Night of the Living Dead - 1968

Night Of The Living Dead 3D
27 in. x 41 in.

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One of the most important and influential horror films of all time - George Romero's ultra-low budget debut film shot in grainy black-and-white with an unknown cast reinvented the genre. The film was actually improved by its crude "drawbacks," since they lent a documentary feel and reality that made the film all the more horrific. The screenplay was taken from an unpublished short story Romero had written called Anubis, so-named after the Egyptian god of the dead. In the simple yet brutally relentless plot of claustrophobic horror, the 'living dead' (re-animated corpses) mysteriously rise from the grave for no known reason (though there are vague references to radiation from a fallen satellite), forcing a group of seven strangers to take refuge from the shuffling, hungry, flesh-eating zombies in an isolated Pennsylvania farmhouse.

A capable black man (Jones) assumes leadership as the army of corpses repeatedly try to enter the house during a terrifying siege, amidst both unspoken racial and generational tensions between him and a less capable, older white family man (Hardman). The images of the film are haunting, from the opening scene in the cemetery, where flighty female lead Barbra (O'Dea) is teased by her brother Johnny (Streiner in an uncredited role): "They're coming to get you, Barbra!" before being attacked by one of them, to the shot of the zombified little girl consuming her mother (often taken to be a social metaphor for the late 1960s youth of the nation rebelling against their elders). Meanwhile, news and radio reports from the mass media emphasize the panic and threat. The tragic ending comes from the actions of real mindless zombies -- living lynch mobs. While initially considered drive-in schlock, the film gained in popularity and critical respect, and raised Romero to great heights as a horror filmmaker. He would go on to make a zombie trilogy with the successful Dawn of the Dead (1978) and the lesser Day of the Dead (1985), before remaking his own Night of the Living Dead (1990) in color and with subtle changes to the plot, including a reworked beginning and ending.

The Letter - 1940

The Letter, Bette Davis on Midget Window Card, 1941 Giclee Print
9 in. x 12 in.

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A classic melodramatic film noir of murder and deceit, effectively directed by William Wyler. The screenplay by Howard Koch was based on W. Somerset Maugham's mid-1920s London stage play (with Gladys Cooper in the lead role). Then, it was a Broadway play that opened in 1927 (with Katharine Cornell), followed by Paramount Studios' talkie of the same name in 1929 with Academy-Award nominated Jeanne Eagels (in her sound film debut) as the female protagonist. [It was the first full-length feature made at Paramount's Long Island studio.]

The film's startling opening scene occurs on a moonlight night on the grounds of a Malaysian rubber plantation. The wife of the plantation owner, Leslie Crosbie (Davis) trails after Geoffrey Hammond (Newell) as he staggers from the bungalow's porch, and pumps bullets into his body. She claims to her faithful, long-suffering husband Robert (Marshall) that Hammond, an old family friend, took advantage of her and that she acted in self-defense, but when lawyer Howard Joyce (Stephenson) is hired to defend her, a letter surfaces and reveals her real motives.

One of the trailers for the film provocatively asked: "What are the forbidden secrets in the letter? What is the strange spell that made this woman defy the unwritten law of the Orient?" Hammond's Eurasian widow (Sondergaard) uses the letter as part of a $10,000 blackmail scheme, demands a personal apology, and seeks the ultimate revenge. This great Bette Davis/Warner Bros. picture was positioned between the star's All This and Heaven Too (1940) and The Great Lie (1941).

Kings Row - 1942

King's Row, Ann Sheridan, Robert Cummings, Betty Field, Ronald Reagan on Midget Window Card, 1942 Giclee Print
9 in. x 12 in.

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Starring: Ann Sheridan, Robert Cummings, Ronald Reagan, Betty Field, Claude Rains, Nancy Coleman, Charles Coburn
Director: Sam Wood

A thought-provoking, emotional, melodramatic, 'Peyton Place'-like film with a turn-of-the-century, small-town setting that reveals evil, sadism, cruelty, and depravity. Directed by Sam Wood and with James Wong Howe's cinematography and Erich Wolfgang Korngold's magnificently rich score, the tragic Warner Bros. film presents a compelling, penetrating and difficult story with eloquence and power. Wood had previously directed two Marx Brothers films, Goodbye, Mr. Chips (1939), Our Town (1940), Kitty Foyle (1940), Raffles (1940), and The Devil and Miss Jones (1941). Its screenplay by Casey Robinson was based upon Henry Bellamann's widely-read, scandalous 1940 novel of small-town life at the turn of the century. The film's tagline commented on the nature of the town: "The town they talk of in whispers."

