Among the Ransom Center’s greatest treasures is the Gutenberg Bible, one of only five complete copies in the United States and only 21 complete copies in the world. The Ransom Center digitized the entire copy of its Gutenberg Bible in 2002, resulting in 1,300 images that reveal the text, large illuminations, and handwritten annotations. These images can be viewed online in the Gutenberg Bible web exhibition. The exhibition also includes information about Johann Gutenberg, the popularization of printing, the appearance of the Bible, and more.
The Alamo Drafthouse Cinema will be screening a restored version of The Red Shoes (1948) on Thursday, August 5. Through August 1, visitors to the Making Movies exhibition can view Hein Heckroth’s storyboards for The Red Shoes and a “picture script” from the movie.
Hein Heckroth was a Surrealist painter and set designer who lived and worked in Germany in the years after World War I. Building on the then-radical theories of Edward Gordon Craig and Adolphe Appia, he earned an international reputation working with the Kurt Jooss dance company creating avant-garde sets and costumes for their productions.
In 1933, Heckroth left Germany when he was blacklisted by the Nazis for refusing to leave his Jewish wife, the artist Ada Maier. They moved to England where Heckroth designed operas for Kurt Weill, Carl Ebert, and others, and continued working with the Jooss dance company, which had also moved to England. In 1943, production designer Vincent Korda saw Heckroth’s design work in a stage production of War and Peace and hired him to work on Gabriel Pascal’s film Caesar and Cleopatra (1945). Soon he was recruited by Alfred Junge, the head designer for The Archers, the production unit founded by Michael Powell and Emeric Pressburger. There he designed costumes for A Matter of Life and Death (1947)and Black Narcissus (1949).
Given his experience with avant-garde theater and designing for dance, he was the natural choice for production designer for The Red Shoes. Powell and Pressburger gave him enormous freedom to experiment, and he created beautiful surreal sets and costumes with materials such as chiffon, gauze, and cellophane. His stunning designs for The Red Shoes won him an Oscar for color art direction in 1948.
These two designs and the “picture script” for the dance sequence in The Red Shoes come from the collection of Heckroth’s colleague Edward Carrick, another important production designer in England at the time.
Please click on the thumbnails below to view full-size images.
The Harry Ransom Center’s exhibitions Making Movies and ¡Viva! Mexico’s Independence close Sunday, August 1.
Featuring items from the Ransom Center’s extensive film collections, Making Movies reveals the collaborative nature of the filmmaking process and focuses on how the artists involved—from writers to directors, actors to cinematographers—transform the written word into moving image.
If you can’t visit the exhibition before it closes, view a video interview with Associate Curator of Film Steve Wilson discussing how the Ransom Center’s holdings document the history of the motion picture industry.
¡Viva! Mexico’s Independence showcases materials from the Ransom Center’s collections including the 1529 document appointing Hernán Cortés Captain General of New Spain; unpublished letters exchanged between Ferdinand Maximilian, Emperor of Mexico, and his wife Carlotta; documentary photographs of the Mexican Revolution; and period broadsides illustrated by José Guadalupe Posada. The year 2010 marks the 200th anniversary of Mexico’s independence from Spain and the 100th anniversary of the Mexican Revolution, pivotal events in Mexico’s struggle for self-governance.
Free docent-led tours of the exhibitions are offered Tuesdays at noon and Saturdays at 2 p.m. through the end of the exhibition.
The galleries are open Tuesday through Friday from 10 a.m. to 5 p.m., with extended hours on Thursday evenings to 7 p.m., and Saturday and Sunday from noon to 5 p.m. The galleries are closed on Mondays. Admission is free.
The Making Movies Film Series runs throughout the summer and features films that are highlighted in the Making Movies exhibition. Tonight, the Ransom Center will screen Martin Scorsese’s Casino (1995), starring Robert De Niro, Sharon Stone, and Joe Pesci. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
A story of greed, violence, deception, money, and power, Casino is set amid the world of gangsters in 1970s Las Vegas. It is the eighth film of a remarkable series of collaborations between actor Robert De Niro and director Martin Scorsese.
A film based on true events, Casino stars De Niro as Sam “Ace” Rothstein, a character based on Frank “Lefty” Rosenthal, a sports handicapper from Chicago who earned the attention of the mob due to his genius with numbers. His friend Nicky Santoro, played by Joe Pesci, was based on Tony Spilotro, a violent mob enforcer who protected the “skim,” or illegal casino profits. Ace’s wife, Ginger McKenna, based on Rosenthal’s real life spouse, Geri McGee, a Las Vegas call girl, is played by Sharon Stone.
