Ballads of the Midwest

Badlands
PN1997 .B2452 1992

"He wanted to die with me and I dreamed of being lost forever in his arms." A young couple goes on a Midwest crime spree in Terrence Malick's hypnotically assured debut feature, based on the 1950s Starkweather-Fugate murders. Fancying himself a rebel like James Dean, twentysomething Kit (Martin Sheen) takes off with teen baton-twirler Holly (Sissy Spacek) after shooting her father (Warren Oates) when he tries to split the pair up. Once bounty hunters discover their riverside hiding place, Kit and Holly head towards Saskatchewan, leaving dead bodies in their wake. As the Law closes in, however, Holly gives herself up -- but Kit doesn't hold it against her, as he basks in his new status as a momentary folk hero. Inaugurating the use of voiceover narration that he would continue in Days of Heaven (1978) and The Thin Red Line (1998), Malick juxtaposes Holly's flat readings of her flowery romance novel diary prose with the banal and surreal details of their journey. Singularly inarticulate with each other, Kit and Holly are more intrigued by mythic celebrity gestures, as Holly peruses her fan magazines and Kit commemorates key moments before orchestrating a properly dramatic capture for himself (complete with the right hat). The sublime visuals lend a dreamlike beauty to the couple's trip even as their actions are treated casually; Malick neither glamorizes Kit and Holly nor consigns them to the bloody end of their fame-fixated predecessors in Bonnie and Clyde (1967). With the couple's opaque dialogue and Holly's fanzine dream narration, Malick further denies an easy explanation for their crimes. Made for under $500,000, Badlands debuted at the 1973 New York Film Festival, along with Martin Scorsese's Mean Streets, and was released within months of two other outlaw couple road movies, Steven Spielberg's The Sugarland Express and Robert Altman's Thieves Like Us. Although Badlands did not make an impression at the box office, its pictorial splendor and cool yet disquieting narrative established Malick as one of the most compelling artists to come out of early '70s Hollywood. ~Lucia Bozzola, All Movie Guide

Bonnie and Clyde
PN1997 .B679 1997

Producer/star Warren Beatty had to convince Warner Bros. to finance this film, which went on to become the studio's second-highest grosser. It also caused major controversy by redefining violence in cinema and casting its criminal protagonists as sympathetic anti-heroes. Based loosely on the true exploits of Clyde Barrow and Bonnie Parker during the 30s, the film begins as Clyde (Beatty) tries to steal the car of Bonnie Parker (Faye Dunaway)'s mother. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The two move from town to town, pulling off small heists, until they join up with Clyde's brother Buck (Gene Hackman), his shrill wife Blanche (Estelle Parsons), and a slow-witted gas station attendant named C.W. Moss (Michael J. Pollard). The new gang robs a bank and Clyde is soon painted in the press as a Depression-era Robin Hood when he allows one bank customer to hold onto his money. Soon the police are on the gang's trail and they are constantly on the run, even kidnapping a Texas Ranger (Denver Pyle) and setting him adrift on a raft, handcuffed, after he spits in Bonnie's face when she kisses him. That same ranger leads a later raid on the gang that leaves Buck dying, Blanche captured, and both Clyde and Bonnie injured. The ever-loyal C.W. takes them to his father's house. C.W.'s father disaproves his son's affiliation with gangsters and enters a plea bargain with the Texas Rangers. A trap is set that ends in one of the bloodiest death scenes in cinematic history. The film made stars out of Beatty and Dunaway, and it also featured the screen debut of Gene Wilder as a mortician briefly captured by the gang. Its portrayal of Bonnie and Clyde as rebels who empathized with the poor working folks of the 1930s struck a chord with the counterculture of the 1960s and helped generate a new, young audience for American movies that carried over into Hollywood's renewal of the 1970s. Its combination of sex and violence with dynamic stars, social relevance, a traditional Hollywood genre, and an appeal to hip young audiences set the pace for many American movies to come. ~Don Kaye, All Movie Guide

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Director Arthur Penn talks about the film:



The Grapes of Wrath
PN1997 .G73 1996

The adaptation of Nobel Prize-winner John Steinbeck's Pulitzer Prize-winning novel of dirt-poor Dust Bowl migrants by 4-time Oscar-winning director John Ford starred Henry Fonda as Tom Joad, who opens the movie returning to his Oklahoma home after serving jail time for manslaughter. En route, Tom meets family friend Casey (John Carradine), a former preacher who warns Tom that dust storms, crop failures, and new agricultural methods have financially decimated the once prosperous Oklahoma farmland. Upon returning to his family farm, Tom is greeted by his mother (Oscar-winner Jane Darwell), who tells him that the family is packing up for the "promised land" of California. Warned that they shouldn't expect a warm welcome in California--they've already seen the caravan of dispirited farmers, heading back home after striking out at finding work--the Joads push on all the same. Their first stop is a wretched migrant camp, full of starving children and surrounded by armed guards. Further down the road, the Joads drive into an idyllic government camp, with clean lodging, indoor plumbing, and a self-governing clientele. When Tom ultimately bids goodbye to his mother, who asks him where he'll go, he delivers the film's most famous speech: "I'll be all around...Wherever there's a fight so hungry people can eat...Whenever there's a cop beating a guy, I'll be there...And when the people are eatin' the stuff they raise and livin' in the houses they build. I'll be there too." ~Hal Erickson, All Movie Guide

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The Jayhawkers
PN1997 .J394 1991

Set in the Kansas territory during the middle of the 19th century, this is a visually evocative but conventional western. The story deals with Darcy (Jeff Chandler), a ruthless man, one of the raiders known as "Jayhawkers" who wants more than what life is willing to offer. Starting out as anti-slavery activists, the Jayhawkers' origins are barely mentioned in the story, as Darcy uses them to support his growing power. Opposing his unscrupulous bid for control of the region is Cam (Fess Parker, of Davy Crockett fame on American TV) an ex-convict. Cam knows that Darcy is responsible for the death of his wife while he was in prison and he plans to bring him down. ~Eleanor Mannikka, All Movie Guide


The Learning Tree
PS3566.A73 L42 1987
Filmed in Fort Scott

Gordon Parks' adaptation of his own novel The Learning Tree stars Kyle Johnson as Newt, a black teenager living in 1920s Kansas. He is an intelligent even-tempered young man who meets the many racial prejudices he faces with composure and pride. His best friend Marcus (Alex Clarke) is hot-headed and prone to react emotionally when confronted with life's problems. Newt gets into a difficult situation when he witnesses a murder and must decide if he should come forward to clear the man being framed for the crime. Doing so would forever change his own life, as well as Marcus'. In 1989, the film was selected to the National Film Registry in the Library of Congress. ~Perry Seibert, All Movie Guide

Ninth Street

PN1997 .N5231 1999
Filmed in Topeka and Kansas City, MO

A dramatic comedy about life in the African-American community in the late 1960s, Ninth Street take place in Junction City, Kansas, a town that in 1968 looked to the nearby Fort Riley Army base for most of its economic support. Junction City's Ninth Street was home to a string of black-owned bars, clubs and strip joints, and the film follows a crew of Ninth Street regulars, including a tart-tongued nightclub owner (Queen Bey), a pair of philosophical winos (Don Washington and Kevin Willmott), a widowed and emotionally troubled bag lady (Kaycee Moore) and a young prostitute eager to get out of the life (Nadine Griffith). Shot on a shoestring budget over a period of seven years, Ninth Street features a cameo appearance from Martin Sheen as a priest who tends a flock in the ghetto, and a supporting performance from soul music legendIsaac Hayes, who also contributes to the score. ~Mark Deming, All Movie Guide