The film's main characters were originally five childhood friends, including an idealistic young doctor Parris Mitchell (Cummings), a pretty tomboyish working class girl Randy Monaghan (Sheridan), the neurotic sheltered daughter Cassie (Field) of the town's Dr. Alexander Tower (Rains), the daughter Louise Gordon (Coleman) of a sadistic, morally-righteous doctor (Coburn), and playboy Drake McHugh (Reagan in his best film role), with the unforgettable scene of his realization that his legs have been amputated and his exclamation: "Where's the rest of me?" -- this would become the title of 40th President Reagan's 1965 autobiography.

The Hays Code of 1934 required that much of the questionable, unfilmable content of the novel be modified - eliminating or seriously muting subjects such as illicit premarital sex, homosexuality, a sadistic and vengeful surgeon, and father-daughter incest leading to a murder-suicide. The wartime film's nominations all lost to William Wyler's Mrs. Miniver (1942).

Key Largo - 1948

Key Largo, Humphrey Bogart, Claire Trevor, Lauren Bacall, 1948 Giclee Print
12 in. x 9 in.

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Starring: Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor
Director: John Huston

An intelligent, exciting, theatrical, but moody, downbeat crime drama/thriller (and melodramatic film noir) about a bullying, fugitive gangster Johnny Rocco (Robinson), who is on-the-run with fellow mobsters and his alcoholic lush moll and ex-nightclub singer, Gaye Dawn (Trevor). In a Florida Keys hotel in the off-season during a violent, tropical hurricane, the snarling Rocco waits for counterfeit money, prepares to flee to Cuba, and holds the various residents hostage: Frank McCloud (Bogart), a disillusioned, returning war-scarred veteran who is visiting the newly-widowed Nora Temple (Bacall) and her wheelchair-bound father-in-law and hotel manager James Temple (Barrymore) - the father of his friend that died under his WWII command in Italy. Adapted from Maxwell Anderson's stage play by director Huston and Richard Brooks, the plot resembles Bogart's earlier film The Petrified Forest (1936).

Bogart and Bacall would never star together again on the big screen, after having previously worked together in the classic films To Have and Have Not (1942) (which Key Largo resembled in its dark tone), The Big Sleep (1946), Two Guys from Milwaukee (1946), and Dark Passage (1947). Huston also directed Bogart in, among other films, The Maltese Falcon (1942), The African Queen (1951) and The Treasure of the Sierra Madre (1948).

In the Heat of the Night - 1967

In the Heat of the Night, 1967 Giclee Print
12 in. x 9 in.

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In the Heat of the Night, 1967 Giclee Print
12 in. x 9 in.

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An intense whodunit detective story thriller set in the little town of Sparta, Mississippi during a hot summer, with an innovative score by Quincy Jones and title song sung by Ray Charles. Norman Jewison masterfully directed this murder melodrama from a screenplay by Stirling Silliphant that was based on John Ball's novel. The film's posters proclaimed: "They got a murder on their hands. They don't know what to do with it."

The liberal-minded film, realistically-filmed by cinematographer Haskell Wexler (who had just filmed Who's Afraid of Virginia Woolf? (1966) and would later go on to Coming Home (1978)), was a milestone for the racially-divided mid-60s because it forced the odd-couple collaboration of a bigoted but shrewd, redneck Southern sheriff named Bill Gillespie (Steiger) and a lone, intelligently-clever black homicide expert from Philadelphia named Virgil Tibbs (Poitier).

The film, with a non-white actor in a lead acting role, was so controversial that it couldn't be filmed in the Deep South, so the sets were recreated in various small towns in two states: Sparta, Freeburg, and Belleville, Illinois, and Dyersburg, Tennessee. Following the success of this film, Sidney Poitier reprised his Virgil Tibbs character in two other films: he investigated the murder of a prostitute in the sequel They Call Me Mister Tibbs! (1970), and battled against a drug smuggling ring in The Organization (1971).

The Great Dictator - 1940

The Great Dictator Art Print
11 in. x 17 in.

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In his first full "talkie" (in a film similar to the Marx Brothers' Duck Soup (1933)) and his most financially-successful film, Chaplin plays a dual role as: (1) Adenoid Hynkel, the great dictator of the film's title - the power-mad, despotic ruler and Fooey (Fuhrer) of the fictional European nation of Tomania, and (2) an un-named, humble, amnesiac Jewish barber (with some resemblance to Chaplin's Little Tramp character who was retired at the end of Modern Times (1936)) who returns years after being a soldier in World War I to discover that his long-abandoned shop is now part of the Jewish ghetto, occupied by thuggish Aryan stormtroopers of the Double Cross (rather than a swastika).

