Another year has almost come to a close, and that means it’s time for the National Film Registry at the Library of Congress to add 25 more movies to their archive that protects and preserves “culturally, historically, or aesthetically significant films.”
This year, there seems to be a concerted effort to better represent a more diverse slate of films rather than common beloved classics. While there are entries like Clerks, Platoon and Sleeping Beauty, this year’s entries also include the LGBTQ documentary Before Stonewall, the true story Boys Don’t Cry, and even an old recording of immigrants arriving fresh off the boat at Ellis Island in New York City. Get the full list of 2019 National Film Registry movies below. Read More »
From his work on assembling Woodstock 50 years ago through to his latest doc on Bob Dylan, Martin Scorsese has played as much of a role shaping documentary cinema as he has with his fiction projects. His 1978 film The Last Waltz is one of the greatest rock-docs of all time, showcasing the extraordinary final shows of The Band at San Francisco’s Winterland Ballroom in November 1976.
With its mix of live performance, studio takes and quirky and intimate interviews, the film is a definitive document of a particular time in popular music, showcasing a wide range of talents at the height of ’70s excesses, and where a group of individuals chose to call it quits at the top of their game. Joined by the likes of Joni Mitchell, Neil Young, Muddy Waters, Eric Clapton and Bob Dylan, the goal was to not only celebrate this group’s success, but to do so with artists that both influenced and help shaped them as a working outfit.
The Last Waltz show has been revisited for decades, and it remains a show for the ages. It helps define a particular era of music in unparalleled ways, thanks in large part to the documentation of the show both audio-wise and visually as captured by Scorsese and his team. Famously, the doc begins with a simple title card informing the projectionist that “this film should be played loud”, making that single frame one of the most truthful articulations ever set to celluloid.
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