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Atlanta Journal and Constitution
HOT PLATE
Forget tabloids and resolutions; put balance in your life
By MERIDITH FORD GOLDMAN
The Atlanta
Thursday, January 08, 2009
So I’m sitting in the hairdresser’s chair a couple of weeks ago when a copy of Star magazine grabs my eye. I’m not going to lie to you: I never read this kind of stuff. I’m not kidding. It’s not like I’m reading Dostoyevsky instead, it’s just that I’m really not that interested in what Jennifer Aniston eats for between-meal snacks.
But this copy, dated for Jan. 5, 2009, was impossible to pass up: The cover was strewn with glamour don’t shots of “stars” in all their beach-exposed bareness. (I use the term “star” loosely, since in my mind Ava Gardner and Sophia Loren were “stars.” Lindsay Lohan is not.) “All new photos” of Brooke Mueller (who is that?) and yes — Jennifer Aniston — in their near-birthday suits. And, of course, the gratuitous shots of those, well, not so beautiful: Rosie O’Donnell’s thigh bulges; Star Jones’ plastic surgery scars.
Meridith Ford Goldman
Biography | E-mail address: [email protected]
Table Talk blog
Restaurant reviews
AJC Top 50 Restaurants
Recipes by Meridith Ford Goldman
Related links:
Photos: Build a Gingerbread House
Christmas recipes
Atlanta Holiday Guide
AJC Food & Drink
Evening Edge
Recipes from Atlanta restaurants
Favorite Atlanta recipes
It seems that January not only rings in a new year of pressure to get on that diet and exercise, it also gives us permission to make fun of famous people who don’t. And envy the ones who do. We live as vicariously as ever through them.
Honestly, I’m not sure why we do this to ourselves every year. Isn’t it enough to be late with bill payments and feel guilty about not calling our mothers more often?
And January is the worst time of the year to diet. Our natural tendency in winter, as former hunter-gatherers, is to hole up in a cave and pack on some fat. Forty thousand years of evolution apparently have done little to change our inner workings. Why the heck else do you think you’re still craving that caramel latte, even after having so many on those long shopping sprees during the holidays? After all this time, there’s still only one formula for losing weight: calories in, calories out.
Yet we pat ourselves on the back and read up in Self magazine about all the so-called super foods, like eggs, lean steak, chiles, blueberries and olive oil. Sure, research has given us breakthrough after breakthrough, letting us know that spreading almond butter on our whole-wheat toast will lower the glycemic index of the bread — making our blood sugar dip less (which in turn keeps cravings at bay).
And sure, diets that tout high protein and low carbs, such as the South Beach, do get results — especially in the first few weeks, when you need to see the scale dip the most. And “paleo” diets that call for high protein/low carbs, with as little processed food as possible, can help sculpt the bodies of those who are already in shape.
But the bottom line (pardon the pun) is that if you eat too much and don’t exercise enough, you’ll gain weight. It’s that simple. We can’t all be expected to never eat a bowl of white pasta again, anymore than we can be expected to look like Aniston (she has lots of help doing that, after all).
So relax. Take the dog for a walk — better yet, a jog. And make a resolution to make no more resolutions. Live life in moderation. And stop reading the tabloids.
HOT PLATE
Forget tabloids and resolutions; put balance in your life
By MERIDITH FORD GOLDMAN
The Atlanta
Thursday, January 08, 2009
So I’m sitting in the hairdresser’s chair a couple of weeks ago when a copy of Star magazine grabs my eye. I’m not going to lie to you: I never read this kind of stuff. I’m not kidding. It’s not like I’m reading Dostoyevsky instead, it’s just that I’m really not that interested in what Jennifer Aniston eats for between-meal snacks.
But this copy, dated for Jan. 5, 2009, was impossible to pass up: The cover was strewn with glamour don’t shots of “stars” in all their beach-exposed bareness. (I use the term “star” loosely, since in my mind Ava Gardner and Sophia Loren were “stars.” Lindsay Lohan is not.) “All new photos” of Brooke Mueller (who is that?) and yes — Jennifer Aniston — in their near-birthday suits. And, of course, the gratuitous shots of those, well, not so beautiful: Rosie O’Donnell’s thigh bulges; Star Jones’ plastic surgery scars.
Meridith Ford Goldman
Biography | E-mail address: [email protected]
Table Talk blog
Restaurant reviews
AJC Top 50 Restaurants
Recipes by Meridith Ford Goldman
Related links:
Photos: Build a Gingerbread House
Christmas recipes
Atlanta Holiday Guide
AJC Food & Drink
Evening Edge
Recipes from Atlanta restaurants
Favorite Atlanta recipes
It seems that January not only rings in a new year of pressure to get on that diet and exercise, it also gives us permission to make fun of famous people who don’t. And envy the ones who do. We live as vicariously as ever through them.
Honestly, I’m not sure why we do this to ourselves every year. Isn’t it enough to be late with bill payments and feel guilty about not calling our mothers more often?
And January is the worst time of the year to diet. Our natural tendency in winter, as former hunter-gatherers, is to hole up in a cave and pack on some fat. Forty thousand years of evolution apparently have done little to change our inner workings. Why the heck else do you think you’re still craving that caramel latte, even after having so many on those long shopping sprees during the holidays? After all this time, there’s still only one formula for losing weight: calories in, calories out.
Yet we pat ourselves on the back and read up in Self magazine about all the so-called super foods, like eggs, lean steak, chiles, blueberries and olive oil. Sure, research has given us breakthrough after breakthrough, letting us know that spreading almond butter on our whole-wheat toast will lower the glycemic index of the bread — making our blood sugar dip less (which in turn keeps cravings at bay).