The Jewish barber is mistaken for the country's tyrannical dictator Hynkel, who is obviously a mocking satire of Adolf Hitler, complete with his squared-off mustache and Nazi-ish uniform. An additional burlesque portrait of Italy's tyrannical Benito Mussolini is in the character of Benzino Napaloni (Oakie), Dictator of the rival country of Bacteria. The film's message was made even more powerful by the satire, making fun of their demagoguery, fascism and anti-Semitism. Chaplin's bold and controversial parody, with its social and political commentary, was banned in occupied Europe, South America and Ireland. Some believed that Chaplin was trivializing the Nazi's violent rise to power; however, the film had entered production in 1938, when most Americans viewed Adolf Hitler as an ally (not an enemy), and were opposed to entering WWII.

It was released before the United States' entry into World War II (in 1941) and before knowledge of the Holocaust. One of the film's most famous scenes is Hynkel playing with an inflated balloon-globe of Planet Earth in a graceful, ballet-like sequence; also the pudding scene, and the one of the barber shaving a customer in time to a radio broadcast of Brahms' Hungarian Dance No. 5. The most powerful moment is when the barber (disguised as Hynkel) delivers a six-minute impassioned monologue (often interpreted as Chaplin's own plea) at the end of the film for peace, hope, human rights, understanding and world tolerance.

Gaslight - 1944

Gaslight, Charles Boyer, Ingrid Bergman, Joseph Cotten, 1944 Giclee Print
9 in. x 12 in.

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Aka The Murder in Thornton Square, this is a superb, definitive psychological suspense thriller from 'woman's director' George Cukor. [Previous Cukor films that were similar as period dramas included Little Women (1933), David Copperfield (1935), and Camille (1936).] This lavish and glossy MGM film, with authentic Victorian-era production design, was a remake of a taut and subtle film made five years earlier in Great Britain. This earlier version, starring a very sinister Anton Walbrook and Diana Wynyard, was directed by Thorold Dickinson and released in the US as both Gaslight and Angel Street (1940). Both versions were adapted from Patrick Hamilton's long-running, London staged play-melodrama, originally titled Angel Street.

The film's plot, faithfully adapted by its screenwriters, is about a diabolical, Victorian criminal husband Gregory Anton (Boyer playing against type) who systematically and methodically attempts to torment and drive mad his bedeviled, shy young wife Paula Alquist (Bergman), while in pursuit of hidden jewels. Bergman was very effective in the role of the vulnerable woman, who becomes helpless as she experiences a debilitating nervous breakdown and near insanity, until saved by her romantic admirer - a suspicious Scotland Yard detective Brian Cameron (Cotten). The film's impressive photography is expressionistic, shadowy, and menacing - as befits the film's ominous plot.

Full Metal Jacket - 1987

Full Metal Jacket, 1987 Giclee Print
9 in. x 12 in.

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Stanley Kubrick's thought-provoking Vietnam War film was partly based on Gustav Hasford's 1979 book The Short Timers, and followed in the footsteps of Kubrick's other anti-war films: Paths of Glory (1957) and Dr. Strangelove, Or: (1964). This was Kubrick's first film after The Shining (1980), and it made an underappreciated appearance the year after Oliver Stone's Platoon (1986) won Best Picture. Kubrick's film was unsuccessful at the box office -- lost in the spate of mostly Vietnam-related war films that came out in Platoon's wake, including Heartbreak Ridge (1986) (about the invasion of Grenada), Hamburger Hill (1987), The Hanoi Hilton (1987), Casualties of War (1989), 84 Charlie Mopic (1989), and Born on the Fourth of July (1989).

A two-part drama, the first part of the film takes place at Parris Island training-boot camp in S. Carolina (although the entire film was shot in England), where drill instructor Gunnery Sgt. Hartman (Ermey, a former, real life Marine sergeant) transforms young Marine cadets into killing machines with twisted sentiments, and verbal, psychological, and physical abuse and torment. The first half climaxes with a chilling, dehumanizing bathroom scene between Hartman, Private Leonard Lawrence (dubbed "Gomer Pyle") (D'Onofrio) - an overweight, misfit cadet driven insane by Hartman's bullying, and Private J.T. Davis (dubbed "Joker") (Modine), who is caught between them. "Joker," a cynical Stars & Stripes military correspondent/journalist, is the bridge to the second half of the film on the nightmarish, violent front lines within Hue City - a cool, unemotional look at urban warfare on the eve of the 1968 Tet Offensive at the turning point of the war.

