‘Up in Smoke,’ ‘Pride of the Yankees,’ ‘Beverly Hills Cop,’ ‘No Country for Old Men,’ ‘The Social Network’ Inducted Into National Film Registry

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As a cinephile with a deep appreciation for the diversity and richness of cinematic history, I find myself deeply moved by the wide array of films you’ve presented here. Each one tells a unique story, capturing a moment in time or a facet of human experience that resonates universally.

In approximately 38 U.S. states, marijuana has been legalized, and the iconic duo Cheech & Chong have made their way into the Library of Congress’ National Film Registry. It appears our nation is embracing a more relaxed approach to cannabis!

1978’s “Up in Smoke,” the debut film by Cheech Marin and Tommy Chong, has been chosen as one of the 25 significant movies to be preserved this year. The announcement was made on Tuesday.

Some films that have been recognized include “Angels with Dirty Faces” from 1938, “Pride of the Yankees” from 1942, “Invaders From Mars” from 1953, “The Miracle Worker” from 1962, “The Texas Chainsaw Massacre” from 1974, “Beverly Hills Cop” from 1984, “Dirty Dancing” from 1987, “Common Threads: Stories From the Quilt” from 1989, “My Own Private Idaho” from 1991, “No Country for Old Men” from 2007, and “The Social Network” from 2010.

As a gamer, I’ve got five top picks that highlight the impact of Hispanic artists or themes. These include “American Me” from 1992, “Mi Familia” from 1995 – both showcasing the talent of Edward James Olmos – “Up in Smoke”, “Star Trek II: The Wrath of Khan” from 1982, and lastly, “Spy Kids” from 2001.

Today is a wonderful day for Marin, famous for his role in “Spy Kids,” as well as Lou Adler, renowned for producing and directing “Up in Smoke” and serving as the executive producer of “American Me.

Under the management of Barry Diller and Michael Eisner during Paramount’s tenure, the film titled “Up in Smoke” was released. In its initial review, The Hollywood Reporter characterized the plot as a humorous portrayal of two laid-back individuals seeking marijuana over the course of an ordinary day. Produced with a budget of $994,000 ($approximately 4.8 million in today’s currency), it went on to generate $44 million ($approximately 212 million in current terms) at the domestic box office.

Marin explained to the Library of Congress that the improvisation we added to the Cheech & Chong films was what made them seem fresh and spontaneous. This is why viewers felt like they were witnessing something new for the very first time, because in many cases, we really were creating those scenes for the first time.

The most recent additions, now totaling 900 films in our catalog, range from 1895 to 2010. To qualify, a movie needs to be at least a decade old.

Beginning at 5 p.m. Pacific Time on Wednesday, TCM will air movies from this current year. Host and National Film Preservation Board chair Jacqueline Stewart will converse about these entries with Librarian of Congress Carla Hayden during the broadcast.

Hayden stated that films serve as mirrors of our nation’s history and culture, and it’s crucial to store them in our national library for future generations. Each year, we take pride in selecting 25 diverse films to add to the National Film Registry as part of our commitment to safeguard our cultural legacy. This is a joint effort within the film community aimed at preserving our cinematic heritage, and we appreciate the support from our partners, including the National Film Preservation Board.

A grand total of 6,744 public submissions were reviewed, and we’ll continue accepting nominations for the upcoming year until August 15th.

Listed below are the 2024 inductees, arranged alphabetically. The following descriptions were provided by the Library of Congress for each inductee:

In his first attempt as a film director, Edward James Olmos doesn’t shy away from portraying the grim, violent aspects of Chicano gang culture in Los Angeles. This movie, inspired by real events, narrates the fictional journey of a Mexican Mafia leader (played by Olmos himself) and the tough life both inside and outside prison. The depiction of violence and cruelty might be difficult to endure at times, but it sheds light on who wields power in drug trafficking, not only within prisons but also on the streets. According to his statement to the Library of Congress, he took up stories that no one else was willing to tell. “American Me” was initially deemed unsuitable for production, but Olmos felt it needed to be shared with the public.

1938’s “Angels With Dirty Faces” showcases the impactful collaboration between James Cagney, Humphrey Bogart, and director Michael Curtiz. This Depression-era crime story, set in the tough, ethnically diverse neighborhoods of America, underscores the notion that these streets molded the very fabric of our nation. Released during the early years of the Production Code, “Angels” cleverly managed to maintain a sense of redemption for its gangster characters while adhering to the rule demanding a hopeful theme. The reformed criminal, Rocky Sullivan (Cagney), grapples with his conscience in the form of Father Jerry Connolly (Pat O’Brien), his childhood friend turned priest, who tirelessly attempts to keep the troublemakers on the straight and narrow and serves as a role model for the charming, impish Dead End Kids.

