By the Skin of Your Teeth

There is a scene about a quarter of the way into Elia Kazan’s Viva Zapata! where our protagonist, Emiliano Zapata (Marlon Brando), has been arrested for attempting to save the life of a peasant who has been unlawfully arrested. Failing, a number of the impoverished, who witnessed the attempt, plead for Zapata to hide in one of their homes. Moving on, he is soon arrested, and the villagers clap with whatever they have in their reach; working tools, rocks or any other implements, as a way to show their support for the hero as he is ushered away. As the officers transport the man through the wilderness, people pour out of the mountainous forest – soon, droves are leading, following and walking beside the police procession. Eventually overwhelmed by the masses, they free the man, aware that they will never be able to manage the united crowd. It is this scene that perhaps best exemplifies the film. A heartfelt sequence, it shows that solidarity in the face of oppression, that boldly standing up for what is right, is a righteous, albeit difficult stance.

One of the most prolific westerns (and sometimes argued to be the last great western) to come out of Hollywood, George Roy Hill adapts William Goldman’s script that brings to life the real, mythical-type figures of Butch Cassidy and the Sundance Kid. The background of the script is quite something, with Goldman sending it out to all of the studios – only one was interested (and that was if he made a major change to it). Instead, a few minor adjustments were made, after which Goldman discovered that every studio in town now desperately wanted it. In the end, it was 20th Century Fox President Richard D. Zanuck (son of co-founder Darryl F. Zanuck) who purchased the screenplay for a whopping 400,000 dollars (the biggest sum ever spent on a script up to that point) – and 200,000 higher than he was allowed to spend. Putting his job on the line, it was a wise choice, as it became the highest grossing motion picture of 1969. Goldman ended up winning the Academy Award for Best Original Screenplay. Originally titled ‘The Sundance Kid and Butch Cassidy’, Zanuck didn’t find that the title sounded right when it was reversed to its final iteration – funnily enough, it now feels utterly awkward in its original form.

It is hard to fathom that Frank Capra’s classic feature It’s a Wonderful Life turns 70 this year (on December 20th to be exact). A movie of vital importance to millions of people the world over, it has not only become a Christmas staple, but also a yuletide tradition for many a family, though this was not always the case. Getting off to a more than sluggish start (losing major money at the box office), it was not originally a hit (or believed by most critics that it would ever leave an impactful mark on the spools of film history). In a miracle befitting of the fantasy drama, the tides for the downtrodden film turned around in the 1970s (thanks to a fortunate copyright lapse), finding a more than accepting audience on the television screen. Taking off, it has gained the traction director Capra once had hoped for, for his story – though he never truly expected it to get a second chance. He actually said (to The Wall Street Journal in 1984): "It’s the damnedest thing I’ve ever seen. . .The film has a life of its own now and I can look at it like I had nothing to do with it. I’m like a parent whose kid grows up to be President. I’m proud. . . but it’s the kid who did the work. I didn’t even think of it as a Christmas story when I first ran across it. I just liked the idea."