The Top 10 War Films

Total Page:16

File Type:pdf, Size:1020Kb

The Top 10 War Films Canadian Military History Volume 19 Issue 3 Article 8 2010 The Top 10 War Films Tim Cook Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Tim Cook "The Top 10 War Films." Canadian Military History 19, 3 (2010) This Feature is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. : The Top 10 War Films The Top 10 War Films Tim Cook saw Peter Weir’s Gallipoli (1981) remember leaving the theatre, asking war film be humorous? Do films like I when I was ten years old. I’ve my parents how the attack could be M.A.S.H. (1970), Oh, What a Lovely watched it several times since, so my carried out and why the soldiers had War (1969), or Private Benjamin (1980) memories have no doubt blurred into followed the suicidal orders? I don’t have something to tell us about the one another, but the final sequence of remember their answers, although human condition in war? the film has imprinted itself upon me. I suspect they too were at a loss for From epics to indies, and While the film meanders through the explaining such actions. It would be a everything in between, there are Australian outback and the brothels rewriting of my own personal history thousands of war films. Most are of Cairo, it is the 1915 Gallipoli to suggest that I became interested in forgettable, clichéd, lamentable, but campaign where the shattering the Great War at that moment, but some touch us deeply, opening up climax is reached. The fighting is it certainly lodged in my head. Film new insights, shaking our convictions, intense, bewildering, and ugly. Flies has the power to do that to us. It can stunning us with their brutality. The cover the food; the rocky terrain shake us to the core. ten historians were asked to cast the seems impassable; death comes to And war films can be even net widely and include any film from swimmers frolicking in the water, more powerful, as life and death, any time period and any language seemingly safe from the enemy. Yet heroism and horror, courage and that elucidates the experience of the focus of the film is on the hopeless carnage are projected at us. But war and its myriad effects upon attack by the 3rd Light Horse Brigade what is a war film? Is a war film societies and individuals. The only at the Nek on 7 August 1915. As a different than a combat film, and caveat was that they do not include 10-year-old, I remember watching how do these compare to films set science-fiction movies that might with body-straightening tension on the home front or those that deal touch on war – for example, the as the Australians charged into the with the veterans’ experience in the Star Trek or Star Wars series or, one mouth of the waiting Turkish guns, aftermath of conflict? How important of my favourites, Starship Troopers. and as new waves lined up to follow are character, plot, and accuracy in The historians were encouraged to their doomed comrades. The light a war film, or are these films simply select films that mattered to them. horsemen of subsequent waves know entertainment? Paths of Glory (1957), These lists are deeply personal, but their likely fate, and so they write last Apocalypse Now (1979) or All Quiet each historian has offered some letters, remove personal effects, share on the Western Front (1930 or 1979), justification as to why a film was cigarettes, and say goodbye. Even as usually classified as antiwar, have selected. The selected films are I write this thirty years later, I can much to tell us about war. These arbitrarily listed to some degree, yet feel my pre-teen self, squirming in films are usually shaped by an there is a first choice and perhaps the his seat. Surely the attack would be ideological or moral predisposition or close second, the middle films, and called off. Surely the runner, played orientation, but so too are the hyper- that last film that edged its way on to by Mel Gibson, will beat the clock and patriotic films. Can either genre be the list, even as other powerful films convince the high command of the ignored? Are there dispassionate were left off. futility of ordering another wave over glimpses of war? War is serious, Most of us will never be in the top. He of course does not. His deadly business. Men and women are a war. Yet we live it vicariously best mate and all his friends go over killed and maimed, driven mad and through the writings and memoirs the sandbags and are shot down. I dislocated from their societies. Can a of the participants; we view or study Published© Canadian by Scholars Military Commons History @, Laurier,Volume 2010 19, Number 3, Summer 2010, pp.73-79. 