The Horse with the Flying Tail
The Horse with the Flying Tail is a 1960 American documentary film by Walt Disney Productions, that won the Best Documentary award at the 33rd Academy Awards. The movie is about the palomino horse, who won the team gold medal at the 1959 Pan American Games, it was released theatrically on a double bill with Swiss Family Robinson, was broadcast on Walt Disney's Wonderful World of Color in 1964. The movie portrays this horse as having been a nondescript stock horse, however, he was sired by an American Quarter Horse named Muchacho de Oro out of an Army Remount mare of Thoroughbred breeding; this horse's registered name was Pelo de Oro, given to him at birth. He was shown in the national horse show circuit in the United States. Open jumpers compete for scores based on faults and time elapsed to complete the course. Prior to his Olympic fame, he had a reputation as a temperamental jumper, inclined to stop at water and ditch jumps; such refusals would disqualify a jumper from an event and his nickname among competitors was "Sneaky Pete" for those reasons.
He was an excellent jumper and when he cleared a fence, Sneaky Pete would raise his tail in the characteristic fashion shown in the photograph displayed from the film. That tail, raised so high, was repeated for each faultless jump and spectators at horse shows relied upon this signal from the horse to record his scores, without waiting for the results from the judges. Hence the title of the film about his career; when he was obtained by Hugh Wiley, Wiley enlisted the help of the United States Equestrian Team coach, Bertalan de Nemethy, together the two men trained the horse to be the Olympic level open jumper he became. At that time he became known as Nautical and was ridden by members of the U. S. Equestrian Team in international competitions. List of American films of 1960 The Horse with the Flying Tail at the Internet Movie Database The Horse with the Flying Tail at the TCM Movie Database
Hearts and Minds (film)
Hearts and Minds is a 1974 American documentary film about the Vietnam War directed by Peter Davis. The film's title is based on a quote from President Lyndon B. Johnson: "the ultimate victory will depend on the hearts and minds of the people who live out there"; the movie was chosen as Academy Award for Best Documentary Feature at the 47th Academy Awards presented in 1975. The film premiered at the 1974 Cannes Film Festival. Commercial distribution was delayed in the United States due to legal issues, including a temporary restraining order obtained by one of the interviewees, former National Security Advisor Walt Rostow who had claimed through his attorney that the film was "somewhat misleading" and "not representative" and that he had not been given the opportunity to approve the results of his interview. Columbia Pictures refused to distribute the picture, which forced the producers to purchase back the rights and release it by other means; the film was shown in Los Angeles for the one week it needed to be eligible for consideration in the 1974 Academy Awards.
In 2018, the film was selected for preservation in the National Film Registry by the Library of Congress as being "culturally or aesthetically significant." A scene described as one of the film's "most shocking and controversial sequences" shows the funeral of a South Vietnamese soldier and his grieving family, as a sobbing woman is restrained from climbing into the grave after the coffin. The funeral scene is juxtaposed with an interview with General William Westmoreland — commander of American military operations in the Vietnam War at its peak from 1964 to 1968 and United States Army Chief of Staff from 1968 to 1972 — telling a stunned Davis that "The Oriental doesn't put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient." After an initial take, Westmoreland indicated. After a second take ran out of film, the section was reshot for a third time, it was the third take, included in the film. Davis reflected on this interview stating, "As horrified as I was when General Westmoreland said,'The Oriental doesn’t put the same value on life,' instead of arguing with him, I just wanted to draw him out...
I wanted the subjects to be the focus, not me as filmmaker."The film includes clips of George Thomas Coker, a United States Navy aviator held by the North Vietnamese as a prisoner of war for 61/2 years, including more than two years spent in solitary confinement. One of the film's earliest scenes details a homecoming parade in Coker's honor in his hometown of Linden, New Jersey, where he tells the assembled crowd on the steps of city hall that if the need arose, that they must be ready to send him back to war. Answering a student's question about Vietnam at a school assembly, Coker responds that "If it wasn't for the people, it was pretty; the people there are backwards and primitive and they make mess out of everything." In a 2004 article on the film, Desson Thomson of The Washington Post comments on the inclusion of Coker in the film, noting that "When he does use people from the pro-war side, Davis chooses carefully." Time magazine's Stefan Kanfer noted the lack of balance in Coker's portrayal, "An ex-P.