The costumes worn in Casino are as flashy and gaudy as the city in which the film is set. Nearly all of the costumes in Casino were custom made and reference vintage clothing from the 1970s and 1980s to emphasize and enhance the larger-than-life characters of the film. The costumes had to be both grounded in the fashion of the time and in tune with the characters and plot turns of the film.
As Ace Rothstein, Robert De Niro wears this costume at the beginning of Casino when a bomb planted in Ace’s car explodes. Ace survives with only burns on his arm. Multiple copies of this costume were made for the necessary additional takes.
Rita Ryack and John Dunn designed the costumes in Casino. Ryack’s work can be also seen in such films as Cape Fear, Apollo 13, Wag the Dog, and Hairspray. Dunn designed costumes for Basquiat, The Notorious Betty Page, and I’m Not There, among many others.
The Making Movies Film Series runs throughout the summer and features films that are highlighted in theMaking Movies exhibition. Tonight, the Ransom Center will screen Mike Nichols’s Who’s Afraid of Virginia Woolf? (1966), starring Elizabeth Taylor and Richard Burton. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
Edward Albee’s play Who’s Afraid of Virginia Woolf? opened on Broadway in 1962 and gained notoriety for its profanity and sexual themes. It was selected for the 1963 Pulitzer Prize for Drama, but the trustees of Columbia University overruled the advisory committee and awarded no prize for drama that year. Despite the controversy, Warner Brothers acquired the film rights to the play in 1964 and recruited Hollywood’s top screenwriter, Ernest Lehman, to write and produce the movie.
The usual procedure for adapting a play is to “open it up,” adding characters and locations to make the film more visually appealing. Lehman worked his way through several drafts of the script but eventually returned to the original play, making only a few minor changes. He was able to cast, against type, “the world’s most famous couple,” Elizabeth Taylor and Richard Burton, and he hired Mike Nichols for his first film directing job.
In spite of the scrutiny surrounding the film, Who’s Afraid of Virginia Woolf? became one of the highest grossing films of 1966 and earned every eligible Academy Award nomination. Yet the film’s impact reached far beyond its artistic and financial success. Despite fierce opposition, Lehman and Nichols prevailed in their fight to keep the original language of the play intact. The movie was directly responsible for the Motion Picture Association of America abandoning the old system of self-censorship and adopting the film rating system that is still in use today.
Shown here are Ernest Lehman’s notes about his meeting with Elizabeth Taylor and Richard Burton on November 19, 1964, to discuss their roles in the film.
Click on the four-way arrow in the bottom right-hand corner of the slideshow to convert into full-screen mode.
The Ransom Center’s exhibition Making Movies explores the collaborative processes that take place behind the scenes in filmmaking. For another two weeks, visitors have the opportunity to see original materials from the Center’s film collections in the exhibition, which demonstrates the responsibilities of those involved in films, ranging from the producer to the special effects designer.
One portion of the special effects section highlights special effects techniques devised by Norman Dawn (1886–1975) in cinema’s earliest years. Dawn was a little-known yet historically significant early special effects cinematographer, inventor, artist, and motion picture director, writer, and producer. He worked with several important film pioneers, including Mack Sennett, Carl Laemmle, Irving Thalberg, and Erich von Stroheim.
The Dawn collection at the Ransom Center consists of 164 display cards that illustrate over 230 of the 861 special effects that Dawn created in more than 80 movies. Each display card documents one of his special effects, most often a refinement or improvement of a matte shot process. Information about Dawn’s experiences working with various studios and managers such as Universal’s William Sistrom and Metro-Goldwyn-Mayer’s (MGM) Louis B. Mayer are also noted.
The display cards could easily be interpreted and viewed as pieces of art, assembled and constructed personally from Dawn’s own field notebooks and methodical records.
The cards contain original oil, watercolor, pencil, and ink sketches used to sell the effects to skeptical film executives and directors; production and personal photographs; detailed camera records; film clips and frame enlargements; movie reviews, advertisements, and other trade press clippings; explanatory texts and recent sketches to illustrate his methods; and pages from an unpublished autobiography.
(1945), starring Tom Neal and Ann Savage. Savage’s archive is housed at the Ransom Center.