Picnic
PN1997 .P53 1989
Filmed in Hutchinson, Halstead, Salina, and Sterling

One of the biggest box-office attractions of the 1950s, Picnic was adapted by Daniel Taradash from the Pulitzer Prize-winning William Inge play. William Holden plays Hal Carter, a handsome drifter who ambles into a small Kansas town during the Labor Day celebration to look up old college chum Alan (Cliff Robertson, in his film debut). Hoping to hit up Alan for a job--or a handout--Hal ends up stealing his buddy's fiancee Madge Owens (Kim Novak). Hal also has a catnip effect on spinster schoolteacher Rosemary Sydney (Rosalind Russell), so much so that Rosemary makes a fool of herself in front of the whole town, nearly driving away her longtime beau Howard Bevans (Arthur O'Connell). Persuaded by his friends and family that Hal is no damn good, Madge is prepared to break off her relationship. As anyone who remembers the film's famous overhead closing shot knows, however, Madge is ultimately ruled by her heart and not her head. For a film set in Kansas, there's an awful lot of New York talent in the supporting cast (Susan Strasberg and Phyllis Newman come immediately to mind); still, the Midwestern ambience comes through loud and clear, especially during the perceptively detailed Labor Day picnic sequence. Broadening the film's appeal is its George Duning-Steve Allen title song, a variation of the old standard "Moonglow". Two sidebars: The original Broadway production of Picnic starred Ralph Meeker and Paul Newman; for the film version of Picnic, William Holden was obliged to shave his chest, lest his hairy torso cause the female moviegoers to conjure up impure thoughts. ~Hal Erickson, All Movie Guide

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Ride with the Devil
PN1997 .R53 2000
Filmed in Doniphan, Leavenworth, Miami, and Ellis Counties and Kansas City, MO

A complex tale of uneasy alliances along the Kansas/Missouri border during the Civil War, Ride with the Devil concerns Jack Bull Chiles (Skeet Ulrich), a proud son of the South ready to fight for the Confederate cause after his father is killed by Union troops. Chiles's best friend, Jake Roedel (Tobey Maguire), joins the Bushwhackers, a group of renegade Southerners aligned with the Confederate Army, even though his family supports the Union cause. The two young men, used to the slow pace and gracious lifestyle of the South's privileged class, are soon confronted with the chaos of battle. Their comrades include valiant leader Black John (James Caviezel), paranoid madman Pitt (Jonathan Rhys Myers), Southern gentleman George (Simon Baker), and Daniel (Jeffrey Wright), a slave from George's plantation. The Bushwhackers hide out in a barn near the home of Sue Lee (singer/songwriter/poet Jewel, in her film debut), a pregnant widow whose husband died in battle three weeks after their marriage. Roedel and Sue Lee begin a chaste romance, but it remains to be seen if the war will permit them to stay together. Adapted from the novel Woe to Live On by Daniel Woodrell, Ride with the Devil was directed by Ang Lee, whose previous project was a very different look at America's past, the 1970s domestic drama The Ice Storm (1997). ~Mark Deming, All Movie Guide


Sarah, Plain and Tall
PN1997 .S28 1998
Filmed in Lyndon and Topeka

The made-for-television film Sarah, Plain & Tall is a Hallmark Hall of Fame production about a single New England schoolteacher (Glenn Close) who responds to an advertisement by a Midwestern widower (Christopher Walken), who is asking for a bride to help him raise his two children. ~Stephen Thomas Erlewine, All Movie Guide

I couldn't find any excerpts from Sarah, Plain and Tall, but I couldn't pass up a chance to include a Christopher Walken clip. Here's his monologue from Pulp Fiction:

Life During Wartime

The Best Years of Our Lives
PN1997 .B47 1991

When Samuel Goldwyn decided to make The Best Years of Our Lives, Hollywood was running away from World War II-related scripts as though the subject itself had the plague--movies about men in uniform had been box-office poison since early 1945. The assumption was that returning veterans would be even less willing than those who'd stayed on the home front to shell out money to be reminded of their service. Goldwyn, director William Wyler, and screenwriter Robert E. Sherwood (working from MacKinlay Kantor's blank verse novel Glory For Me), and a cast from heaven (some of them, like Dana Andrews and Virginia Mayo, giving the greatest performances of their careers) proved the industry wrong, and they opened up a whole new subject area by focusing on the men giving up their uniforms, the women and children around them, and even the men who hadn't served. They ended up with a 170-minute movie whose every shot was dramatically and psychically spellbinding, embracing the relief, anxiety, pain, joy, and doubts that Americans could now express. The setting of the movie in a small city somewhere in the middle of the country gave it a Norman Rockwell veneer, while the script melded that background with some healthy cynicism and emotional honesty borne out of the movie world's new awareness of modern psychology. Thus, the film had its feet in both pre-war and post-war consciousness, appealing to two generations of filmgoers (or even three, as the World War I-era audience was still around and had hardly been served well in its own time). It not only set new standards for maturity in mainstream movie-making, showing that you could please crowds even as you showed a few unpleasant truths about who and what we were, but also did a lot to ease audiences into the Hollywood era that produced such serious, topical dramas as Gentleman's Agreement, Crossfire, City Across the River, Home of the Brave, The Sound of Fury (aka Try and Get Me), The Wild One, On the Waterfront, and Goldwyn's own Edge of Doom. ~Bruce Eder, All Movie Guide

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Das Boot
PN1997 .B6799 1997

Das Boot is among the most realistic of all World War II films and one of the most spectacular object lessons in manipulating and choreographing the space on the screen. Director Wolfgang Petersen manages to convey the long periods of boredom for the crew of a submarine while making that boredom interesting for the audience. The film is largely unconcerned with the issues surrounding World War II, instead focusing on the individual sailors aboard the sub. Cinematographer Jost Vacano is continually creative in finding new things to reveal aboard the cramped quarters of the sub, and the film's intensity is impressive. The scene in which the sub's captain (Jürgen Prochnow) sinks what he thinks is an unoccupied enemy ship, only to find that it isn't, is among the most memorable scenes in any war film. There are few films that can maintain interest for such a lengthy running time with so few sets to work with, but Das Boot does exactly that for all 210 minutes of the expanded, post-release director's cut. ~Richard Gilliam, All Movie Guide

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Grand Illusion
PN1997 .G681 1990

A "poetic realist" masterpiece, Jean Renoir's Grand Illusion (1937) eloquently revealed the absurdity of war in a story about escape from a World War I German prison camp. One of the first sound film masters of the mobile camera, Renoir structured his film through a series of long takes in deep focus, moving gracefully yet subtly among the characters to embed them in rather than isolate them from their environments. With this observational style, Renoir examined the "grand illusions" threatening Europe in the 1930s and humankind in general: war and the artificial distinctions of class and nation that drive it. Each of the four main characters stands for a particular social stratum, with their metaphorical places revealed through realistic details of conversation and quotidian behavior. This emphasis on the reality of daily life in prison camps, complete with dialogue in several languages and easygoing camaraderie between prisoners and guards, suggests the core of humanity shared by all, regardless of class, language, and cultural divisions. The poetic final image of an invisible border hidden beneath an expanse of white snow punctuates Renoir's benevolently humanist stance. Grand Illusion was a hit in the U.S. as well as in France, even receiving an Oscar nomination for Best Picture; it also received a special prize at the 1937 Venice Film Festival despite being banned in Italy and Germany. Regularly listed as one of the best films ever made, Grand Illusion's power remains undiminished, while the impact of Renoir's audacious style can be seen from the work of Orson Welles to the French New Wave. ~Lucia Bozzola, All Movie Guide

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Director and film historian Peter Bogdanovich introduces Grand Illusion for Turner Classic Movies' The Essentials