O. W.'s return to New Jersey is played against a background of red-white-and-blue-blooded patriots and wide-eyed schoolchildren. The camera, which amply records the agonies of South Vietnamese political prisoners, seems uninterested in the American lieutenant's experience of humiliation and torture."The film features Vietnam war veteran and anti-war activist Bobby Muller, who founded the Vietnam Veterans of America. Daniel Ellsberg, who had released the Pentagon Papers in 1971, discusses his initial gung-ho attitude toward the war in Vietnam; the concluding interview features US Vietnam veteran Randy Floyd, stating "We've all tried hard to escape what we have learned in Vietnam. I think Americans have worked hard not to see the criminality that their officials and their policy makers exhibited."The film includes images of Phan Thị Kim Phúc in sections of a film shot of the aftermath of a napalm attack which shows Phúc at about age nine running naked on the street after being burned on her back.
The following list excludes second appearances, people who are uncredited: the latter include various presidents and Bob Hope: Hearts and Minds has attracted polarized opinions from film critics since its release. Reviewers consider it either a masterpiece of political/documentary filmmaking or a propagandistic hatchet job on the Vietnam War, with some viewing it as both. A mixture of contemporary film critic reviews on the review tallying website Rotten Tomatoes reports that 93% of the 30 film critics reviews they tallied were positive with an average critics score of 8.2 out of 10. Vietnam War films from the 1960s to the 1970s reflected deep divisions at home over the war; some reflected pro-war sentiments and vilified anti-war protesters, while others stood at the opposite end and criticized government officials and policies. "Hearts and Minds" was one of the first of the latter to have been produced and released before the war's end in 1975. Vincent Canby of The New York Times called it an "epic documentary... recalls this nation's agonizing involvement in Vietnam, something you may think you know all about, including the ending.
But you don't." Canby included the film among his ten best of 1975, calling it a "fine, admittedly biased meditation upon American power" and a movie "that will reveal itself as one of the most all-emcompassing records of the American civilization put into one film." Desson Thomson of The Washington Post described it as "one of the best documentaries ever
Who Are the DeBolts? And Where Did They Get Nineteen Kids?
Who Are the DeBolts? And Where Did They Get Nineteen Kids? is a 1977 documentary film about Dorothy and Bob DeBolt, an American couple who adopted 14 children, some of whom are disabled war orphans. VHS and DVD releases use the shortened title Who Are the DeBolts? The film was narrated by Henry Winkler, who served as executive producer, won an Academy Award for Best Feature-length Documentary in 1978, as well as the Directors Guild of America Award and the Humanitas Award for producer and director John Korty in 1979. A 50-minute version of the film shown on ABC in December, 1978, earned a 1979 Emmy Award for Outstanding Individual Achievement - Informational Program and an Emmy nomination for Outstanding Informational Program for Winkler and producers Warren Lockhart and Dan McCann. A sequel, Steppin' Out: The DeBolts Grow Up, was made in 1980 with Kris Kristofferson as host and narrator; the DVD edition includes the 46-minute sequel as a featurette. The family was the subject of a book, 19 Steps Up the Mountain: The Story of the DeBolt Family, by Joseph P. Blank.
The film begins with Mr. and Mrs. DeBolt traveling from their home in California to New York, where they will adopt their 19th child, a blind and physically disabled teen named "J. R." The adoption process for J. R. his integration into the family, his struggle to develop sufficient physical strength to climb the staircase inside the family home are used as a unifying device for telling the story of how the DeBolts became involved in the adoption of "special needs" children and showing how the family approaches the challenges of raising their unusual family. During her first marriage Dorothy had five biological children with Ted Atwood and adopted two children from Korea. After her husband's death, she adopted two boys from Vietnam. Following Atwood's marriage to Bob DeBolt, who had one biological daughter from a previous marriage, the couple went on to adopt 10 more children from Korea, the United States, Mexico — the last was adopted after the initial film was made and is not included in the "19 kids" of the title.