73 1 Cook - Top 10 films.indd 73 10/4/2010 2:02:52 PM Canadian Military History, Vol. 19 [2010], Iss. 3, Art. 8 art, photographs, and documentary footage; we talk element in war: fear, love, exhaustion, fury, brutality, and to veterans and hear their stories; we pick through the sacrifice are presented in their rawest form. But in the end, archives of the nation. But we also turn readily to fiction, I am left wondering if war films tell it like it is, like it was, in the form of novels, plays, and of course films. The latter or how we imagine it. reaches the largest audience, throws images and stories at us, even as we are entertained and engrossed. The best Dr. Tim Cook is the author of several books, including The Madman films shed light on the hidden history of war. The spectacle and the Butcher: The Sensational Wars of Sam Hughes and General Arthur Currie (Allen Lane, 2010). of battle is revealed in all its gruesome glory. The human Mike Bechthold 10. Memphis Belle (1990) 9. The Longest Day (1962) Mike Bechthold is the managing 8. A Bridge Too Far (1977) editor of Canadian Military History and the communications director 7. Das Boot (1981) of the Laurier Centre for Military 6. Platoon (1986) Strategic and Disarmament 5. Saving Private Ryan (1998) Studies. He teaches military history 4. Black Hawk Down (2001) at Wilfrid Laurier University and 3. The Big Red One (1980) has published many articles on the First and Second World War. He 2. Zulu (1964) is the co-editor of a collection of 1. Kelly’s Heroes (1970) essays on the Battle of Vimy Ridge entitled, Vimy Ridge: A Canadian Reassessment (WLU Press, 2007). Aleksandra Bennett othing starts a conversation among military historians like asking the question, “So, what’s your Dr. Aleksandra Bennett is N an associate professor in the favourite war film?” In short order, the discussion turns Department of History at Carleton into a critique about how bad, or how unrealistic the University. She recently edited a history/weapons/tactics are portrayed! For that reason, collection of letters entitled Kiss my list is not based on anything other than movies that the kids for dad, Don’t forget to I enjoy watching. They are war movies with good plots, write: the Wartime Letters of George Timmins, 1916-18, (UBC great action and perhaps most important, movies that I Press, 2009). Timmins, a lance- watch again and again. corporal, served with the CEF at As far as I am concerned, it doesn’t get any better than Vimy, Lens, Passchendaele and Kelly’s Heroes. How can you not like a movie about a bank Amiens. heist behind German lines using Sherman tanks with a cast that includes Clint Eastwood, Donald Sutherland (as rowing up in post-war Britain, I was exposed to a hippie tank commander), Telly Savalas and Don Rickles. Gmany fine war films made during the Second World Zulu is another of my favourites. This “against all odds” War or shortly thereafter. These I often watched with movie brings the story of Rorke’s Drift alive. I first saw my family on a small black and white TV, on Sunday this movie during my summer as a guardsman at Fort afternoons. Grandad lived with us at the end of his life. Henry and watching the movie reminds me of one of my He had served in “German East,” as he called it, during best summer jobs. Other notable mentions are The Big Red the First World War, hence my selection of The African One (with Lee Marvin and Luke Skywalker, sorry, Mark Queen. George Formby, the Lancashire comedian, was Hamill) which follows the story of a snake-bit grizzled a favourite of Grandad’s; in Let George Do It, Formby old sergeant through North Africa, Sicily and Normandy; famously “clocks” Hitler. Although Dad served in the Saving Private Ryan and Black Hawk Down (Band of Brothers Royal Berkshire Regiment, he was avidly “airminded”: and The Pacific also fit into the category, but they are not we didn’t miss a film featuring aircraft, includingFirst of movies, per se) for the sense of realism that the latest the Few, Dam Busters and Reach for the Sky. Mrs. Miniver generation of Hollywood films depict; and classics like and the Life and Death of Colonel Blimp were also well Platoon, The Longest Day and A Bridge Too Far.
Recommended publications
  • Role of the Archives in the Future
    … You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time…” Abraham Lincoln ( 1809 – 1865 ) FACTS AND FICTION- ARCHIVAL FOOTAGE HISTORICAL EVENTS AND TELEVISION AND FILM PRODUCTIONS Media Archeology Movies and television productions are released and transmitted each year dealing with historical events or public personalities like politicians , military leaders, revolutionaries, and people with a record of special achievemments. The aim of my presentation is to make you aware of different possibilities in reusing archival footage in movies. It is my intention to inform you about the importance of the audiovisual archives and how to reuse transmitted programmes or real shots of life in new productions. It is not my intention to evaluate real shots in historical movies and to report about facts and fiction in those films. The subject is dealt with in the book called: PAST IMPERFECT. History According to the Movies. 1995, and my own paper on the same subject: HISTORY AND MOVIES: An evaluation of the information of historical events, of international known personalities and of famous sites and buildings describes in movies. External links: ( Contact: http://www.baacouncil.org/ or [email protected] for copy of the paper) Television companies should be proud of their collections of transmitted programmes. Because I have worked for televison archive for about 29 years I have viewed a lot of television programmes and movies. Some years ago I started to question the reuse of transmitted television programmes and also the active reuse of news in new productions.
