Heart. And he tells the tale of chivalry nostalgic novel, the colorful pageantry, triumphant on the strength and simple justice ugly evil, and spectacular action.