And sure, diets that tout high protein and low carbs, such as the South Beach, do get results — especially in the first few weeks, when you need to see the scale dip the most. And “paleo” diets that call for high protein/low carbs, with as little processed food as possible, can help sculpt the bodies of those who are already in shape.
But the bottom line (pardon the pun) is that if you eat too much and don’t exercise enough, you’ll gain weight. It’s that simple. We can’t all be expected to never eat a bowl of white pasta again, anymore than we can be expected to look like Aniston (she has lots of help doing that, after all).
So relax. Take the dog for a walk — better yet, a jog. And make a resolution to make no more resolutions. Live life in moderation. And stop reading the tabloids.
scriptgirl
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Highland Community News
Puerto Vallarta is one of the most popular vacation spots in Mexico.
There is an area off the coast of Puerto Vallarta called Las Caletas which was once the exclusive domain of director/actor John Houston. “The Night of the Iguana,” starring Richard Burton (accompanied by Elizabeth Taylor), Ava Gardner and Debra Kerr was filmed there and put Puerto Vallarta on the vacation destination map. Las Caletas is now open to the public six days a week.
The island has lush greenery with beaches, hammocks, and many activities to offer. There is snorkeling, scuba diving, kayaking, lounging in a hammock, meeting tropical birds and monkeys and also meeting various sea life. Other services on the island include a spa that offers Swedish massage, deep tissue massage and other spa treatments.
When we visited, we took advantage of the hammocks, had a nice meal (included in the tour) and met a sea lion up close and personal. An open bar is also included in the price of the excursion.
To meet the sea lion, we were provided snorkel masks, life vests and flippers, which we used to swim out to a floating dock. Lockers, with a key, are provided for your dry clothes and personal items. The sea lion was brought out onto the dock. We were able to pet it, see it stick out its tongue, see its teeth, do some flips in the water and receive a kiss from it. Sea lions have much bigger teeth than we expected. We learned that sea lions see in black and white and usually swallow their food whole. The teeth are used just to grab and hold their food.
The staff at Las Caletas is very friendly and accommodating. All water activities are supposed to leave from one beach. To reach it, there are stairs carved into the rocks. If someone is handicapped and cannot walk the stairs, the staff will come to them and leave from an alternate beach. The staff swims with the person to make sure they get to the floating dock and back safely.
If someone cuts themselves on coral or rocks they have first aid staff to provide treatment and bandages.
One has to take a catamaran to get to Las Caletas. The ship staff, some who double as island staff, does its best to entertain during the 45-minute ride to and from. They play music, dance, attempt to sing and get the guests to participate.
There are day tours and evening tours. The evening tours include pre-Hispanic dance performances, dinner and the open bar.
If Puerto Vallarta is in your future vacation plans, this is one excursion we would definitely recommend.
Puerto Vallarta is one of the most popular vacation spots in Mexico.
There is an area off the coast of Puerto Vallarta called Las Caletas which was once the exclusive domain of director/actor John Houston. “The Night of the Iguana,” starring Richard Burton (accompanied by Elizabeth Taylor), Ava Gardner and Debra Kerr was filmed there and put Puerto Vallarta on the vacation destination map. Las Caletas is now open to the public six days a week.
The island has lush greenery with beaches, hammocks, and many activities to offer. There is snorkeling, scuba diving, kayaking, lounging in a hammock, meeting tropical birds and monkeys and also meeting various sea life. Other services on the island include a spa that offers Swedish massage, deep tissue massage and other spa treatments.
When we visited, we took advantage of the hammocks, had a nice meal (included in the tour) and met a sea lion up close and personal. An open bar is also included in the price of the excursion.
To meet the sea lion, we were provided snorkel masks, life vests and flippers, which we used to swim out to a floating dock. Lockers, with a key, are provided for your dry clothes and personal items. The sea lion was brought out onto the dock. We were able to pet it, see it stick out its tongue, see its teeth, do some flips in the water and receive a kiss from it. Sea lions have much bigger teeth than we expected. We learned that sea lions see in black and white and usually swallow their food whole. The teeth are used just to grab and hold their food.
The staff at Las Caletas is very friendly and accommodating. All water activities are supposed to leave from one beach. To reach it, there are stairs carved into the rocks. If someone is handicapped and cannot walk the stairs, the staff will come to them and leave from an alternate beach. The staff swims with the person to make sure they get to the floating dock and back safely.
If someone cuts themselves on coral or rocks they have first aid staff to provide treatment and bandages.
One has to take a catamaran to get to Las Caletas. The ship staff, some who double as island staff, does its best to entertain during the 45-minute ride to and from. They play music, dance, attempt to sing and get the guests to participate.
There are day tours and evening tours. The evening tours include pre-Hispanic dance performances, dinner and the open bar.
If Puerto Vallarta is in your future vacation plans, this is one excursion we would definitely recommend.
scriptgirl
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- Joined
- May 1, 2006
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- 12,226
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- 5
Scranton Times
rea native’s memoir recounts life among stars as model, caricaturist
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BY JOSH MCAULIFFE
STAFF WRITER
Published: Sunday, January 11, 2009
Updated: Sunday, January 11, 2009 7:59 AM EST
Jeanne Koelsch’s early life reads a lot like a good, page-turning novel.
Young girl leaves her small town after high school to seek fun and excitement in New York City. Once there, she finds work as a model, then uses that as a launching pad to a successful second career as, of all things, a caricaturist.
As one would guess, it all made for a most interesting life. Now removed from those glorious days by nearly a half century, Ms. Koelsch is finally putting them to paper with the memoir, “Stumbling To The Stars,” a series of colorful anecdotes recalling her upbringing in West Pittston and her years as an independent woman working amid the glitz and glamour of 1950s New York and Hollywood.