Apocalypse Now
PN1997 .A66 2000

One of a cluster of late-1970s films about the Vietnam War, Francis Ford Coppola's Apocalypse Now adapts the Joseph Conrad novella Heart of Darkness to depict the war as a descent into primal madness. Capt. Willard (Martin Sheen), already on the edge, is assigned to find and deal with AWOL Col. Kurtz (Marlon Brando), rumored to have set himself up in the Cambodian jungle as a local, lethal godhead. Along the way Willard encounters napalm and Wagner fan Col. Kilgore (Robert Duvall), draftees who prefer to surf and do drugs, a USO Playboy Bunny show turned into a riot by the raucous soldiers, and a jumpy photographer (Dennis Hopper) telling wild, reverent tales about Kurtz. By the time Willard sees the heads mounted on stakes near Kurtz's compound, he knows Kurtz has gone over the deep end, but it is uncertain whether Willard himself now agrees with Kurtz's insane dictum to "Drop the Bomb. Exterminate them all." Coppola himself was not certain either, and he tried several different endings between the film's early rough-cut screenings for the press, the Palme d'Or-winning "work-in-progress" shown at Cannes, and the final 35 mm U.S. release (also the ending on the video cassette). The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era. ~Lucia Bozzola, All Movie Guide

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Watch Martin Sheen discuss the film in a clip from Inside the Actors Studio:




The Deer Hunter
PN1997 .D44 2001

Realizing that the three-hour film would need to be a prestige event to draw public interest, Universal followed Grease producer Allan Carr's advice and opened The Deer Hunter for one week for Academy Award consideration in December 1978, putting off the national opening until February 1979. The gambit succeeded. The film won the Best Picture prize from the New York Film Critics' Circle and got nine Academy Award nominations as it went into national release, including Best Picture, Best Director, and acting nods for Robert De Niro, Christopher Walken, and Meryl Streep. The movie went on to beat Coming Home for Best Picture and Best Director and also picked up Oscars for Walken's performance, Sound, and Editing. As the film's acclaim grew, it also aroused objections to the depiction of the Vietcong as racist from, among others, Coming Home star Jane Fonda, as well as criticisms from numerous Vietnam reporters that director Michael Cimino was ill-informed about real Vietnam experience, not having served in the war himself. Regardless of the disputes over the veracity of the Russian roulette scenes, they create an indelible metaphor for warfare and its atmosphere of sudden, random violence. While the press notes suggest that the final song was meant to be affirmative, the searing sense of loss that builds up throughout the film renders it profoundly ambiguous. This combination of ambivalence, brutality, and controversy echoed American culture's experience of Vietnam, making The Deer Hunter an even more telling cultural artifact than may have been intended. The film's awards and acclaim manifested Hollywood's willingness finally to reckon one way or another with a war that had been all but absent from movie screens while it was happening, leading the way for such later films as Stanley Kubrick's Full Metal Jacket (1987) and Oliver Stone's Platoon (1986) and Born on the Fourth of July (1989). With the prizes and dissension, The Deer Hunter became a popular hit, enabling Cimino to have full artistic freedom for his next film, the financially disastrous Heaven's Gate. ~Lucia Bozzola, All Movie Guide

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Five Album Favorites on the Edge of the Top Ten

Only the Lonely / Frank Sinatra
M1630.18.S57 O6 1998

Originally, Frank Sinatra had planned to record Only the Lonely with Gordon Jenkins, who had arranged his previous all-ballads album, Where Are You. Jenkins was unavailable at the time of the sessions, which led Sinatra back to his original arranger at Capitol, Nelson Riddle. The result is arguably his greatest ballads album. Only the Lonely follows the same formula as his previous down albums, but the tone is considerably bleaker and more desperate. Riddle used a larger orchestra for the album than he had in the past, which lent the album a stately, nearly classical atmosphere. At its core, however, the album is a set of brooding saloon songs, highlighted by two of Sinatra's tour de forces — "Angel Eyes" and "One for My Baby." Sinatra never forces emotion out of the lyric, he lets everything flow naturally, with grace. It's a heartbreaking record, the ideal late-night album. ~Stephen Thomas Erlewine, All Music Guide

Watch Old Blue Eyes sing "Guess I'll Hang My Tears Out To Dry" at Carnegie Hall in 1980



