These Amazing Shadows

These Amazing Shadows (2011)

*** 1/2 (out of 4)

Wonderfully entertaining documentary taking a look at the National Film Registry, its history and what the group hopes to happen going forward. A brief history is given at the start of the movie but basically in the 1980s Ted Turner bought the MGM library and immediately started colorizing movies. Various Hollywood types including Woody Allen and James Stewart went to Congress to talk about the importance of movies and in 1989 this registry was formed so that we can save future generations movies. The only real negative thing that can be said about this film is that it's way too short even at 92-minutes. I think the most fascinating stuff happens early on when we see the history of the registry and we even get to hear how the twenty-five movies are selected each year. I think this here is the greatest part of the movie because we get to see what type of movies they're looking for and what it takes to get in. There's also an interesting topic going over preservation and why this here is so important and especially when you consider that 80% of silent movies are now lost. Rob Reiner, Christopher Nolan, John Waters, George Takei and Tim Roth are just a few of the famous faces on hand talking about preservation. Many others including people on the board are also interviewed and they talk about some of their favorite films as well as films that they got into the registry. We also have a section devoted to some of the controversial movies including THE BIRTH OF A NATION and THE SEARCHERS. Overall, this is a very entertaining documentary that film buffs are going to love and if you're new to classic cinema this will be a very good place to get some great recommendations.

These Amazing Shadows takes an in-depth look at an underrated organization that is dedicated to preserving and maintaining films in their current form. The National Film Registry was founded in 1988, coinciding with the passing of the National Film Preservation Act, after a suit at MGM threatened to colorize classic black and white pictures after his purchase of the company. The NFR has been devoted to preserving films that are "culturally, historically, or aesthetically significant." Since '88 they have preserved over five-hundred films, along with quite a few short films and minor, culturally significant snippets.

I'd rather spend this time discussing my thoughts on the registry rather than the documentary itself. There isn't a whole lot to say about the film, but there's a plethora to discuss about the registry itself. First off, let me say this is an organization that needs to exist. It may seem pointless to some; an organization that collects movies? What's the point? Speaking more as a common-man than an avid film reviewer, it is important to preserve an art form so we can not only gain knowledge of the thing itself, but gain knowledge of the time period it is portraying or when it was made. Here's a good question to ponder for those still unconvinced; why do we have history textbooks? There are a plethora of films in the registry now that absolutely deserve to be in there, and several still waiting to be recognized (my main recommendations would be De Niro's underrated and unsung A Bronx Tale and Scorsese's masterpiece Casino). Films like Citizen Kane, Close Encounters, Do the Right Thing, E.T. The Extra-Terrestrial, The Godfather, Goodfellas, Malcolm X, Raiders of the Lost Ark, Star Wars, To Kill a Mockingbird, and even The Rocky Horror Picture Show exist in the registry, all serving a unique and valid purpose.

What I love about the organization is that it isn't biased. If the NFR had an attitude like the MPAA, if I proposed the inclusion of Rocky Horror, it would most likely be met with sneers and laughs. I had the same reaction to its placement as did another member. If it can have a run at midnight showings all across the country, with people dressing up as characters, playing games, and having fun, it must speak to people in some way. For that reason, it is culturally, historically, and aesthetically different. And boy is it more than aesthetically different.

I was fascinated by the inclusion of many short films as well. There is a short film in the registry called H20, directed by Ralph Steiner. The short is thirteen minutes, and involves shots of flowing water that gradually become closer and closer to the point where it becomes almost unrecognizable. "You forget it's water" says a woman working in the registry. The short is captivating in every sense of the word and can be found on Youtube to this day. People can't see themselves enjoying such a flimsy, basic idea, but anyone with an open mind and a strong appreciation for cinema will definitely be entranced.

Another short I desperately would like to see is called Topaz, depicting life in the Topaz War Relocation Center in Utah during World War II. We are shown brief shots of the film, but to my knowledge, it is not commercially available, most likely because it was shot illegally. Another short I'd like to see is called Cologne: From the Diary of Ray and Esther. The short depicted life with the German-American community with the approach of World War II in sight. Unfortunately, like Topaz, it is not commercially available. Another charming short on the list was an old ad played at theaters to hopefully have a run on concession stand items; Let's All Go to the Lobby.