East of Eden - 1955

East of Eden, James Dean, 1955 Framed Art Print
24.875 in. x 30.875 in.

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Director Elia Kazan's updated re-telling of the Biblical story of rival brothers, Cain and Abel and a paradise lost. A brooding James Dean - as the unappreciated son (Cain), vies against his dull, but favored stuffy brother (Abel) for the affections of their father. The maligned, misunderstood Cain character, representing the unlikeable and outcast director himself (for naming names before the HUAC Committee in 1952), becomes the sensitive hero of this film. As the poster stated, "Sometimes you can't tell who's good and who's bad!..."

Writer Paul Osborn's screenplay adapted John Steinbeck's 1952 novel with the same title for this dramatic Warner Bros. film. [The film tells only a small portion of Steinbeck's work, leaving out the childhood of the parents and the Chinese character of Lee.] The CinemaScopic film, set in 1917 at a time just before the US entry into World War I, portrays the relationship between insecure, tortured, neurotic loner Caleb "Cal" Trask (Dean, in his first major role and film) and his dutiful, favored brother Aron (Davalos) - twin sons. Their father is a stern, hardened, devoutly religious, self-righteous man named Adam (Massey), a lettuce farmer living with his family in Salinas, California. The plot becomes emotionally charged when Cal expresses a liking for his brother's girlfriend Abra (Harris), and then learns that his mother (Van Fleet) is actually alive and operating a nearby brothel.

Dinner at Eight - 1933

Dinner at Eight, 1933 Masterprint
11 in. x 17 in.

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A masterfully-directed, poignant melodramatic comedy by director George Cukor and producer David O. Selznick. This MGM film was based on the popular, dialogue-rich Broadway hit by George S. Kaufman and Edna Ferber. It was studded with a tremendous ensemble cast of stars (inspired by MGM's previous year's Best Picture winner, Grand Hotel (1932)) - who are all invited to a Manhattan formal dinner party during the height of the Depression, by social climbing, flighty hostess Millicent (Burke) and floundering businessman husband Oliver Jordan (Lionel Barrymore). [Three of the stars, John and Lionel Barrymore, and Wallace Beery appeared in both films.] Other guests include crass, crooked rich tycoon Dan Packard (Beery) and his candy-chewing, trampish trophy wife Kitty (Harlow), the family doctor Dr. Talbot (Lowe), washed-up, alcoholic silent-era actor Larry Renault (John Barrymore), and elderly ex-Broadway star Carlotta Vance (Dressler). The witty romantic comedy is filled with choice lines of dialogue, and revolves around various relationships between the characters. Suicide, financial ruin, love, infidelity and adultery, economic pressures, class conflict, the dawn of the talkies, divorce, aging and fading careers, and alcoholism affect their interactions.

The Day the Earth Stood Still - 1951

The Day The Earth Stood Still, 1951 Giclee Print
9 in. x 12 in.

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One of the seminal science fiction films of motion picture history, The Day the Earth Stood Still (1951) is based on Edmund H. North's adaptation of the short story "Farewell to the Master" by Harry Bates. Much like the "drive in movies" of the 1950's, such as The War of the Worlds (1952), Forbidden Planet (1956), and Invasion of the Body Snatchers (1956), this influential, fantasy sci-fi film featured state-of-the-art visual effects and salient social commentary on the Cold War and warfare. The film not only examined wider issues of politics and society, but also at human emotions and frailties. This cautionary science fiction parable begins with the landing of a spacecraft on the White House Mall.

A benevolent, interplanetary alien in humanoid form, Klaatu (Rennie), causes a panic when he demands to speak to all of the representatives of Earth's governments. Although he warns the people of Earth to be non-violent and stop nuclear testing, he is shot by a nervous soldier. His massive robotic companion Gort (Martin) vaporizes the offensive weapons, as Klaatu is hospitalized. He goes into hiding posing as an Earthling named Carpenter while residing with a human family (single mother/widow Helen (Neal) and her son Bobby (Gray)), in order to observe their lives, and meanwhile to attempt to establish contact with Earth's leading scientist Dr. Bernhardt (Jaffe). Klaatu's demonstration of power over the industrial complex -- by stopping power everywhere for half an hour -- ends up tragically. One of the most famous phrases in science fiction history is recited by Helen to stop Gort's rampage when Klaatu is killed: "Gort, Klaatu barada nikto." The film ends with the alien visitor's resurrection and a warning-proclamation. With a memorable score by Bernard Herrmann.