The film introduces the adopted children, shows many details of how they accomplish everyday tasks and household chores, portrays special family events, includes interviews with some of the older children and with Bob's biological daughter. The DeBolts' web site notes that five members of the production crew lived with the family for 2½ years while filming the movie; the Academy Film Archive preserved Who Are the DeBolts? in 2007. Who Are the Debolts? at the Internet Movie Database Adopt a Special Kid, the organization founded by the DeBolts and discussed in the film
Prelude to War
For the titled novel by Leslie Charteris, see Prelude for War. Prelude to War is the first film of Frank Capra's Why We Fight propaganda film series, commissioned by the Office of War Information and George C. Marshall, it was made to convince American troops of the necessity of combating the Axis Powers during World War II. The film was based on the idea that those in the service would be more willing and able fighters if they knew the background and reason for their participation in the war, it was released to the general American public as a rallying cry for support of the war. In an edit added to the film before public release, a comment by Henry L. Stimson, the Secretary of War at the time, was quoted to create trust with the audience, "the purpose of these films is to give factual information as to the causes, the events leading up to our entry into the war and the principles for which we are fighting." The purpose of the OWI was to use mass communication to sell the war and to define Americans' perception of the reality of war.
The film commences with an explanation of how Americans were brought into the war through heroic motives to protect countries unable to protect themselves. America had this duty to righteousness and Christian values throughout history, according to the values and beliefs set forth by the founding fathers; the documentary makes use of compare and contrast methods throughout the film in order to transmit its heroic message. The primary images used within the film to portray the opponents of America are introduced by Henry Wallace as the "free world" — a brightly illuminated planet of the Allies, a "slave world" as a planet deep in shadow of the Axis Powers, it examines the differences between the U. S. and the fascist states of Benito Mussolini, Adolf Hitler and Yamamoto, portraying the latter countries working together as gangsters to conquer the world. In order to do this, Capra made use of footage from Triumph of the Will, but with different narration designed to support the Allied cause, it is brought to the audience's attention that after the Nazis smashed the opposing political parties and labor unions they turned their attention to their last remaining obstacle — the church.
In one scene a stained glass window is shattered by several bricks to reveal a "Heil Hitler!" Poster behind. To emphasize this depiction of Hitler as an antichrist figure, a class of German schoolchildren is shown singing to the song Frederick Rex: Adolf Hitler is our Saviour, our heroHe is the noblest being in the whole wide world. For Hitler we live,For Hitler we die. Our Hitler is our LordWho rules a brave new world. In the two decades following World War I and the failure of the League of Nations, a spirit of isolationism became prevalent throughout the United States that persisted up to the attack on Pearl Harbor; this presented a major obstacle in garnering support for the war, as the people of the United States did not feel a sense of unity with other nations of the world, most notably, Europe. In an effort to dispel this isolationist way of thinking, Prelude to War was produced in order to raise the enthusiasm and interest of U. S. troops for the international struggle. The film addressed the need for change in current American citizens' standpoint on the war through interviews with civilians.
In response to whether or not America should get involved in the war, Americans were depicted saying "I think we should stay out of it entirely," and "They mean nothing to us." Protesters against the war rallied under slogans like "No Foreign Entanglements." The film argues that, contrary to the public opinion of the time, the problems of the United States "were and always will be dependent upon the problems of the entire world and our peace is gained when there is peace for all." The film pointed to the Japanese invasion of Manchuria as when World War II begun-"remember that date: Sept 18, 1931 a date you should remember as well as Dec 7, 1941. For on that date in 1931 the war we are now fighting begun." Saying that we knew that the aggressors should be stopped but it was impossible to convince the average person "that they should go to war over a mud hut in Manchuria." After going over Japan's invasions of China the film asks about Japan's allies saying that while Hitler was not ready Mussolini was and that Mussolini had to be as his government had not been able to produce what it had promised "so he pulled the old trick of a foreign war to divert from troubles at home".
The film describes just how outclassed Ethiopia was against Italy and how "we hadn't realized that peace for us involves peace for all" and saying that they would take up Hitler in their next film. The U. S. Army used Prelude to War as a training film for indoctrinating soldiers before its release in theaters. Prior to deployment, it was compulsory for all U. S. soldiers to view the film. The goal when showing it to the general public was to unify the country and to encourage that everyone should do their part in the war effort; the films produced by Capra inspired the society of the time to mobilize as a nation and rally around their country, their troops, their president. The film series boosted support for the war, it was so well perceived that on March 4, 1943, the Academy of Motion Picture Arts and Sciences awarded an Academy Award to Capra for Prelude to War as the Best Documentary film of 1942, illustrating how the government and military and cohesively relayed their message of national unity to the American people through popular culture.