Now 80 and living in San Rafael, Calif., Ms. Koelsch said friends had long encouraged her to write a book. After putting it off for a long time, she eventually decided it would be a nice keepsake for her children, and maybe even an inspiration to people to “take that leap and do something with their life,” she said.
“I never would have thought in my wildest dreams this would have happened,” said Ms. Koelsch, who worked on the book over a three-year period. “I was fortunate. It afforded me a good living and a great time. I wanted more out of life. And before I settled down, I wanted to see things.”
Played in band
As a teen growing up in West Pittston and Pittston, Ms. Koelsch, daughter of the late Rudolph and Catherine Koelsch, played piano in a local big band and displayed an early knack for drawing, with fashion being her favorite subject. It also was during this time that she first visited New York. Almost immediately, she was smitten with “the noise and hustle and bustle” of the city, she said.
Wanting to learn more “about life and people,” she headed for the Big Apple with a friend right after graduating from Pittston High School in the summer of 1946. Arriving with just $60 in her wallet, she enrolled in a $5 class at the Barbizon Modeling School.
After a few odd jobs, the statuesque blonde began lining up modeling gigs, whether it was selling toys at Macy’s or working as a cigarette girl at Billy Rose’s Diamond Horseshoe Club. At one time or other, she was Miss NBC (she was interviewed on the “Today” show, Miss U.S. Marines, Miss Brooklyn Dodgers, Miss Silk Stockings and the American Legion Poppy Queen.
At a booking at the Waldorf Astoria, she met entertainer Jimmy Durante, who wanted to take her back to his hotel room. She turned him down, lying that she was engaged. He understood, and gave her two tickets for his show that night at the famed Copacabana.
“Dinner and everything on Durante,” said Ms. Koelsch, who happily took a date there. “And I never heard from him again.”
Wanted change
For the most part, Ms. Koelsch enjoyed modeling, after a while she felt like she needed to do something that better engaged her mind. At a convention she was working at, she became fascinated by a caricaturist who was doing sketches of attendees.
So, she called the man up and he offered her a job as his assistant. Quickly, she proved to have a talent for sketching a person’s face with humorous exaggeration.
“For me, the most important thing is the expression,” she said. “I felt it was more interesting and complimentary to the person to exaggerate their expression” than their facial features.
“It’s not the kind of thing you learn in school,” she said of caricature. “You just have to have a feeling for it, an eye for it.”
Ms. Koelsch’s boss eventually became too difficult to work for, so she decided to strike out on her own. The first company she wrote to was Firestone. For the heck of it, she decided to make some very specific demands — $150 an hour, first- class airfare to and from her destination and top-notch hotel accommodations.
“I just thought, well if you don’t ask for it, you don’t get it,” she said.
Corporate jobs
Well, it worked. Firestone hired her, and Colgate followed soon after. Before long, she was attending conventions and cocktail parties for many of the country’s biggest companies, including Shell Oil, Anheuser Busch, Pepsi-Cola and Time magazine, which hired her a good dozen times a year.
At parties, she had to work especially fast, often churning out between 85 and 100 sketches in a 90-minute period.
Some assignments were more memorable than others. One took her to pre-Castro Cuba, where she was shot at by a mobster who became enraged when she tried to leave his party with another man. A few years later, after an engagement in Lancaster, she and hundreds of other people (including singer Frankie Avalon) became stranded in a blizzard on the Pennsylvania Turnpike. Ms. Koelsch walked several miles in her stocking feet to a Howard Johnson restaurant, where she called in reports to several media outlets.
For her efforts, Ms. Koelsch was well compensated. And she received plenty of perks, like the time one of her clients sent her to Cartier to pick out a diamond pin, on them.
Then, of course, there were the numerous celebrities she sketched. She worked at Elizabeth Taylor’s birthday party, chatted with Marilyn Monroe on the 20th Century Fox lot in Hollywood and appeared on the television shows of Milton Berle and Steve Allen.
Some stars she got to know on a personal level. Every Sunday, she went to the home of legendary songwriter Sammy Kahn, where she hobnobbed with a still-together Jerry Lewis and Dean Martin. She danced with Walter Pidgeon, went on a date with Robert Stack, caught the attentions of Humphrey Bogart on a movie set and chatted with Frank Sinatra at his New York hangout, Jilly’s.
“He was a little moody at times,” she said of Mr. Sinatra. “I think it was when he had his problems with Ava Gardner.”
She personally presented President Dwight D. Eisenhower with the caricature she did of him, and was in a relationship with a man whose brother was married to a Kennedy. Nikita Khrushchev just walked away from her as she sketched him, but her all-time favorite encounter, Eleanor Roosevelt (“I admired her so,” she said), graciously shook her hand.
“That was just great fun,” she said. “I thought this was all in stride, (part of) living in New York City.”
But it didn’t last forever. After getting married (she’s now divorced), Ms. Koelsch moved to the suburbs of Connecticut, had two kids and settled into life as a full-time mom. Years later, she went into real estate and worked for Commonwealth Title Insurance in Philadelphia.
Today, she stays active through part-time correspondence work and membership in several organizations in San Rafael, where she’s lived for the past 22 years.
It’s been years since she did her last caricature, and she has no intentions of doing any more. She’s content with where she’s been, and where she is now.
“I don’t miss it now. I think I’ve done it. I’m so thankful and so grateful I had the opportunity,” Ms. Koelsch said. “I think I did as much as I could in 10 or 12 years.
“I was fortunate to meet the people I did. My eyes were always opened.”
