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With an Oscar-nominated script by Ruth Gordon and Garson Kanin, "Adam's Rib" pokes fun at the double standard between the sexes. Spencer Tracy and Katharine Hepburn play husband and wife attorneys, each drawn to the same case of attempted murder. Judy Holliday, defending the sanctity of her marriage and family, intends only to frighten her philandering husband (Tom Ewell) and his mistress (Jean Hagen) but tearfully ends up shooting and injuring the husband. Tracy argues that the case is open and shut, but Hepburn asserts that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." As the trial turns into a media circus, the couple's relationship is put to the test. Holliday's first screen triumph propelled her onto bigger roles, including "Born Yesterday," for which she won an Academy Award. The film is also the debut of Ewell, who would become best known for his role opposite Marilyn Monroe in "The Seven Year Itch", and Hagen, who would floor audiences as the ditzy blonde movie star with the shrill voice in "Singin' in the Rain."

Created over the course of a decade by Thom Andersen, a onetime UCLA film student, this documentary delves into the work of the man whose pioneering studies and concept of persistence of vision led to the development of motion pictures. The film looks at Eadweard Muybridge's personal and professional struggles, and examines the philosophical implications of his sequential photographs, or zoopraxographs, as he called his studies of animal locomotion. Andersen re-animates the images Muybridge originally presented on a zoopraxoscope, a predecessor of the projector. The documentary features cinematography by Morgan Fisher, a script by Fay Andersen, music by Mike Cohen, biographical research by Robert Bartlett Haas and narration by Dean Stockwell. When the PBS affiliate set to broadcast the film declined the completed piece, Andersen ultimately sold his work to New Yorker Films, which recognized Andersen's unique voice as a cultural commentator and helped launch his career. In the Chicago Reader, Jonathan Rosenbaum described the production as "One of the best essay films ever made on a cinematic subject." The UCLA Film & Television Archive, in consultation with Thom Andersen, did the preservation work on the film.

Among the best teen comedies, this 1980s cultural icon combines a sympathetic treatment of adolescence with hilarious performances. Directed by Amy Heckerling, the film was based on a script by 22-year old Rolling Stone writer (and later film director) Cameron Crowe, who spent nine months undercover as a student at Redondo Beach's Ridgemont High School. The cast contains an appealing mix of soon-to-be-famous young talent (Jennifer Jason Leigh, Judge Reinhold) confronting their raging hormones as they hang out at the mall and endure jobs in fast-food restaurants. Most memorable is Sean Penn as the spaced-out surfer dude Jeff Spicoli.

Daniel Taradash earned an Oscar for his adaptation of James Jones unadaptable explicitly gritty best-selling novel set in Hawaii just prior to the bombing of Pearl Harbor. Director Fred Zinnemann translated the Taradash script into a lavish, star-studded blockbuster that won him and the picture Academy Awards. The epic featured Montgomery Clift as a soldier who boxes and bugles with equal skill, Donna Reed as a nightclub hostess (a prostitute in Jones's novel) with whom Clift falls in love, and Frank Sinatra, whose faltering career was rejuvenated with an Oscar for his performance as a wisecracking enlisted man at odds with a bullying sergeant played by Ernest Borgnine. At the center of the ensemble is Burt Lancaster as a sergeant involved in a torrid affair with his commander's wife, Deborah Kerr, their romance culminating in the famous lovemaking scene on the beach.

Paddy Chayefsky's Oscar-winning script and Sidney Lumet's deft direction paint a piercing and vitriolic satire of television news. In an inspired final performance that earned him a best actor Oscar, Peter Finch plays news commentator Howard Beale who loses his perspective when he's fired by his faltering network. Flooding the airwaves with delusional rantings of self-empowerment, he becomes a messiah to an audience equally fed up with the establishment. In one impassioned tirade, Beale incites viewers to shout "I'm as mad as hell, and I'm not going to take this anymore!" William Holden portrays the fading TV executive and Faye Dunaway (Oscar winner for best actress) is the cutthroat program director who'll do anything for ratings. Chayefsky's script won an Academy Award, as did best supporting actress Beatrice Straight, who plays Holden's wife. On screen for five minutes and two seconds, Straight's is the briefest performance ever to win an Oscar.Expanded essay by Joanna E. Rapf (PDF, 813KB)

A powerful New York newspaper columnist (Burt Lancaster) is dead set against his sister (Susan Harrison) marrying a jazz musician (Martin Milner). A sleazy PR man (Tony Curtis) will do anything to get publicity for his clients, and he sees the columnist's situation as an opportunity to win his favor and sets out to break up the affair any way he can. The film was directed by Alexander Mackendrick, a British director best known for comedies like "The Ladykillers" and "The Man in the White Suit," from a script by Clifford Odets and Ernest Lehman. Mackendrick and cinematographer James Wong Howe capture the pre-Beat Generation era when jazz artists wear suits and ties, hair is cropped short, and everyone wants to appear cool.Expanded essay by Andrea Alsberg (PDF, 423KB)