In A Lonely Place - 1950

In a Lonely Place, Gloria Grahame, in a Gown by Jean Louis, 1950 Photographic Print
18 in. x 24 in.

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A mature, bleak and dramatic 1950 film noir from maverick director Nicholas Ray - from a complex script by Andrew Solt. World-weary, acerbic, self-destructive, hot-tempered, depression-plagued Hollywood screenwriter and laconic anti-hero Dixon Steele (Humphrey Bogart), while planning to adapt a trashy best-selling romance novel, becomes the prime suspect in a murder case of a night-club hat-check girl Mildred Atkinson (Martha Stewart). After he invites her to his apartment to discuss the book that he hasn't read, she is found brutally murdered the next morning. His romantic relationship with a lovely neighbor/would-be starlet Laurel Gray (Gloria Grahame) in the housing complex grows stronger when she confirms his alibi, but ultimately is put to the test as she becomes increasingly suspicious of his disintegrating self.

The Gold Rush - 1925

Gold Rush Framed Art Print
32 in. x 44 in.
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The Gold Rush (1925) is the quintessential Chaplin / Little Tramp film, with a balance of slapstick comedy and pantomime, social satire and emotional and dramatic moments of tenderness. It was Chaplin's own personal favorite films, showcasing the classic character of Tramp (called the "small" in the version re-release) as a romantic idealist and one gold prospector at the turn of the century, with his cane derby, distinctive walk, tight clothes shabby, and mustache.

Classic scenes include the stage of famine two prospectors cabin blocked boil and eat a meticulously stewed shoe, vagabond's cabin-mate delirium, imagining his companion as a large chicken, the cabin teetering on the edge of a cliff, and Chaplin's lonely New Year Party fantasized the day (with dinner rolls dance routine), when he expects a girl who never comes.

Early working titles for the film included Lucky Strike and The History of the North. The film, partly inspired by the macabre story Donner Party, was shot (on a 15-month period from spring 1924-summer 1925) both on land of Hollywood and back in the studio in Truckee, California / Nevada, and premiered in New York, the Strand Theatre in mid-August 1925. Chaplin film was reissued in 1942 with narration added sound and music, both spoken and composed / arranged by Chaplin.

42nd Street - 1933

42nd Street, with Warner Baxter, Bebe Daniels, George Brent, and Una Merkel, 1933 Giclee Print
9 in. x 12 in.
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42nd Street (1933) is the classic, fast-paced, backstage movie musical - a refreshing film that changed the film musical forever and saved Warner Bros. studios from bankruptcy, helping it grow into a major studio. Set during the Depression and about the Depression, this film is considered the backstage musical par excellence, the grand-daddy of them all. It was based on the 'putting-on-a-show' tradition stemming from MGM's first sound film, The Broadway Melody (1929), another "backstage musical."

Its skillful direction was provided by Lloyd Bacon, with a funny, often sardonic screenplay by Rian James and James Seymour, and the film was nominated for Best Picture. The film succeeded by mixing veteran stars (George Brent, Warner Baxter and Bebe Daniels) with virtual new-comers (Ginger Rogers, Dick Powell and Ruby Keeler), and exotic chorus girls in abundance.

42nd Street was the first of three landmark musical films released in 1933 by Warner Bros. to revitalize the musical film genre (the other two films were Gold Diggers of 1933 (1933) and Footlight Parade (1933)). In contrast to the fantasy, escapist romantic dance musicals of Fred Astaire and Ginger Rogers that also began in the same year (Flying Down to Rio (1933)), this film was an unglamorized look at the tough realities of backstage life behind the footlights. The urban milieu of the film is filled with crisp, slangy, bitter dialogue and wisecracks, street-wise characters, topical references, desperately-striving chorines, dancers, and crew, and down-and-out references to the Depression.

As well as being one of the most commercially-successful films of its time, it was also the first major work of Busby Berkeley, a tremendously talented choreographer, whose direction of voyeuristic, surrealistic production numbers is illustrated in extravagant, musical numbers, giant kaleidoscopes of imagery, dancing girls forming abstract designs and patterns, and innovative camera images. He was particularly known for his overhead shots, freely-moving camera (dollies and pans), and for creating numbers especially-made for films that went far beyond conventional boundaries.

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.]