Contact the writer: [email protected]eet Jeanne Koelsch
Age: 80
Residence: A native of West Pittston, she’s lived in San Rafael, Calif., for the past 22 years
Family: The daughter of the late Rudolph and Catherine Koelsch, she has a son, Philip Mann, and a daughter, Lynn Maniscalco. She has three siblings, Robert, Marion and Helen.
Career: During the 1950s and early ’60s, Ms. Koelsch had a successful career as a model and caricaturist. Her memories of that time can be found in her recent memoir, “Stumbling To The Stars,” published by Xlibris Book Publishing. The book retails for $29.99 hardback and $19.99 paperpack and can be purchased at www.xlibris.com, or at www.amazon.com.
rea native’s memoir recounts life among stars as model, caricaturist
Share This Story:
Yahoo! Buzz
BY JOSH MCAULIFFE
STAFF WRITER
Published: Sunday, January 11, 2009
Updated: Sunday, January 11, 2009 7:59 AM EST
Jeanne Koelsch’s early life reads a lot like a good, page-turning novel.
Young girl leaves her small town after high school to seek fun and excitement in New York City. Once there, she finds work as a model, then uses that as a launching pad to a successful second career as, of all things, a caricaturist.
As one would guess, it all made for a most interesting life. Now removed from those glorious days by nearly a half century, Ms. Koelsch is finally putting them to paper with the memoir, “Stumbling To The Stars,” a series of colorful anecdotes recalling her upbringing in West Pittston and her years as an independent woman working amid the glitz and glamour of 1950s New York and Hollywood.
Now 80 and living in San Rafael, Calif., Ms. Koelsch said friends had long encouraged her to write a book. After putting it off for a long time, she eventually decided it would be a nice keepsake for her children, and maybe even an inspiration to people to “take that leap and do something with their life,” she said.
“I never would have thought in my wildest dreams this would have happened,” said Ms. Koelsch, who worked on the book over a three-year period. “I was fortunate. It afforded me a good living and a great time. I wanted more out of life. And before I settled down, I wanted to see things.”
Played in band
As a teen growing up in West Pittston and Pittston, Ms. Koelsch, daughter of the late Rudolph and Catherine Koelsch, played piano in a local big band and displayed an early knack for drawing, with fashion being her favorite subject. It also was during this time that she first visited New York. Almost immediately, she was smitten with “the noise and hustle and bustle” of the city, she said.
Wanting to learn more “about life and people,” she headed for the Big Apple with a friend right after graduating from Pittston High School in the summer of 1946. Arriving with just $60 in her wallet, she enrolled in a $5 class at the Barbizon Modeling School.
After a few odd jobs, the statuesque blonde began lining up modeling gigs, whether it was selling toys at Macy’s or working as a cigarette girl at Billy Rose’s Diamond Horseshoe Club. At one time or other, she was Miss NBC (she was interviewed on the “Today” show, Miss U.S. Marines, Miss Brooklyn Dodgers, Miss Silk Stockings and the American Legion Poppy Queen.
At a booking at the Waldorf Astoria, she met entertainer Jimmy Durante, who wanted to take her back to his hotel room. She turned him down, lying that she was engaged. He understood, and gave her two tickets for his show that night at the famed Copacabana.
“Dinner and everything on Durante,” said Ms. Koelsch, who happily took a date there. “And I never heard from him again.”
Wanted change
For the most part, Ms. Koelsch enjoyed modeling, after a while she felt like she needed to do something that better engaged her mind. At a convention she was working at, she became fascinated by a caricaturist who was doing sketches of attendees.
So, she called the man up and he offered her a job as his assistant. Quickly, she proved to have a talent for sketching a person’s face with humorous exaggeration.
“For me, the most important thing is the expression,” she said. “I felt it was more interesting and complimentary to the person to exaggerate their expression” than their facial features.
“It’s not the kind of thing you learn in school,” she said of caricature. “You just have to have a feeling for it, an eye for it.”
Ms. Koelsch’s boss eventually became too difficult to work for, so she decided to strike out on her own. The first company she wrote to was Firestone. For the heck of it, she decided to make some very specific demands — $150 an hour, first- class airfare to and from her destination and top-notch hotel accommodations.
“I just thought, well if you don’t ask for it, you don’t get it,” she said.
Corporate jobs
Well, it worked. Firestone hired her, and Colgate followed soon after. Before long, she was attending conventions and cocktail parties for many of the country’s biggest companies, including Shell Oil, Anheuser Busch, Pepsi-Cola and Time magazine, which hired her a good dozen times a year.
At parties, she had to work especially fast, often churning out between 85 and 100 sketches in a 90-minute period.
Some assignments were more memorable than others. One took her to pre-Castro Cuba, where she was shot at by a mobster who became enraged when she tried to leave his party with another man. A few years later, after an engagement in Lancaster, she and hundreds of other people (including singer Frankie Avalon) became stranded in a blizzard on the Pennsylvania Turnpike. Ms. Koelsch walked several miles in her stocking feet to a Howard Johnson restaurant, where she called in reports to several media outlets.
For her efforts, Ms. Koelsch was well compensated. And she received plenty of perks, like the time one of her clients sent her to Cartier to pick out a diamond pin, on them.
Then, of course, there were the numerous celebrities she sketched. She worked at Elizabeth Taylor’s birthday party, chatted with Marilyn Monroe on the 20th Century Fox lot in Hollywood and appeared on the television shows of Milton Berle and Steve Allen.
Some stars she got to know on a personal level. Every Sunday, she went to the home of legendary songwriter Sammy Kahn, where she hobnobbed with a still-together Jerry Lewis and Dean Martin. She danced with Walter Pidgeon, went on a date with Robert Stack, caught the attentions of Humphrey Bogart on a movie set and chatted with Frank Sinatra at his New York hangout, Jilly’s.