    [Show full text]
  • Stanley Kubrick's 18Th Century
    Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
    [Show full text]
  • FILMS and THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2
    FILMS AND THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2. TGTBATU: CE The Good, the Bad and the Ugly: Clint Eastwood 3. RFTS: KM Reach for the Sky: Kenneth More 4. FG; TH Forest Gump: Tom Hanks 5. TGE: SM/CB The Great Escape: Steve McQueen and Charles Bronson ( OK. I got it wrong!) 6. TS: PN/RR The Sting: Paul Newman and Robert Redford 7. GWTW: VL Gone with the Wind: Vivien Leigh 8. MOTOE: PU Murder on the Orient Express; Peter Ustinov (but it wasn’t it was Albert Finney! DOTN would be correct) 9. D: TH/HS/KB Dunkirk: Tom Hardy, Harry Styles, Kenneth Branagh 10. HN: GC High Noon: Gary Cooper 11. TS: JN The Shining: Jack Nicholson 12. G: BK Gandhi: Ben Kingsley 13. A: NK/HJ Australia: Nicole Kidman, Hugh Jackman 14. OGP: HF On Golden Pond: Henry Fonda 15. TDD: LM/CB/TS The Dirty Dozen: Lee Marvin, Charles Bronson, Telly Savalas 16. A: MC Alfie: Michael Caine 17. TDH: RDN The Deer Hunter: Robert De Niro 18. GWCTD: ST/SP Guess who’s coming to Dinner: Spencer Tracy, Sidney Poitier 19. TKS: CF The King’s Speech: Colin Firth 20. LOA: POT/OS Lawrence of Arabia: Peter O’Toole, Omar Shariff 21. C: ET/RB Cleopatra: Elizabeth Taylor, Richard Burton 22. MC: JV/DH Midnight Cowboy: Jon Voight, Dustin Hoffman 23. P: AP/JL Psycho: Anthony Perkins, Janet Leigh 24. TG: JW True Grit: John Wayne 25. TEHL: DS The Eagle has landed: Donald Sutherland. 26. SLIH: MM Some like it Hot: Marilyn Monroe 27.
    [Show full text]
  • The WWII Classic Film Reach for the Sky Immortalised the Legless Hero Douglas Bader. to Commemorate the Centenary of the RAF, Th
    The WWII classic film Reach For The Sky immortalised the legless hero Douglas Bader. To commemorate the centenary of the RAF, the Mail salutes Britain’s bravest (and craziest) Spitfire pilot By PAUL BRICKHILL PUBLISHED: 01:01, 31 March 2018 | UPDATED: 01:05, 31 March 2018 Douglas Bader was the living embodiment of the RAF motto, ‘Per ardua ad astra’ (‘Through adversity to the stars’). He lost both his legs in a catastrophic pre-war flying accident and was told he would never walk, or fly, again. Donning artificial legs, he fought to overcome his handicap. Though reluctantly invalided out of the Air Force, he returned to operational duties when war broke out in 1939, as Britain was in desperate need of fighter pilots. Fighter pilot Douglas Bader is photographed at North Weald Airfield getting into a spitfire ready to lead a flight over London commemorating the fifth anniversary of the Battle of Britain. A domineering, dogmatic swashbuckler of a man, he became one of the RAF’s most famous characters — leading his squadrons in the Battle of Britain, devising new tactics that enabled the Luftwaffe to be beaten back, and encouraging the nation with his never-say-die attitude. This was exemplified when, in August 1941, he was shot down over occupied France. He’d been riding his luck for a while, insisting on leading every sortie, driving himself to the limit. 1 His superiors ordered him to go on leave and a hotel was booked in Scotland for him and his wife to play golf. But he insisted on one last flight.
    [Show full text]
  • Films Winning 4 Or More Awards Without Winning Best Picture
    FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963.
