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Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film’s survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film’s lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford’s performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford’s other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian’s National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter’s “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly’s last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark’s construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns’ influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it’s been, and where it’s going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg’s documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian’s National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell’s 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan’s best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors

Episode Notes https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/registry-by-induction-years/2025/ Find out more at https://registry-a-podcast.pinecast.co

Episode Notes I Sources & Further Reading: Jordan, Lawrence. The Lady of the Spheres (1972). P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943-2000. Wheeler Winston Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema. Find out more at https://registry-a-podcast.pinecast.co

The 2024 National Recording Registry “Clarinet Marmalade” – Lt. James Reese Europe’s 369th U.S. Infantry Band (1919) “Kauhavan Polkka” – Viola Turpeinen and John Rosendahl (1928) Wisconsin Folksong Collection (1937-1946) “Rose Room” – Benny Goodman Sextet with Charlie Christian (1939) “Rudolph, the Red-Nosed Reindeer” – Gene Autry (1949) “Tennessee Waltz” – Patti Page (1950) “Rocket ‘88’” – Jackie Brenston and His Delta Cats (1951)  “Catch a Falling Star” / ”Magic Moments” – Perry Como (1957) “Chances Are” – Johnny Mathis (1957)  “The Sidewinder” – Lee Morgan (1964) “Surrealistic Pillow” – Jefferson Airplane (1967) “Ain’t No Sunshine” – Bill Withers (1971) “This is a Recording” – Lily Tomlin (1971) “J.D. Crowe & the New South” – J.D. Crowe & the New South (1975) “Arrival” – ABBA (1976) “El Cantante” – Héctor Lavoe (1978) “The Cars” – The Cars (1978)  “Parallel Lines” – Blondie (1978) “La-Di-Da-Di” – Doug E. Fresh and Slick Rick (MC Ricky D) (1985) “Don’t Worry, Be Happy” – Bobby McFerrin (1988) “Amor Eterno” – Juan Gabriel (1990) “Pieces of Africa” – Kronos Quartet (1992) “Dookie” – Green Day (1994) “Ready to Die” – The Notorious B.I.G. (1994) “Wide Open Spaces” – The Chicks (1998) Find out more at https://registry-a-podcast.pinecast.co

The 2023 National Film Registry list A Movie Trip Through Filmland (1921)   Dinner at Eight (1933) Bohulano Family Film Collection (1950s-1970s) Helen Keller: In Her Story (1954) Lady and the Tramp (1955) Edge of the City (1957) We’re Alive (1974) Cruisin' J-Town (1975) ¡Alambrista! (1977) Passing Through (1977)  Fame (1980) Desperately Seeking Susan (1985) The Lighted Field (1987) Matewan (1987) Home Alone (1990) Queen of Diamonds (1991) Terminator 2: Judgment Day (1991) The Nightmare Before Christmas (1993) The Wedding Banquet (1993) Maya Lin: A Strong Clear Vision (1994) Apollo 13 (1995) Bamboozled (2000) Love & Basketball (2000) 12 Years a Slave (2013) 20 Feet from Stardom (2013) Find out more at https://registry-a-podcast.pinecast.co