“He was a little moody at times,” she said of Mr. Sinatra. “I think it was when he had his problems with Ava Gardner.”
She personally presented President Dwight D. Eisenhower with the caricature she did of him, and was in a relationship with a man whose brother was married to a Kennedy. Nikita Khrushchev just walked away from her as she sketched him, but her all-time favorite encounter, Eleanor Roosevelt (“I admired her so,” she said), graciously shook her hand.
“That was just great fun,” she said. “I thought this was all in stride, (part of) living in New York City.”
But it didn’t last forever. After getting married (she’s now divorced), Ms. Koelsch moved to the suburbs of Connecticut, had two kids and settled into life as a full-time mom. Years later, she went into real estate and worked for Commonwealth Title Insurance in Philadelphia.
Today, she stays active through part-time correspondence work and membership in several organizations in San Rafael, where she’s lived for the past 22 years.
It’s been years since she did her last caricature, and she has no intentions of doing any more. She’s content with where she’s been, and where she is now.
“I don’t miss it now. I think I’ve done it. I’m so thankful and so grateful I had the opportunity,” Ms. Koelsch said. “I think I did as much as I could in 10 or 12 years.
“I was fortunate to meet the people I did. My eyes were always opened.”
Contact the writer: [email protected]eet Jeanne Koelsch
Age: 80
Residence: A native of West Pittston, she’s lived in San Rafael, Calif., for the past 22 years
Family: The daughter of the late Rudolph and Catherine Koelsch, she has a son, Philip Mann, and a daughter, Lynn Maniscalco. She has three siblings, Robert, Marion and Helen.
Career: During the 1950s and early ’60s, Ms. Koelsch had a successful career as a model and caricaturist. Her memories of that time can be found in her recent memoir, “Stumbling To The Stars,” published by Xlibris Book Publishing. The book retails for $29.99 hardback and $19.99 paperpack and can be purchased at www.xlibris.com, or at www.amazon.com.
scriptgirl
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Hollywood Reporter
Terminator' locked up in film archive
25 additions bring National Film Registry to 500 titles
By Gregg Kilday
Dec 30, 2008, 12:31 PM ET
Updated: Dec 30, 2008, 05:22 PM ET
The 2008 National Film Registry selections:
The Asphalt Jungle (1950)
John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned -- until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a bit part as Emmerich's "niece."
Deliverance (1972)
Four Atlanta professionals (Burt Reynolds, Ned Beatty, Ronnie Cox and Jon Voight) head for a weekend canoe trip -- and instead meet up with two of the more memorable villains in film history (Billy McKinney and Herbert Coward) in this gripping Appalachian "Heart of Darkness." With dazzling visual flair, director John Boorman and cinematographer Vilmos Zsigmond infuse James Dickey's novel with scenes of genuine terror and frantic struggles for survival battling river rapids -- and in the process create a work rich with fascinating ambiguities about "civilized" values, urban-versus-backwoods culture and man's supposed taming of the environment.
Disneyland Dream (1956)
The Barstow family films a memorable home movie of their trip to Disneyland. Robbins and Meg Barstow, along with their children Mary, David and Daniel, were among 25 families who won a free trip to the new Disneyland in Anaheim as part of a contest sponsored by 3M. Through vivid color and droll narration ("The landscape was very different from back home in Connecticut"), we see a fantastic historical snapshot of Hollywood, Beverly Hills, Catalina Island, Knott's Berry Farm, Universal Studios and Disneyland in mid-1956.
A Face in the Crowd (1957)
Before Andy Griffith became a TV legend playing a likable small-town sheriff, he portrayed a different type of celebrity in this dark look at the way sudden fame and power can corrupt. In his film debut, Griffith plays a rural drunk, drifter and country singer who becomes an overnight success when a radio station employee (Patricia Neal) puts him on the air. Behind the scenes, he turns into a power-hungry monster who must be exposed. This film is based on a short story by Budd Schulberg, who also wrote the script for director Elia Kazan.
Flower Drum Song (1961)
This film version of the Rodgers & Hammerstein musical marked the first Hollywood studio film featuring performances by a mostly Asian cast. Starring prominent Asian-American actors Nancy Kwan and James Shigeta, this milestone film presented an enduring three-dimensional portrait of Asian America as well as a welcomed, non-cliched portrait of Chinatown beyond the usual exotic tourist facades.
Foolish Wives (1922)
Director Erich von Stroheim's third feature, staged with costly and elaborate sets of Monte Carlo, tells the story of a criminal who passes himself off as a Russian count in order to seduce women of society and steal their money. This brilliant and, at the time, controversial film fully established von Stroheim's reputation within the industry as a difficult-to-manage creative genius.
Free Radicals (1979)
Born in New Zealand, avant-garde filmmaker Len Lye moved to the U.S. and became a naturalized citizen in 1950. For his four-minute work "Free Radicals" (begun in 1958 and completed in 1979), Lye made scratches directly into the film stock. These scratches became "figures of motion" that appear in the finished film as horizontal and vertical lines and shapes dancing to the music of the Bagirmi tribe in Africa.
Hallelujah (1929)
The all-black-cast film "Hallelujah" was a surprising gamble by normally conservative MGM, allowed chiefly because director King Vidor deferred his salary and MGM had proved slow to convert from silent to sound films. Vidor had to shoot silent film of the mass-river-baptism and swamp-murder Tennessee location scenes. He then painstakingly synchronized the dialogue and music. The passionate conviction of the melodrama and the resourceful technical experiments make "Hallelujah" among the first masterpieces of the sound era.