1895 saw the birth of cinema as we know it, with films serving as early experiments to establish the “language of movies.” Many of these early productions were actualities, capturing people, places, and things rather than narratives. The Serpentine Dance, produced by Edison Manufacturing Co., is a prime example of the captivating content created during this era to enthrall audiences. This silent short film features Annabelle Moore performing one of the popular dances that were frequently recorded at the time. To further attract cinema-goers, many prints of the film were hand-tinted in color.

Beverly Hills Cop (1984)

Titled “Chelsea Girls” (1966), this film was co-directed by Andy Warhol and Paul Morrissey, renowned for its classification as a “double-projection experimental soap opera.” This groundbreaking work embodies the essence of Warhol’s artistic style, with its innovative manipulation of form and content. The unconventional editing techniques result in multiple reels of raw footage being presented in diverse ways. Simultaneously projected, these reels are accompanied by alternating soundtracks, allowing for a multitude of individual audience interpretations.

Common Threads: Tales from the Quilt (1989)

The 1999 film “Compensation,” directed by Zeinabu Irene Davis, presents two love stories in Chicago, with one taking place at the turn of the 20th century and the other in modern times. Both narratives revolve around a Deaf woman and a hearing man, portrayed by Michelle A. Banks and John Earl Jelks respectively. Tragedy strikes both couples as the man is diagnosed with tuberculosis in the early story, while the woman is diagnosed with AIDS in the later one. The movie draws inspiration from a poem by Paul Laurence Dunbar, who passed away due to tuberculosis at age 33 in 1906. In an unconventional move, Davis and screenwriter Mark Arthur Chéry adapted the film to incorporate American Sign Language and title cards, making it accessible for both Deaf and hearing viewers, as observed by Stewart.

1987’s “Dirty Dancing” was a movie every ’80s kid craved their parents to let them watch, even though it delved into some mature themes like unplanned pregnancies, abortion, class differences, and subtle anti-Semitism. As a child then, I couldn’t help but be drawn to the electrifying chemistry between Patrick Swayze (as Johnny Castle) and Jennifer Grey (Baby House). The film, set in ’60s Catskills resorts, had an undeniable ’80s vibe that infused the classic “West Side Story” themes of love transcending societal norms with music and dance. Modern teen musical films may have followed suit, but none have ever matched the magic of Baby and Johnny on the dance floor.

In the year 1973, the movie “Ganja & Hess” was released, a masterpiece by the underrated director Bill Gunn. This film, praised by Richard Brody of The New Yorker as a visionary work of art, stood out even during the most liberated era of American cinema. The cult-horror film became a sensation at Cannes and continues to be relevant today, fifty years later, with its exploration of themes such as addiction, sexuality, and Black identity that remain pertinent. Marlene Clark stars in this groundbreaking movie.

1953’s “Invaders From Mars” was a groundbreaking science fiction movie that echoed the apprehensions and uncertainties of post-World War II society. As a fan, I can’t help but feel thrilled by its timeless charm. Directed by William Cameron Menzies with John Seitz handling the cinematography, this film boasts breathtaking visuals in Supercinecolor. This independent gem played a pivotal role in shaping the aesthetic of science fiction cinema and was a notable addition to the collection of “post-war paranoia” movies. Works such as “Star Trek,” “The Iron Giant,” and “Invasion of the Body Snatchers” carry the thematic imprint of this iconic film, making it a foundational piece in the genre’s history.

As a devoted admirer, I’d like to delve into the captivating world of Fleischer Studios’ creations from the 1920s and ’30s, a time when they engaged in an animated rivalry with Walt Disney Co., each offering unique styles that left audiences spellbound and fostered numerous technical breakthroughs. The visionary brothers Max and Dave Fleischer were responsible for inventive techniques like rotoscoping and iconic characters such as Betty Boop, Popeye, and the charming KoKo the Clown. In this particular masterpiece, KoKo and his loyal companion Fitz the Dog seize control of Earth’s levers – with disastrous consequences!

My Family (1995)

1962’s groundbreaking film, “The Miracle Worker,” directed by Arthur Penn, is a gripping portrayal of the remarkable true tale of Helen Keller and her resilient teacher Anne Sullivan. The film stars Patty Duke and Anne Bancroft in award-winning roles. Notable for its scene where Sullivan teaches Keller etiquette, “The Miracle Worker” is a raw, unsentimental production that highlights the strength of its story and performances as a moving testament to human potential and achievement. The film is presented in stark black and white with minimal embellishments, allowing the essence of the narrative and acting to shine brightly.

My Own Private Idaho (1991)

Titled “No Country for Old Men,” released in 2007, this modern-day Western was almost immediately acclaimed as a classic following its independent premiere. The film, based on Cormac McCarthy’s gripping novel, went on to win an Oscar for best picture. A compelling script (also penned by the Coen brothers) and tight direction contribute significantly to the film’s success. However, it is the exceptional performances of its leading actors that truly elevate it. Josh Brolin portrays a man struggling financially who stumbles upon a large sum of drug money; Javier Bardem plays the ruthless antagonist determined to reclaim this fortune; and Tommy Lee Jones delivers a gripping performance as a Texas sheriff drawn into the violent events unfolding.