Aeschylus, Prometheus Bound 1 - 122 (trans. Weir Smyth) (Greek tragedy C5th B.C.) :"[Enter Kratos (Cratus, Power) and Bia (Force), bringing with them Prometheus captive; also Hephaistos (Hephaestus).]Kratos (Cratus) : To earth's remotest limit we come, to the Skythian (Scythian) land, an untrodden solitude. And now, Hephaistos, yours is the charge to observe the mandates laid upon you by the Father [Zeus]--to clamp this miscreant [the Titan Prometheus] upon the high craggy rocks in shackles of binding adamant that cannot be broken. For your own flower, flashing fire, source of all arts, he has purloined and bestowed upon mortal creatures. Such is his offence; for this he is bound to make requital to the gods, so that he may learn to bear with the sovereignty of Zeus and cease his man-loving ways.Hephaistos (Hephaestus) : Kratos and Bia, for you indeed the behest of Zeus is now fulfilled, and nothing remains to stop you. But for me--I do not have the nerve myself to bind with force a kindred god upon this rocky cleft assailed by cruel winter. Yet, come what may, I am constrained to summon courage to this deed; for it is perilous to disregard the commandments of the Father. Lofty-minded (aipymêtês) son of Themis who counsels straight, against my will, no less than yours, I must rivet you with brazen bonds no hand can loose to this desolate crag, where neither voice nor form of mortal man shall you perceive; but, scorched by the sun's bright beams, you shall lose the fair bloom of your flesh. And glad you shall be when spangled-robed night shall veil his brightness and when the sun shall scatter again the frost of morning. Evermore the burden of your present ill shall wear you out; for your deliverer is not yet born.Kratos : Well, why delay and excite pity in vain? Why do you not detest a god most hateful to the gods, since he has betrayed your prerogative to mortals?Hephaistos : A strangely potent tie is kinship, and companionship as well . . . Kratos : Hurry then to cast the fetters about him, so that the Father [Zeus] does not see you loitering.Hephaistos : Well, there then! The bands are ready, as you may see.Kratos : Cast them about his wrists and with might strike with your hammer; rivet him to the rocks.Hephaistos : There! The work is getting done and not improperly.Kratos: Strike harder, clamp him tight, leave nothing loose; for he is wondrously clever at finding a way even out of desperate straits.Hephaistos : This arm, at least, is fixed permanently.Kratos : Now rivet this one too and securely, so that he may learn, for all his cleverness, that he is a fool compared to Zeus. Hephaistos : None but he could justly blame my work. Kratos : Now drive the adamantine wedge's stubborn edge straight through his chest with your full force. Hephaistos : Alas, Prometheus, I groan for your sufferings. Kratos : What! Shrinking again and groaning over the enemies of Zeus? Take care, so that the day does not come when you shall grieve for yourself. Hephaistos: You see a spectacle grievous for eyes to behold. Kratos: I see this man getting his deserts. Come, cast the girths about his sides. Hephaistos : I must do this; spare me your needless ordering. Kratos : Indeed, I'll order you, yes and more--I'll hound you on. Get down below, and ring his legs by force. Hephaistos : There now! The work's done and without much labor. Kratos : Now hammer the piercing fetters with your full force; for the appraiser of our work is severe. Hephaistos : The utterance of your tongue matches your looks. Kratos : Be softhearted then, but do not attack my stubborn will and my harsh mood. Hephaistos: Let us be gone, since he has got the fetters on his limbs.[Exit.]Kratos : There now, indulge your insolence, keep on wresting from the gods their honors to give them to creatures of a day. Are mortals able to lighten your load of sorrow? Falsely the gods call you Prometheus, for you yourself need forethought to free yourself from this handiwork.[Exeunt Kratos and Bia.]Prometheu s: O you bright sky of heaven, you swift-winged breezes, you river-waters, and infinite laughter of the waves of sea, O universal mother Earth, and you, all-seeing orb of the sun, to you I call! See what I, a god, endure from the gods. Look, with what shameful torture I am racked and must wrestle throughout the countless years of time apportioned me. Such is the ignominious bondage the new commander of the blessed [Zeus] has devised against me. Woe! Woe! For present misery and misery to come I groan, not knowing where it is fated that deliverance from these sorrows shall arise. And yet, what am I saying? All that is to be I know full well and in advance, nor shall any affliction come upon me unforeseen. I must bear my allotted doom as lightly as I can, knowing that the might of Necessity (anankê) permits no resistance.Yet I am not able to speak nor be silent about my fate. For it is because I bestowed good gifts on mortals that this miserable yoke of constraint has been bound upon me. I hunted out and stored in fennel stalk the stolen source of fire that has proved a teacher to mortals in every art and a means to mighty ends. Such is the offence for which I pay the penalty, riveted in fetters beneath the open sky . . . Behold me, an ill-fated god, chained, the foe of Zeus, hated of all who enter the court of Zeus, because of my very great love for mankind." 041b061a72


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