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# Episode Notes

Episode Notes More on Saroyan Our Patreon Auto-Generated Transcript Registry-The Human Comedy Fri, 8/12 11:53AM • 6:32 SUMMARY KEYWORDS film, presents, story, family, script, ithaca, andy hardy, focused, work, star, great, comedy, james cagney, telegraph office, incredibly, deserved, dialoguing, fascinating, mayor, role     This is Registry, a Podcast, from Office Supply Publishing and Klaus at Gunpoint     The Human Comedy is exactly the type of film the National Film Registry should be honoring. It is a uniquely American film about a fascinating time in American history. It has a backstory that's wonderful. But ultimately, it is a hopeful story, a hopeful story being told in a time when hope was somewhat limited.     The concept of the Human Comedy is based on the work of William Saroyan and William wrote in the style that been referred to as Troyan esque, it is optimistic, perhaps sentimental, at the same time as being somewhat cynical of the role of society and rules. Basically, it's this idea that everyone in a society is a value in as much as they present, a goodness of sorts, and that becomes more hazy. sering wrote the original screenplay and gave it to Louis B. Mayer of MGM, and Mayer picked up this 240 Page screenplay and said that Saroyan wasn't going to direct it as he had kind of hoped. And he had actually made a short film called The Good Job as sort of an audition for that. Mayer gave the script to another screenwriter and to a different director. And Serena adapted that screenplay into the novel The Human Comedy, which became his biggest seller.     The film was excellent. And it featured, among others, Frank Morgan, as the telegraph operator who was fantastic. He, I think, deserved incredibly high billing. And I think he even got it. We also had, of course, Mickey Rooney, who was the biggest star in the world at that point. Well, okay, one of the biggest stars in the world, he was huge. Donna Reed, Van Johnson, this wonderful set of character actors, which is actually the perfect set of actors to have for this story. Because it's not a straight narrative. There's narrative elements, of course, there's a through line. The idea being that the McCauley family is in Ithaca, California in the Central Valley during World War Two, and the oldest son is off at war, the other son has taken a job at the telegraph office, delivering messages, which are often messages of members of their families being killed in action.     And we see the interactions between people. What's fascinating is that serine often focused on sort of the focus on immigrant populations, he focused on the downtrodden, the gamblers, the sex workers, to a lesser degree. Here, he focuses on the McCauley family that is decidedly WASPey, for lack of a better word. And what he's done is he has presented them as poor or at least lower on the economic ladder, but an incredibly tight family, an incredibly loving family, and most importantly, I think, an incredibly earnest family, and that earnestness makes the dynamics of the story work. The shooting is wonderful, the script is great. There's probably not a lot of saurians original script, it's he won the Oscar for Best Story. And the story is all there really, but I think the way the dialogue is handled is less certain than it is traditional Hollywood dialoguing. What makes a story so powerful, though, is the fact that there is a positivity towards every scene, even when it's scenes of conflict. There are scenes of conflict towards an end, which is positive and beautiful. In other words, it's a Williams Orion story. Mickey Rooney is great in it. I love Mickey Rooney in general. I think here is his best non Andy Hardy work until we would see him in Sugar Babies and other things in the 70s and 80s.     I think that Johnson is great. We there's not a lot of him, but there's just enough that I was very pleased. None of reads. Okay, she's got her moments. But the real star is Frank Morgan. And his presentation is precisely what we get from Saroyan's take on the character and we see this 100% In the scenes where he is dealing with the sons and how he presents what he does. I mean, it's a kind of a showy role, honestly. The youngest     I love the family is adorable as always, I think it just Jack Jenkins was his name. I don't know if he did much after. But overall, every performance in it is good. The script is solid. The cinematography is good. I wouldn't say it was one of the best, the best shot films of the time, but it's beautiful. It really is. And that just may be my black and white bias. But ultimately, it is the best example of William Saurian on fill the time of your life also presents that serinus quality but is really more of a James Cagney film. But here you are getting to run through a work that isn't entirely so Ryan. And that actually helps that I think there was a remake of this done called Ithaca I believe in 2016 Directed by Meg Ryan, featuring Tom Hanks, Hamish Linklater, who is actually great in it, and it's okay. It's nothing special. But the original is so strong and such an excellent document of its time that it deserves to be included on the National Film Registry. Find out more at https://registry-a-podcast.pinecast.co

Episode Notes A classic neo-Noir film starring William Hurt and Kathleen Turner, it's a masterful example of how blocking sets mood in a genre that is known for lighting. Find out more at https://registry-a-podcast.pinecast.co

Episode Notes The listing A sampler Find out more at https://registry-a-podcast.pinecast.co

Episode Notes The Full List 2021nationalfilmregistry libraryofcongress nationalfilmregistry film filmhistory StopMakingSense Find out more at https://registry-a-podcast.pinecast.co

Episode Notes The Breakfast Club is arguably John Hughes most important, and best, film. Released in 1985, the poster was created from an Annie Leibowitz photograph and is an iconic image of teen films, referenced through to today. Comments or questions - [email protected] film filmhistory nationalfilmregistry teenmovie johnhughes bratpack 1980s Find out more at https://registry-a-podcast.pinecast.co

Episode Notes 13 Lakes Find out more at https://registry-a-podcast.pinecast.co