The Shape of Jazz to Come / Ornette Coleman
M1366.C65 S53 1980z

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section — bassist Charlie Haden and drummer Billy Higgins — that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody — which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here. ~Steve Huey, All Music Guide

Listen to "The Music of Ornette Coleman: A Jazz at Lincoln Center Radio with Ed Bradley Featured Program" (requires RealPlayer)

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Listen to excerpts from The Shape of Jazz to Come


The Complete Billie Holiday on Verve, 1945-1959 / Billie Holiday
M1630.18.H64 C6 1992

This is a rather incredible collection: ten CDs enclosed in a tight black box that includes every one of the recordings Verve owns of Billie Holiday, not only the many studio recordings of 1952-57 (which feature Lady Day joined by such jazz all-stars as trumpeters Charlie Shavers and Harry "Sweets" Edison, altoist Benny Carter, and the tenors of Flip Phillips, Paul Quinichette and Ben Webster). Also included are prime performances at Jazz at the Philharmonic concerts in 1945-1947, an enjoyable European gig from 1954, her "comeback" Carnegie Hall concert of 1956, Holiday's rather sad final studio album from 1959, and even lengthy tapes from two informal rehearsals. It's a perfect purchase for the true Billie Holiday fanatic. ~Scott Yanow, All Music Guide

Watch Billie Holiday perform "Fine and Mellow" with Lester Young on television's "The Sound of Jazz":



Watch her sing "Farewell to Storyville" with Louis Armstrong:




2112 / Rush
M1630.18.R87 A12 1976

Whereas Rush's first two releases, their self-titled debut and Fly By Night, helped create a buzz among hard rock fans worldwide, the more progressive third release, Caress of Steel, confused many of their supporters. The band knew it was now or never with their fourth release, and they delivered just in time — 1976's 2112 proved to be their much sought-after commercial breakthrough and remains one of their most popular albums. Instead of choosing between prog rock or heavy rock, both styles are merged together to create an interesting and original approach. The whole entire first side is comprised of the classic title track, which paints a chilling picture of a future world where technology is in control (Peart's lyrics for the piece being influenced by Ayn Rand). Comprised of seven "sections," the track proved that the trio was fast becoming rock's most accomplished instrumentalists. The second side contains shorter selections, such as the Middle Eastern-flavored "A Passage to Bangkok" and the album-closing rocker "Something for Nothing." 2112 is widely considered by Rush fans as their first true "classic" album, the first in a string of similarly high-quality albums. ~Greg Prato, All Music Guide

Synchronizing Dark Side of the Moon and The Wizard of Oz is old news. How about Rush's 2112 and Willy Wonka & the Chocolate Factory?



Here's where he got the idea

Anthology of American Folk Music / edited by Harry Smith
M1629 .A66 1997

Originally released in 1952 as a quasi-legal set of three double LPs and reissued several times since (with varying cover art), Anthology of American Folk Music could well be the most influential document of the '50s folk revival. Many of the recordings that appeared on it had languished in obscurity for 20 years, and it proved a revelation to a new group of folkies, from Pete Seeger to John Fahey to Bob Dylan. The man that made the Anthology possible was Harry Smith, a notoriously eccentric musicologist who compiled 84 of his favorite hillbilly, gospel, blues, and Cajun performances from the late '20s and early '30s, dividing each into one of three categories: Ballads, Social Music, and Songs. Smith sequenced the three volumes with a great amount of care, placing songs on the Ballads volume in historical order (not to be confused with chronological order) so as to create an LP that traces the folk tradition, beginning with some of the earliest Childe ballads of the British Isles and ending with several story songs of the early 20th century. The cast of artists includes pioneers in several fields, from the Carter Family and Uncle Dave Macon to Blind Lemon Jefferson, Mississippi John Hurt, and the Alabama Sacred Harp Singers. Many of the most interesting selections on the Anthology, however, are taken from artists even more obscure, such as Clarence Ashley, Bascom Lamar Lunsford, and Buell Kazee. After the Anthology had been out of print for more than a decade, Smithsonian/Folkways reissued the set in a six-disc boxed set, with the original notes of Harry Smith, as well as a separate book of new reminiscences by artists influenced by the original and a wealth of material for use in CD-ROM drives. ~John Bush, All Music Guide