    [Show full text]
  • Remembering World War Ii in the Late 1990S
    REMEMBERING WORLD WAR II IN THE LATE 1990S: A CASE OF PROSTHETIC MEMORY By JONATHAN MONROE BULLINGER A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information, and Library Studies Written under the direction of Dr. Susan Keith and approved by Dr. Melissa Aronczyk ________________________________________ Dr. Jack Bratich _____________________________________________ Dr. Susan Keith ______________________________________________ Dr. Yael Zerubavel ___________________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Remembering World War II in the Late 1990s: A Case of Prosthetic Memory JONATHAN MONROE BULLINGER Dissertation Director: Dr. Susan Keith This dissertation analyzes the late 1990s US remembrance of World War II utilizing Alison Landsberg’s (2004) concept of prosthetic memory. Building upon previous scholarship regarding World War II and memory (Beidler, 1998; Wood, 2006; Bodnar, 2010; Ramsay, 2015), this dissertation analyzes key works including Saving Private Ryan (1998), The Greatest Generation (1998), The Thin Red Line (1998), Medal of Honor (1999), Band of Brothers (2001), Call of Duty (2003), and The Pacific (2010) in order to better understand the version of World War II promulgated by Stephen E. Ambrose, Tom Brokaw, Steven Spielberg, and Tom Hanks. Arguing that this time period and its World War II representations
    [Show full text]
  • Ordinary Heroes: Depictions of Masculinity in World War II Film a Thesis Submitted to the Miami University Honors Program in Pa
    Ordinary Heroes: Depictions of Masculinity in World War II Film A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors with Distinction by Robert M. Dunlap May 2007 Oxford, Ohio Abstract Much work has been done investigating the historical accuracy of World War II film, but no work has been done using these films to explore social values. From a mixed film studies and historical perspective, this essay investigates movie images of American soldiers in the European Theater of Operations to analyze changing perceptions of masculinity. An examination of ten films chronologically shows a distinct change from the post-war period to the present in the depiction of American soldiers. Masculinity undergoes a marked change from the film Battleground (1949) to Band of Brothers (2001). These changes coincide with monumental shifts in American culture. Events such as the loss of the Vietnam War dramatically changed perceptions of the Second World War and the men who fought during that time period. The United States had to deal with a loss of masculinity that came with their defeat in Vietnam and that shift is reflected in these films. The soldiers depicted become more skeptical of their leadership and become more uncertain of themselves while simultaneously appearing more emotional. Over time, realistic images became acceptable and, in fact, celebrated as truthful while no less masculine. In more recent years, there is a return to the heroism of the World War II generation, with an added emotionality and dimensionality. Films reveal not only the popular opinions of the men who fought and reflect on the validity of the war, but also show contemporary views of masculinity and warfare.
    [Show full text]
  • BATTLE-SCARRED and DIRTY: US ARMY TACTICAL LEADERSHIP in the MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial
    BATTLE-SCARRED AND DIRTY: US ARMY TACTICAL LEADERSHIP IN THE MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Steven Thomas Barry Graduate Program in History The Ohio State University 2011 Dissertation Committee: Dr. Allan R. Millett, Adviser Dr. John F. Guilmartin Dr. John L. Brooke Copyright by Steven T. Barry 2011 Abstract Throughout the North African and Sicilian campaigns of World War II, the battalion leadership exercised by United States regular army officers provided the essential component that contributed to battlefield success and combat effectiveness despite deficiencies in equipment, organization, mobilization, and inadequate operational leadership. Essentially, without the regular army battalion leaders, US units could not have functioned tactically early in the war. For both Operations TORCH and HUSKY, the US Army did not possess the leadership or staffs at the corps level to consistently coordinate combined arms maneuver with air and sea power. The battalion leadership brought discipline, maturity, experience, and the ability to translate common operational guidance into tactical reality. Many US officers shared the same ―Old Army‖ skill sets in their early career. Across the Army in the 1930s, these officers developed familiarity with the systems and doctrine that would prove crucial in the combined arms operations of the Second World War. The battalion tactical leadership overcame lackluster operational and strategic guidance and other significant handicaps to execute the first Mediterranean Theater of Operations campaigns. Three sets of factors shaped this pivotal group of men. First, all of these officers were shaped by pre-war experiences.
    [Show full text]
  • Museum Salutes James Bond and His Creators Critic Judith Crist Moderates Forum
    The Museum of Modern Art % 50th Anniversary to MUSEUM SALUTES JAMES BOND AND HIS CREATORS CRITIC JUDITH CRIST MODERATES FORUM In any time capsule of the 20th century, there is sure to be a commentary on and, more than likely, a print of a James Bond movie. So great is the impact of Secret Agent 007, archetypical hero of the second half of this century, that it is estimated one out of three people throughout the world have at one time or another viewed one of his spy thrillers. The most popular Bond film so far, "The Spy Who Loved Me" reportedly has drawn one and a half billion viewers or over one eighth of the earth's population. Given these facts, the Department of Film of The Museum of Modern Art, considers the phenomenon of James Bond noteworthy and is rendering, at an appropriate time concurrent with the premiere of the new James Bond "Moonraker," an homage to the producer, Albert R. Broccoli and his colleagues. Recognizing that each of the Bond films is a collabora­ tive project, Larry Kardish, Associate Curator in the Department of Film, has included in this tribute Lewis Gilbert, the director, Ken Adam, production designer, and Maurice B inder, title creator and graphics artist. The James Bond program, organized by Mr. Kardish, opens on June 25, with a documentary titled "The Making Of James Bond." It takes the viewer behind the scenes of the production of "The Spy Who Loved Me." Produced by BBC, it consists of four half-hour films: the first deals 11 West 53 Street, New York, N.Y.
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]