As a gamer, I’ve always appreciated the movies that break stereotypes and offer fresh perspectives, and “Powwow Highway” (1989) stands out as one of those groundbreaking films. For years, Hollywood overlooked or misrepresented Native Americans in film, limiting their roles behind the camera and often perpetuating harmful stereotypes even in movies centered around them. This indie gem was one of the first to portray Native Americans as everyday folks dealing with life’s complexities, just like everyone else.

A Classic Sports Film from 1942 – The Pride of the Yankees

The Social Network (2010)

During a conversation with the Library of Congress, Sorkin mentioned that during an initial meeting, Fincher requested him to read the entire script out loud, at the speed Sorkin imagined it while penning it himself.

Usually, a screenplay measures around 110 to 120 pages. However, mine exceed this length due to an abundance of dialogue rather than action. David was making an effort to persuade the studio that this 172-page script will translate into a two-hour film. So, he timed each scene to make his case, and I found myself under scrutiny.

“He was rehearsing with Jesse [Eisenberg] and Rooney [Mara] at a table … and he’d say, ‘And by the way, this scene needs to be seven minutes and 20 seconds, and you’re playing it at seven minutes and 50 seconds, so speed it up.’ The movie ended up being an hour, 59 minutes.”

In the initial installment of a prosperous media series, Robert Rodriguez skillfully infuses Hispanic culture within the film by integrating cultural aspects that make the characters appear unique yet relatable to all. The emphasis on family as their utmost priority and primary motivation highlights the significance of familial ties and cultural roots, enhancing the narrative’s richness and authenticity. This enchanting spy-themed film, where children uncover that their parents’ day jobs are far from mundane, offers an appealing mix of films like The Incredibles, True Lies and James Bond movies.

Star Trek II: The Wrath of Khan (1982)

The Texas Chainsaw Massacre (1974) Since its debut in drive-ins and grindhouse theaters, this film has left a lasting impact as a cultural, generational, and filmmaking landmark. Made on a shoestring budget and reportedly plagued with challenges such as extreme heat and unsanitary locations, Chainsaw paved the way for several conventions within the gore/slasher/splatter genre, like the enduring “final girl” trope. Criticized by some at its premiere for perceived excess, the film found favor with young cinema-goers for its shocking scares (skilled use of isolation and darkness) and black humor.

1978’s “Up in Smoke” was one of many films from the ’70s that have since been recognized as artistic masterpieces (like “The Godfather,” “Jaws,” “Chinatown,” and “Taxi Driver”). However, it stood out as an unconventional smash hit, possibly setting the stage for the now-recognized genre of “stoner” films. Cheech & Chong took their comedic routines and adapted them for this crowd-pleaser, filling it with lighthearted, foolish fun that some might say requires you to leave your intellect at the door. Despite criticism from certain commentators over the counterculture antics displayed by Cheech & Chong in theaters, their impact was minimal. Instead, its success paved the way for memorable film characters such as Jeff Spicoli and The Dude.

1974 saw the emergence of a wave of hugely successful films featuring predominantly Black casts, commonly known as “blaxploitation.” Films like Shaft paved the way for more opportunities for Black directors, writers, and actors. However, some members of the African American community felt these movies reinforced harmful stereotypes. To counteract these stereotypes and make his mark on the era, Sidney Poitier directed Uptown Saturday Night, a lighthearted, action-packed crime comedy that follows two working-class men on a mission to retrieve a stolen wallet containing a winning lottery ticket. The film boasts an impressive ensemble cast, including Poitier, Bill Cosby, Harry Belafonte, Calvin Lockhart, Flip Wilson, Richard Pryor, Paula Kelly, Roscoe Lee Browne, Don Marshall, Rosalind Cash, Paul Harris, and Harold Nicholas.

In the largely unnoticed micro-budget indie film “Will,” made in 1981, a former basketball player grapples with addiction, striving for recovery and a fresh start so he can guide younger generations. “Will” is often recognized as the first independent full-length film directed by a Black woman, Jessie Maple, who had an pioneering career in cinematography and directing. The movie stars Obaka Adedunyo and Loretta Devine and includes frank portrayals of addiction, yet it also conveys a message of hope and tenacity. Scenes shot in early 1980s Harlem capture its atmosphere and bustling street life, making it a crucial cultural artifact.

Zora Lathan’s Student Short Films (1975-76) – This collection comprises six brief 16mm movies crafted by Adaora “Zora” Lathan during her film studies at the University of Illinois, Chicago. Unlike typical home videos, she doesn’t label them as such. Instead, she views them as artistic pieces showcasing the filmmaking techniques popular in the mid-70s, while also mirroring the problem-solving focus championed by UIC’s design program. Lathan aimed to produce visually captivating short films highlighting charming snippets of everyday life, such as baking a pie, through whimsical and experimental vignettes.

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2024-12-17 13:26