Propaganda in the United States Prelude to War is available for free download at the Internet Archive Prelude to War on YouTube, posted by the National Archives and Records Administration Prelude to War on IMDb
Kon-Tiki (1950 film)
Kon-Tiki is a Norwegian-Swedish documentary film about the Kon-Tiki expedition led by Norwegian explorer and writer Thor Heyerdahl in 1947, released in Sweden, Norway and Denmark in 1950, followed by the United States in 1951. The movie, directed by Thor Heyerdahl and edited by Olle Nordemar, received the Academy Award for Best Documentary Feature for 1951 at the 24th Academy Awards; the Oscar went to Olle Nordemar. The Academy Film Archive preserved Kon-Tiki in 2013; the movie has an introduction explaining Heyerdahl's theory shows diagrams and images explaining the building of the raft and its launch from Peru. Thereafter it is a film of the crew on board, shot by themselves, with commentary written by Heyerdahl and translated; the whole film is black and white, shot on a single 16mm camera. A small amount of color footage of Kon-Tiki does exist. Kon-Tiki Kon-Tiki on IMDb
The Fighting Lady
The Fighting Lady is a 1944 documentary film produced by the U. S. Navy and narrated by Lt. Robert Taylor USNR; the plot of the film revolves around the life of seamen on board an anonymous aircraft carrier. Because of war time restrictions, the name of the aircraft carrier was disguised as "the Fighting Lady", although she was identified as USS Yorktown. A few shots of aircraft landing were filmed aboard the Yorktown's sister ship USS Ticonderoga. Mentioned is the adage that war is 99% waiting; the first half or so of the film is taken up with examining the mundane details of life on board the aircraft carrier as she sails through the Panama Canal and into the Pacific Ocean seeing action at Marcus Island. The film provides aerial views of a series of airstrikes at Japanese bases in the Pacific theatre. Following an attack on Kwajalein in early 1944, intelligence reports that an armada of Japanese ships is massing near Truk, a major Japanese logistical base in the Carolines; the Fighting Lady and some of her task force are sent on a "hit and run" mission to neutralize it and return to Marcus, but not to attempt a landing.
Once the ship returns from the massive, two-day Truk raid, it is sent to the waters off the Marianas and participates in the famous "Marianas Turkey Shoot". At the end some of the servicemen who appeared in the film are reintroduced to us, the narrator informs us that they have died in battle; the film uses Technicolor footage shot by "gun cameras" mounted directly on aircraft guns during combat. This gives a realistic edge to the film, while the chronological following of the ship and crew mirror the experiences of the seamen who went from green recruits through the rigours of military life, and, for some, death. In his autobiography Baa Baa Black Sheep, U. S. Marine Corps ace pilot Gregory "Pappy" Boyington claims that the film shows the small pit in which he and five other prisoners of war took cover during the Truk raid. Boyington had been captured by the Japanese and was being transported to a prison camp on the Truk islands when the raid began. Boyington writes that the prisoners and blindfolded, were thrown from their transport plane during a hurried landing, that one of their Japanese captors saved their lives by throwing them into the pit, where they survived without harm.
According to Boyington, the film shows a crater from a two-thousand pound bomb that landed just fifteen feet from the pit. Due to her fighting heritage, to honor all carrier sailors and airmen, the Yorktown is on permanent display at Patriots Point in Charleston, SC. Alfred Newman's musical theme appeared in Vigil in the Night and was reused in Hell and High Water and in many 20th Century Fox film trailers. List of Allied propaganda films of World War II The Fighting Lady is available for free download at the Internet Archive The Fighting Lady on IMDb
Woodstock is a 1970 documentary film of the watershed counterculture Woodstock Festival which took place in August 1969 near Bethel, New York. Entertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries made; the film was directed by Michael Wadleigh. Seven editors are credited, including Thelma Schoonmaker, Martin Scorsese, Wadleigh. Woodstock was a great critical success, it received the Academy Award for Best Documentary Feature. Schoonmaker was nominated for the Academy Award for Best Film Editing, a rare distinction for a documentary. Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound; the film was screened at the 1970 Cannes Film Festival, but was not entered into the main competition. The 1970 theatrical release of the film ran 185 minutes. A director's cut spanning 224 minutes was released in 1994. Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film.