In Cold Blood (1967)
In 1959, two men brutally murdered four members of a Holcomb, Kan., family. Truman Capote reported on the infamous incident, first in a series of New Yorker articles and later in his nonfiction novel, "In Cold Blood." With an unsparing neo-realism, director Richard Brooks adapted Capote's novel, focusing on the motivations, backgrounds and relationship of the killers and society's failure to spot potential murderers. Filmed in striking black-and-white documentary style by cinematographer Conrad Hall, the film starred then-unknown actors Robert Blake and Scott Wilson.
The Invisible Man (1933)
Universal released many classic horror films during the 1930s, and director James Whale crafted some of the greatest from that famous cycle: "Frankenstein," "Bride of Frankenstein," "The Old Dark House" and "The Invisible Man." Whale brought a dazzling stylishness to what were essentially low-budget horror films and, in the case of "The Invisible Man," produced sophisticated special effects, aided by John P. Fulton. As in his discovery of Boris Karloff to play "Frankenstein," Whale made another inspirational choice in picking British-born Claude Rains, in his American film debut, to portray H.G. Wells' tormented scientist.
Johnny Guitar (1954)
Often described as the one of the stranger, kinkier Westerns of all time, Nicholas Ray's film-noiresque "Johnny Guitar" possesses enough symbolism to keep a psychiatrist occupied for years and was a favorite of French New Wave directors. "Johnny Guitar," filmed in the Trucolor process and CinemaScope, also rates significance as one of a few Westerns featuring women as the main stars (Joan Crawford and Mercedes McCambridge).
The Killers (1946)
Director Robert Siodmak took the original Ernest Hemingway short story as the film's opening point and developed it with an elaborate series of flashbacks, creating a classic example of film noir. Two killers shatter a small town's quiet before an insurance investigator (Edmond O'Brien) digs up crime, betrayal and a glamorous woman (Ava Gardner) behind an ex-fighter's death (Burt Lancaster's electrifying film debut).
The March (1964)
George Stevens Jr., who headed the U.S. Information Agency Motion Picture Service unit from 1962-67, brought in several young talented documentary filmmakers such as Charles Guggenheim, Carroll Ballard, Kent McKenzie, Leo Seltzer, Terry Sanders, Bruce Herschensohn and James Blue, who directed "The March." Examining the 1963 Civil Rights March on Washington from the ground-level and focusing on the idealistic passion of the crowds, Blue's doc lets us see the event take shape from the planning stage -- with sound checks and worries about whether people will attend -- to the arrival of enormous crowds. It culminates in Martin Luther King Jr.'s "I Have a Dream" speech.
No Lies (1973)
Done in faux cinema verite style, Mitchell Block's 16-minute New York University student film begins on a note of insouciant amateurism and then convincingly moves into darker, deeper waters. Opening with a scene of a girl getting ready for a date, the camera-wielding protagonist adroitly orchestrates a mood shift from goofiness to raw pain as an interviewer tears down the girl's emotional defenses after being raped. It's one of the first films to deal with the way r*pe victims are treated when they seek professional help.
On the Bowery (1957)
Lionel Rogosin's acclaimed, unrelenting docudrama about the infamous New York City neighborhood focuses on three of its alcoholic skid row denizens and their marginal existence amid the gin mills, missions and flop houses. Rogosin and his crew spent months on the Bowery observing and talking with residents. The film remains a wrenching portrait of hopelessness and despair.
One Week (1920)
"One Week" is the first publicly released two-reel short film starring Buster Keaton. Considered astonishingly creative even by contemporary standards, "One Week" is rife with hilarious comic, often surrealist, sequences chronicling the ill-fated attempts of a newlywed couple to assemble their new home.
The Pawnbroker (1965)
"The Pawnbroker" was the first Hollywood film to depict in a realistic, psychologically probing manner the trauma of a Holocaust survivor, a subject previously taboo because of the fear of poor boxoffice or offending delicate sensitivities. Rod Steiger's astounding performance -- as he tries to repress his memories of the anguish, physical and emotional shame of being an internment-camp inmate -- also serves a perfect allegory for American film's own struggles to represent this tragedy.
The Perils of Pauline (1914)
"The Perils of Pauline" was the first American movie serial. Produced in 20 episodes, in a groundbreaking longform motion-picture narrative structure, the series starred Pearl White as a young, wealthy heiress whose ingenuity, self-reliance and pluck enable her to regularly outwit a guardian intent on stealing her fortune. The film became an international hit and spawned a succession of elaborate American adventure serial productions.
Sergeant York (1941)
Gary Cooper won his first Oscar for his dead-on portrayal of Tennessee pacifist Sgt. Alvin York, who in an Argonne Forest World War I battle single-handedly captured more than 130 German soldiers. The stirring film appeared six months before America entered World War II as a nation and inspired Americans.
The 7th Voyage of Sinbad (1958)
Special-effects master Ray Harryhausen provides the hero with fantastic antagonists, including a giant cyclops, fire-breathing dragons and a sword-wielding animated skeleton, all in glorious Technicolor. His stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a fantastic score by Bernard Herrmann make this one of the finest fantasy films.
So's Your Old Man (1926)
While W.C. Fields' talents are better suited for sound films -- where his verbal jabs and asides still delight and astound -- he also starred in some memorable silent films. Fields began his career as a vaudevillian juggler, and that humor and dexterity shines through here in his role as inventor Samuel Bisbee.
George Stevens World War II Footage (1943-46)
Having already directed classics such as "Swing Time," "Gunga Din" and "Woman of the Year," Stevens joined the U.S. Army Signal Corps and headed a motion picture unit under Gen. Eisenhower from 1943-46. He shot many hours of footage chronicling D-Day, including rare color film of the European war front; the liberation of Paris; American and Soviet forces meeting at the Elbe River; and the Dachau concentration camp.