Kent Adamson, who has written a biography on Ann Savage, writes about Savage’s connections to Texas and why Detour is still loved by critics.
Since its original release in 1945, Detour has become possibly the most famous and critically examined B-film of all time. In the Los Angeles Times, Kevin Thomas called Detour “one of the most relentlessly intense psychological thrillers anyone has ever filmed.” Roger Ebert in his “Great Films” series says, “It lives on, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it.” In 1992, Detour was selected for inclusion in the National Film Registry.
In a recent article by Time magazine critic Richard Corliss listing the “Top 10 Greatest Villains,” Ann Savage was one of only two women named, honored for her role as Vera. Detour was also chosen as one of Time magazine’s all-time 100 best movies.
In the public domain, Detour persists based on its own powerful strengths. That it is now considered a noir classic is due to the hard work of many people, including director Edgar G. Ulmer, co-star Tom Neal, and in large part to the fearless, unnerving performance of Ann Savage.
Ann Savage’s character, Vera, is like a dark goddess set free in the blazing California desert, the sexiest and scariest succubus ever filmed. Noir author Christa Faust describes Savage’s performance of Vera: “She was less of a constructed, conniving femme fatale than an unstoppable force of nature. Savage imbued that character with a raw, aggressive and almost masculine power that evokes the same kind of dangerous, unpredictable animal magnetism exhibited by Lawrence Tierney in Born to Kill.”
Detour was shot in 28 days at the Producers Releasing Corporation (PRC) studio in Hollywood over the summer of 1945, as World War II was drawing to a close. Shooting began after the death of Hitler and defeat of Germany in the spring and was concluded before the surrender of Japan.
Well into her 80s, Ann Savage toured regularly to make public appearances with Detour, including an engagement at the Alamo Drafthouse Cinema in Austin. Savage had spent the bulk of her early childhood in Dallas, where her parents ran a jewelry store. As a lifelong film lover, she remembered going with her parents to the movie palaces on Elm Street in Dallas. The first film she remembered attending was Valentino’s silent masterpiece, The Son of the Sheik, in 1926.
“One of my earliest memories is being taken to a gigantic palace to meet a very important king,” said Savage in 2006. “I realized years later, when I asked my mother about it, that we had gone to an ornate movie theater to see Valentino.
“The movies were silent then, and the theater was filled with beautiful music. I wanted to get up and dance for the king. When we got home from a night at the movies, I would cheer my parents up by play-acting scenes from the films.”
As the Making Movies exhibition demonstrates, a costume can reveal much about a film character. For example, a character’s social and economic class can be represented through the style and quality of her or his clothes, shoes, and jewelry, and whether those clothes are clean and fresh or tattered and soiled. Clothing also exposes a character’s unique personality traits and self-image. Steve Wilson, the Ransom Center’s Associate Curator of Film, talks about Robert De Niro’s costume in Taxi Driver, and how it supports and enhances the interpretation of the character Travis Bickle.
Associate Curator of Film Steve Wilson elaborates about Making Movies, an exhibition that focuses on the artistic collaboration that is unique to the medium. Wilson shares how the Ransom Center’s holdings document the history of the motion picture industry to illustrate the highly collaborative nature of the movie-making process.
The Making Movies Film Series runs throughout the summer and features films that are highlighted in the Making Movies exhibition. Tonight, the Ransom Center will screen Alfred Hitchcock’s North by Northwest (1959), starring Cary Grant and Eva Marie Saint. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
Alfred Hitchcock directed a string of masterpieces in the 1950s, including Strangers on a Train, Rear Window, The Man Who Knew Too Much, Vertigo, and Psycho. At the height of this remarkable run came North by Northwest, a unique marriage of Hitchcock’s trademark suspense and humor. Ernest Lehman, well known in Hollywood for adaptations such as Sabrina and The King and I, wrote the screenplay, his only original one and now widely regarded as his best.
The film follows Roger Thornhill, played by Cary Grant, in a journey that travels “in a northwesterly direction” through New York, Michigan, South Dakota, and eventually Alaska. The plot emerged through Hitchcock and Lehman’s usual process of batting around ideas and imagining their character into impossible situations, then figuring out ways to extract him.
This brochure from Mount Rushmore National Memorial shows notes made on the cover by Lehman during his research trip. You can view a slideshow of more photos that Lehman took during this trip to the national monument.