Listen to excerpts from and learn more about the Anthology of American Folk Music box set at the Smithsonian Folkways Web Site

Five Film Favorites on the Edge of the Top Ten

Eraserhead
PN1997 .E73 2002

Filmed intermittently over the course of a five-year period, David Lynch's radical feature debut stars Jack Nance as Henry Spencer, a man living in an unnamed industrial wasteland. Upon learning that a past romance has resulted in an impending pregnancy, Henry agrees to wed mother-to-be Mary (Charlotte Stewart) and moves her into his tiny, squalid flat. Their baby is born hideously mutated, a strange, reptilian creature whose piercing cries never cease. Mary soon flees in horror and disgust, leaving Henry to fall prey to the seduction of the girl across the hall (Judith Anna Roberts). An intensely visceral nightmare, Eraserhead marches to the beat of its own slow, surreal rhythm: Henry's world is a cancerous dreamscape, a place where sins manifest themselves as bizarre creatures and worlds exist within worlds. Interpreting the film along the lines of Lynch's claims that it's the product of his own fears of fatherhood may make Eraserhead easier to digest on a narrative level, if need be. ~Jason Ankeny, All Movie Guide

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Take a look at the following Web sites:

The Official David Lynch Site

The Eraserhead Wikipedia Entry

The City of Absurdity

It's a Wonderful Life
PN1997 .I87 1995

This is director Frank Capra's classic bittersweet comedy/drama about George Bailey (James Stewart), the eternally-in-debt guiding force of a bank in the typical American small town of Bedford Falls. As the film opens, it's Christmas Eve, 1946, and George, who has long considered himself a failure, faces financial ruin and arrest and is seriously contemplating suicide. High above Bedford Falls, two celestial voices discuss Bailey's dilemma and decide to send down eternally bumbling angel Clarence Oddbody (Henry Travers), who after 200 years has yet to earn his wings, to help George out. But first, Clarence is given a crash course on George's life, and the multitude of selfless acts he has performed: rescuing his younger brother from drowning, losing the hearing in his left ear in the process; enduring a beating rather than allow a grieving druggist (H.B. Warner) to deliver poison by mistake to an ailing child; foregoing college and a long-planned trip to Europe to keep the Bailey Building and Loan from letting its Depression-era customers down; and, most important, preventing town despot Potter (Lionel Barrymore) from taking over Bedford Mills and reducing its inhabitants to penury. Along the way, George has married his childhood sweetheart Mary (Donna Reed), who has stuck by him through thick and thin. But even the love of Mary and his children are insufficient when George, faced with an $8000 shortage in his books, becomes a likely candidate for prison thanks to the vengeful Potter. Bitterly, George declares that he wishes that he had never been born, and Clarence, hoping to teach George a lesson, shows him how different life would have been had he in fact never been born. After a nightmarish odyssey through a George Bailey-less Bedford Falls (now a glorified slum called Potterville), wherein none of his friends or family recognize him, George is made to realize how many lives he has touched, and helped, through his existence; and, just as Clarence had planned, George awakens to the fact that, despite all its deprivations, he has truly had a wonderful life. Capra's first production through his newly-formed Liberty Films, It's a Wonderful Life lost money in its original run, when it was percieved as a fairly downbeat view of small-town life. Only after it lapsed into the public domain in 1973 and became a Christmastime TV perennial did it don the mantle of a holiday classic. ~Hal Erickson, All Movie Guide

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Listen to a jazzy rendition of Auld Lang Syne:




Wings of Desire
PN1997 .W563 2003

Damiel (Bruno Ganz) and Cassiel (Otto Sander) are angels who watch over the city of Berlin. They don't have harps or wings (well, they usually don't have wings) and they prefer overcoats to gossamer gowns. But they can travel unseen through the city, listening to people's thoughts, watching their actions and studying their lives. While they can make their presence felt in small ways, only children and other angels can see them. They spend their days serenely observing, unable to interact with people, and they feel neither pain nor joy. One day, Damiel finds his way into a circus and sees Marion (Solveig Dommartin), a high-wire artist, practicing her act; he is immediately smitten. After the owners of the circus tell the company that the show is out of money and must disband, Marion sinks into a funk, shuffling back to her trailer to ponder what to do next. As he watches her, Damiel makes a decision: he wants to be human, and he wants to be with Marion, to lift her spirits and, if need be, to share her pain. Wim Wenders' Wings of Desire is a remarkable modern fairy tale about the nature of being alive. The angels witness the gamut of human emotions, and they experience the luxury of simple pleasures (even a cup of coffee and a cigarette) as ones who've never known them. From the angels' viewpoint, Berlin is seen in gorgeous black-and-white — strikingly beautiful but unreal; when they join the humans, the image shifts to rough but natural-looking color, and the waltz-like grace of the angels' drift through the city changes to a harsher rhythm. Peter Falk appears as himself, revealing a secret that we may not have known about the man who played Columbo, and there's also a brief but powerful appearance by Nick Cave & the Bad Seeds. Wings of Desire hinges on the intangible and elusive, and it builds something beautiful from those qualities. ~Mark Deming, All Movie Guide

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Wings of Desire Part 1 of 2

Wings of Desire Part 2 of 2

Annie Hall
PN1997 .A47 1991

One of the greatest pleasures of Woody Allen's early work is his ability to skewer himself while skewering the conventions of the comedy genre. Annie Hall is perhaps the best example of this: a blend of slapstick, fantasy, and bittersweet romantic comedy, it is not so much about two people falling in love as about two brains trying to negotiate a mutually beneficial symbiotic relationship. The neurotic, self-obsessed commentary on display in Annie Hall is pointed but relatively gentle, free of the bitterness that sometimes marked Allen's later work. The film is a series of insightful musings that leave the viewer feeling strangely optimistic—or at least very amused—about human nature. Much of this is due to Alvy and Annie themselves—unlike the oddly but perfectly matched couples fated to walk off into the sunset in the majority of romantic comedies, Alvy and Annie are consigned to further introspection, obsessive analysis, and bittersweet reflection. Part of the appeal of Annie Hall is that there are no pat answers: in watching the struggles of the characters, we see a reflection of our own struggles, without the condescending message that everything will be fine in the end. Annie Hall elevated Allen to the forefront of contemporary filmmakers, promoting him from a comedian who happened to make films to a comic filmmaker. The film also set a new standard for romantic comedies, its name alone becoming synonymous with the sub-genre of the intelligent, New York-based romantic comedy. On a less far-reaching scale, it also launched a fashion trend, with Diane Keaton's baggy menswear providing a welcome alternative to polyester pantsuits and flared trousers, anticipating the craze for androgynous clothing by almost twenty years. ~Rebecca Flint Marx, All Movie Guide

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Cool Hand Luke
PN1997 .C664 1997

Paul Newman created one of the most indelible anti-authoritarian heroes in movie history with his dynamic portrayal of the title character in 1967's Cool Hand Luke. It's some of the best work of Newman's career, and he's ably backed by the excellent Strother Martin — whose "What we've got here is a failure to communicate" speech took on a life of its own in popular culture — and George Kennedy, who won an Oscar for the role of Dragline. Luke creates a rich portrait of prison life and the people on both sides of the corrections department. Co-writer Donn Pearce spent time on a chain gang for safe-cracking, and the work has an unmistakable authenticity. The story is ultimately about the senseless righteousness of authority, and about Luke, a man who manages to win even when he loses. The film would usher in a wave of unconventional heroes, from Bonnie and Clyde that same year to Jack Nicholson's McMurphy in 1975's One Flew over the Cuckoo's Nest. ~Mark Deming, All Movie Guide

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Watch George Kennedy describe filming his big fight scene with Paul Newman