Jimi Hendrix at Woodstock was released separately on DVD and Blu-ray. In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally or aesthetically significant". An expanded 40th Anniversary Edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others. * studio recording from an album by the artist** director's cut only, not in the original theatrical release Woodstock received universal acclaim from newspaper and magazine critics in 1970. It was an enormous box office smash; the edition of May 20, 1970 of Variety reported it was doing well in its third week in Chicago and San Francisco. In each of those metropolitan areas the movie played at only one cinema during that week, but many thousands showed up. After it branched out to more cinemas including more than one per metropolitan area, it grossed $50 million in the United States.
The budget for its production was just $600,000, making it not only the sixth highest-grossing film of 1970 but one of the most profitable movies of that year as well. Decades after its initial release, the film earned a 100% "Fresh" rating on the review aggregate website Rotten Tomatoes. Roger Ebert added Woodstock to his "Great Movies" list in 2005. Upon the festival's 25th anniversary, in 1994, a director's cut of the film — subtitled 3 Days of Peace & Music — was released in cinemas and on DVD, it added over 40 minutes and included additional performances by Canned Heat, Jefferson Airplane and Janis Joplin. Jimi Hendrix's set at the end of the film was extended with two additional numbers; some of the crowd scenes in the original film were replaced by unseen footage. After the closing credits — featuring Crosby, Nash & Young's "Find the Cost of Freedom" — a list of prominent people from the "Woodstock Generation" who had died is shown, including John F. Kennedy, Malcolm X, Che Guevara, Martin Luther King Jr.
Mama Cass Elliot, Jim Morrison, John Lennon, Max Yasgur, Roy Orbison, Abbie Hoffman, Paul Butterfield, Keith Moon, Bob Hite, Richard Manuel, Janis Joplin and Jimi Hendrix. It ends with the epitaph to the right: On June 9, 2009 a 40th-anniversary edition was released in two-disc sets on Blu-ray and DVD, available as both a "Special Edition" and an "Ultimate Collector's Edition"; the latter included copious memorabilia. The director's cut was newly remastered in high definition with a 2K scan of the original elements, provided a new 5.1 audio mix. Among the special features are 18 never-before-seen performances from artists such as Joan Baez, Country Joe McDonald, The Who, Jefferson Airplane, Canned Heat and Joe Cocker; the bonus songs, a 143-minute collection of 18 performances presented in standard definition, are entitled "Untold Stories": Joan Baez: "One Day at a Time" Country Joe McDonald: "Flying High" Santana: "Evil Ways" Canned Heat: "I'm Her Man" Canned Heat: "On the Road Again" Mountain: "Beside the Sea" Mountain: "Southbound Train" The Grateful Dead: "Turn on Your Love Light" The Who: "We're Not Going to Take It" The Who: "My Generation" Jefferson Airplane: "3/5 of a Mile in 10 Seconds" Joe Cocker: "Something's Coming On" Johnny Winter: "Mean Town Blues" Paul Butterfield: "Morning Sunrise" Sha Na Na: "Teen Angel" Creedence Clearwater Revival: "Born on the Bayou" Creedence Clearwater Revival: "I've Put a Spell On You" Creedence Clearwater Revival: "Keep on Chooglin" Bonus featurettes in standard definition, last 77 minutes.
Entitled "Woodstock: From Festival to Feature," they cover the festival itself, the challenges of making the film, its reception and legacy, other topics: The Camera 365,000 Feet of Film Shooting Stage The Lineup Holding the Negative Hostage Announcements Suits vs. Longhairs Documenting History Woodstock: The Journey Pre-Production Production Synchronization The Crowd No Rain! No Rain! 3 Days in a Truck The Woodstock Effect Living Up to Idealism World's Longest Optical Critical Acclaim The Hog Farm Commune Hugh Hefner and Michael Wadleigh This edition contains the same Blu-ray version of the film released in 2009 along with