The Terminator (1984)
Only the third film from director James Cameron, "The Terminator" blended an ingenious, thoughtful script -- clearly influenced by the works of sci-fi legend Harlan Ellison -- and relentless action moved along by an outstanding synthesizer and early techno soundtrack. Most notable was Arnold Schwarzenegger's star-making performance as the mass-killing cyborg with a laconic sense of humor and the superb special effects crafted by Stan Winston.
Water and Power (1989)
Winner of a Sundance Grand Jury prize, Pat O'Neill's influential experimental work juxtaposes images of downtown Los Angeles with scenes from the Owens Valley, Los Angeles' source of water. It's a brilliant examination of water in all its forms and the one-sided sharing of energy between the two places, representing nature and civilization.
White Fawn's Devotion (1910)
James Young Deer is recognized as the first documented movie director of Native American ancestry. When Pathe Freres of France established its American studio in 1910, in part to produce more authentically American-style Western films, Young Deer was hired as a director and scenario writer. He is believed to have written and directed more
Terminator' locked up in film archive
25 additions bring National Film Registry to 500 titles
By Gregg Kilday
Dec 30, 2008, 12:31 PM ET
Updated: Dec 30, 2008, 05:22 PM ET
The 2008 National Film Registry selections:
The Asphalt Jungle (1950)
John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned -- until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a bit part as Emmerich's "niece."
Deliverance (1972)
Four Atlanta professionals (Burt Reynolds, Ned Beatty, Ronnie Cox and Jon Voight) head for a weekend canoe trip -- and instead meet up with two of the more memorable villains in film history (Billy McKinney and Herbert Coward) in this gripping Appalachian "Heart of Darkness." With dazzling visual flair, director John Boorman and cinematographer Vilmos Zsigmond infuse James Dickey's novel with scenes of genuine terror and frantic struggles for survival battling river rapids -- and in the process create a work rich with fascinating ambiguities about "civilized" values, urban-versus-backwoods culture and man's supposed taming of the environment.
Disneyland Dream (1956)
The Barstow family films a memorable home movie of their trip to Disneyland. Robbins and Meg Barstow, along with their children Mary, David and Daniel, were among 25 families who won a free trip to the new Disneyland in Anaheim as part of a contest sponsored by 3M. Through vivid color and droll narration ("The landscape was very different from back home in Connecticut"), we see a fantastic historical snapshot of Hollywood, Beverly Hills, Catalina Island, Knott's Berry Farm, Universal Studios and Disneyland in mid-1956.
A Face in the Crowd (1957)
Before Andy Griffith became a TV legend playing a likable small-town sheriff, he portrayed a different type of celebrity in this dark look at the way sudden fame and power can corrupt. In his film debut, Griffith plays a rural drunk, drifter and country singer who becomes an overnight success when a radio station employee (Patricia Neal) puts him on the air. Behind the scenes, he turns into a power-hungry monster who must be exposed. This film is based on a short story by Budd Schulberg, who also wrote the script for director Elia Kazan.
Flower Drum Song (1961)
This film version of the Rodgers & Hammerstein musical marked the first Hollywood studio film featuring performances by a mostly Asian cast. Starring prominent Asian-American actors Nancy Kwan and James Shigeta, this milestone film presented an enduring three-dimensional portrait of Asian America as well as a welcomed, non-cliched portrait of Chinatown beyond the usual exotic tourist facades.
Foolish Wives (1922)
Director Erich von Stroheim's third feature, staged with costly and elaborate sets of Monte Carlo, tells the story of a criminal who passes himself off as a Russian count in order to seduce women of society and steal their money. This brilliant and, at the time, controversial film fully established von Stroheim's reputation within the industry as a difficult-to-manage creative genius.
Free Radicals (1979)
Born in New Zealand, avant-garde filmmaker Len Lye moved to the U.S. and became a naturalized citizen in 1950. For his four-minute work "Free Radicals" (begun in 1958 and completed in 1979), Lye made scratches directly into the film stock. These scratches became "figures of motion" that appear in the finished film as horizontal and vertical lines and shapes dancing to the music of the Bagirmi tribe in Africa.
Hallelujah (1929)
The all-black-cast film "Hallelujah" was a surprising gamble by normally conservative MGM, allowed chiefly because director King Vidor deferred his salary and MGM had proved slow to convert from silent to sound films. Vidor had to shoot silent film of the mass-river-baptism and swamp-murder Tennessee location scenes. He then painstakingly synchronized the dialogue and music. The passionate conviction of the melodrama and the resourceful technical experiments make "Hallelujah" among the first masterpieces of the sound era.
In Cold Blood (1967)
In 1959, two men brutally murdered four members of a Holcomb, Kan., family. Truman Capote reported on the infamous incident, first in a series of New Yorker articles and later in his nonfiction novel, "In Cold Blood." With an unsparing neo-realism, director Richard Brooks adapted Capote's novel, focusing on the motivations, backgrounds and relationship of the killers and society's failure to spot potential murderers. Filmed in striking black-and-white documentary style by cinematographer Conrad Hall, the film starred then-unknown actors Robert Blake and Scott Wilson.
The Invisible Man (1933)
Universal released many classic horror films during the 1930s, and director James Whale crafted some of the greatest from that famous cycle: "Frankenstein," "Bride of Frankenstein," "The Old Dark House" and "The Invisible Man." Whale brought a dazzling stylishness to what were essentially low-budget horror films and, in the case of "The Invisible Man," produced sophisticated special effects, aided by John P. Fulton. As in his discovery of Boris Karloff to play "Frankenstein," Whale made another inspirational choice in picking British-born Claude Rains, in his American film debut, to portray H.G. Wells' tormented scientist.