As far as the documentary These Amazing Shadows goes, it is nothing shy of wonderful. Eighty-eight minutes races by as we are shown the painstaking process of preserving a film, a room full of cold, well-kept film reels, and the concept of how films are elected in the registry (they are in a very democratic procedure by voting online). This is a must see documentary for those concerned with film's future and where it stands today.

Starring: Christopher Nolan, John Waters, Barbara Kopple, Tim Roth, John Lasseter, Wayne Wang, and Julie Dash. Directed by: Paul Mariano and Kurt Norton.

"These Amazing Shadows" is a very inspiring film. You cannot watch it without feeling a strong sense of the importance of film preservation and film as an important part of our history. However, the film suffers from trying to do WAY too much in much to short a time. I could easily see several films or even a series come out of this material and felt the film just went way too fast.

The beginning of the film talks about the fragile nature of nitrate film stock (the standard for movies until the mid-1950s). You see how the film tends to stick together or turn to powder--though this is a bit rushed, as they never really talked about how combustible these old films are as well. And then you get to hear some film preservationists from the Library of Congress talk about their love of their work. I LOVED this part of the film and really wished they had just focused on this or perhaps done so a bit longer.

The next portion of the film is the biggest problem. A sampling of SOME of the films on the National Film Registry is given and folks say a few blurbs about them and what stands out about these films. Well, considering how important and great these films are, they certainly deserved MUCH more about why they were chosen and why they are so unique. It felt like someone trying to encapsulate the entire Bible or American History in 90 minutes or less! Overall, this is a nice introduction into film preservation and the National Registry, but better films on similar subjects have been made--ones that are more thorough and less episodic--such as "Henri Langlois: The Phantom of the Cinémathèque". Well worth seeing nevertheless.

Documentary on films deemed "culturally, historically or aesthetically significant" by the Library of Congress and listed on the National Film Registry (the current list includes 525 titles from every movie genre). The Registry came into being after Ted Turner began colorizing black-and-white films ("My movies," he brags) which he purchased from the MGM/UA library in 1986, sending film directors and actors to Washington, D. C. to fight for the preservation of cinema classics in their original state. The process of selecting films for the Registry is fine (it's also amusing how the Academy Awards do not act as a factor in the decision-making, since "Sometimes the Academy got it right and, at other times, they got it wrong"); however, I feel, judging movies on their so-called "importance" can also lead to bad decisions. One doesn't go to the movies solely on the basis of what is culturally significant. This process leaves out a lot of the opulent junk movie-fans eat up late at night on TCM Underground. So what about the B-movies and co-features and also-rans? Are they to be sacrificed so future generations can only see our significant works? Historic representations, one might add, which have been manufactured for commercial consumption. What is the underlying similarity between "The Maltese Falcon" and "Valley of the Dolls"? Both were produced to appeal to the public of their respective eras--for box-office revenue. It's show business, for goodness sake. ** from ****

For many people, motion pictures are not "just" an entertainment medium. Instead, they are not unlike any other form of artistic expression, filled with the realities (good or bad, perceived or real) of the time period in which they were made. In essence, films can be considered to be kind of a "time capsule" for the human condition, told in the form of scripted tales. As such, many such works of art deserved to be saved, which is exactly what this documentary focuses on.

For a basic plot summary, "These Shadows" describes how certain films (voted on by a panel of motion picture luminaries) are currently being preserved in the Library of Congress (or our "national library") for future posterity. However, problems often exist in restoring the original negatives of even such classic pictures as "Gone With The Wind" or "The Wizard of Oz".

"These Shadows" takes very much of a "big picture" look at film preservation. While it could have spent hours on the fascinating topic of the physical restoration process itself, the filmmakers instead give an overview of the entire Library of Congress process, from its beginning (aka finding the funding) to which movies are selected and finally to how the overall scheme of things will proceed into the future. Any one of these areas could have been focused on in their own documentaries, but here they are condensed into the overall narrative of the project.

Overall, then, this is a fun little documentary that introduces us to the very concept of preserving motion pictures as we would other works of art or historic culture. Anyone who enjoys the film arts will likely agree that its place in our own national culture is very deserving.