Johnny Guitar (1954)
Often described as the one of the stranger, kinkier Westerns of all time, Nicholas Ray's film-noiresque "Johnny Guitar" possesses enough symbolism to keep a psychiatrist occupied for years and was a favorite of French New Wave directors. "Johnny Guitar," filmed in the Trucolor process and CinemaScope, also rates significance as one of a few Westerns featuring women as the main stars (Joan Crawford and Mercedes McCambridge).
The Killers (1946)
Director Robert Siodmak took the original Ernest Hemingway short story as the film's opening point and developed it with an elaborate series of flashbacks, creating a classic example of film noir. Two killers shatter a small town's quiet before an insurance investigator (Edmond O'Brien) digs up crime, betrayal and a glamorous woman (Ava Gardner) behind an ex-fighter's death (Burt Lancaster's electrifying film debut).
The March (1964)
George Stevens Jr., who headed the U.S. Information Agency Motion Picture Service unit from 1962-67, brought in several young talented documentary filmmakers such as Charles Guggenheim, Carroll Ballard, Kent McKenzie, Leo Seltzer, Terry Sanders, Bruce Herschensohn and James Blue, who directed "The March." Examining the 1963 Civil Rights March on Washington from the ground-level and focusing on the idealistic passion of the crowds, Blue's doc lets us see the event take shape from the planning stage -- with sound checks and worries about whether people will attend -- to the arrival of enormous crowds. It culminates in Martin Luther King Jr.'s "I Have a Dream" speech.
No Lies (1973)
Done in faux cinema verite style, Mitchell Block's 16-minute New York University student film begins on a note of insouciant amateurism and then convincingly moves into darker, deeper waters. Opening with a scene of a girl getting ready for a date, the camera-wielding protagonist adroitly orchestrates a mood shift from goofiness to raw pain as an interviewer tears down the girl's emotional defenses after being raped. It's one of the first films to deal with the way r*pe victims are treated when they seek professional help.
On the Bowery (1957)
Lionel Rogosin's acclaimed, unrelenting docudrama about the infamous New York City neighborhood focuses on three of its alcoholic skid row denizens and their marginal existence amid the gin mills, missions and flop houses. Rogosin and his crew spent months on the Bowery observing and talking with residents. The film remains a wrenching portrait of hopelessness and despair.
One Week (1920)
"One Week" is the first publicly released two-reel short film starring Buster Keaton. Considered astonishingly creative even by contemporary standards, "One Week" is rife with hilarious comic, often surrealist, sequences chronicling the ill-fated attempts of a newlywed couple to assemble their new home.
The Pawnbroker (1965)
"The Pawnbroker" was the first Hollywood film to depict in a realistic, psychologically probing manner the trauma of a Holocaust survivor, a subject previously taboo because of the fear of poor boxoffice or offending delicate sensitivities. Rod Steiger's astounding performance -- as he tries to repress his memories of the anguish, physical and emotional shame of being an internment-camp inmate -- also serves a perfect allegory for American film's own struggles to represent this tragedy.
The Perils of Pauline (1914)
"The Perils of Pauline" was the first American movie serial. Produced in 20 episodes, in a groundbreaking longform motion-picture narrative structure, the series starred Pearl White as a young, wealthy heiress whose ingenuity, self-reliance and pluck enable her to regularly outwit a guardian intent on stealing her fortune. The film became an international hit and spawned a succession of elaborate American adventure serial productions.
Sergeant York (1941)
Gary Cooper won his first Oscar for his dead-on portrayal of Tennessee pacifist Sgt. Alvin York, who in an Argonne Forest World War I battle single-handedly captured more than 130 German soldiers. The stirring film appeared six months before America entered World War II as a nation and inspired Americans.
The 7th Voyage of Sinbad (1958)
Special-effects master Ray Harryhausen provides the hero with fantastic antagonists, including a giant cyclops, fire-breathing dragons and a sword-wielding animated skeleton, all in glorious Technicolor. His stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a fantastic score by Bernard Herrmann make this one of the finest fantasy films.
So's Your Old Man (1926)
While W.C. Fields' talents are better suited for sound films -- where his verbal jabs and asides still delight and astound -- he also starred in some memorable silent films. Fields began his career as a vaudevillian juggler, and that humor and dexterity shines through here in his role as inventor Samuel Bisbee.
George Stevens World War II Footage (1943-46)
Having already directed classics such as "Swing Time," "Gunga Din" and "Woman of the Year," Stevens joined the U.S. Army Signal Corps and headed a motion picture unit under Gen. Eisenhower from 1943-46. He shot many hours of footage chronicling D-Day, including rare color film of the European war front; the liberation of Paris; American and Soviet forces meeting at the Elbe River; and the Dachau concentration camp.
The Terminator (1984)
Only the third film from director James Cameron, "The Terminator" blended an ingenious, thoughtful script -- clearly influenced by the works of sci-fi legend Harlan Ellison -- and relentless action moved along by an outstanding synthesizer and early techno soundtrack. Most notable was Arnold Schwarzenegger's star-making performance as the mass-killing cyborg with a laconic sense of humor and the superb special effects crafted by Stan Winston.
Water and Power (1989)
Winner of a Sundance Grand Jury prize, Pat O'Neill's influential experimental work juxtaposes images of downtown Los Angeles with scenes from the Owens Valley, Los Angeles' source of water. It's a brilliant examination of water in all its forms and the one-sided sharing of energy between the two places, representing nature and civilization.
White Fawn's Devotion (1910)
James Young Deer is recognized as the first documented movie director of Native American ancestry. When Pathe Freres of France established its American studio in 1910, in part to produce more authentically American-style Western films, Young Deer was hired as a director and scenario writer. He is believed to have written and directed more
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