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"They're far more important than feature films, I would argue," he says offhandedly, leading the way into the stacks.
A mild-demeanored 44-year-old who tends to makes his most provocative observations with the quiet certitude of a tenured professor, Prelinger has lately presided over the creation of a dozen CD-ROMs that present and preserve more than 100 of these films. The result is Our Secret Century: The Darker Side of the American Dream, which is divided into six sets with titles such as Teenage Transgression (six educational movies examining adolescent pitfalls like drugs, gangs, and spooky strangers) and Tireless Marketers (seven films plus a bunch of "minute movies" and shorter ads displaying subtle persuasions of the merits of Chevrolets, plastic wrap, cotton clothes, et cetera).
Also here are Gender Role Call (containing films showing boys how to be boys and girls how to be girls), Busy Bodies (with sex-ed movies on everything from the basics to the dangers of consorting with men who are "sick ... in the mind"), and How to Lose What We Have (patriotic propaganda that includes a film wherein a Martian figures out just how important big business is).
At first blush it all seems campy and amusing, like a vintage martini mixer or a two-tone bowling shirt. "Pot -- that's jive talk for marijuana," explains the dreamy-voiced protagonist of an anti-drug film called The Terrible Truth; you can't help rolling your eyes and snickering. Then there's the nostalgic thrill of recognizing John Forsythe's voice as he narrates a Chevrolet-sponsored film called American Harvest, or spotting Angie Dickinson's face in Freedom Highway (both on a disc called The Uncharted Landscape).
But of course there's more to it than that. In fact, there's a whole "secret" history here: These films were meant to be shown in classrooms, in community or professional meetings, and sometimes in theaters or on early television, and then to be forgotten. But the ephemera persist in this unlikely 2500-square-foot storage space, and Prelinger has mined them extensively, looking for clues about how Americans lived and how we were told to live (and to behave and to consume), and, most important, how we were all supposed to feel. Each disc includes his spoken introduction and written notes for each film, plus a dose of supplemental text material such as marked-up script excerpts or contemporary articles, print ads, even reviews.
The cumulative effect is powerful. In Teenage Transgression, for example, Prelinger makes the viewer rethink the notion of the Fifties and early Sixties as "the golden age of the American teenager," an uncomplicated time far removed from our own. Instead we find a thirteen-year-old boy shattered by his mother's death and stuck with an indifferent stepfather; he pulls a pistol on his classmates. Or a good middle-class girl falling in with the wrong crowd and getting hooked on smack. Or racially divided gangs prowling Los Angeles streets, looking for any excuse to rip each other to shreds. Things generally worked out for the best in this world, Prelinger notes, as the films "attempt to show that the system is the solution."
Taken together, these national home movies filter America through the lenses of community groups and corporate sponsors, and the most telling truths can be spotted among the distortions. "Part of what I wanted to do," Prelinger says, "is present primary historical material to people without any mediation."
Instead of spliced-together clips interpreted by Ken Burns or Bill Moyers in traditional PBS fashion, Our Secret Century rolls out complete movies and lets you draw your own conclusions. (There's plenty of commentary from Prelinger, of course, but the CD-ROM format makes all of it optional.) This approach is doubly important when the source material is not exactly available at your local Blockbuster; Prelinger calls the series a kind of "archival intervention" meant to put these preserved films in as many hands as possible.
Finally, he argues, Our Secret Century ought to be of particular interest to young people, a market generally ignored by producers of historical programming of any kind. "And that's the most interesting audience to work with."
Prelinger has attained connoisseur status, and his commentary on the discs brings out his selections' unexpected filmic value. Five of the six entries on Teenage Transgression were made by independent filmmaker Sid Davis, an auteur who emerges as a great unsung chronicler of the seamier side of Southern California. "His pictures," Prelinger remarks in the disc's intro, "are wonderful documents of L.A.'s underside in the Fifties."
Similarly, Detroit industrial filmmaker Jam Handy, whose production company cranked out scores of movies for corporate clients, dominates Tireless Marketers and pops up throughout the series. The production values are surprisingly high, and sometimes the pitch is incredibly well-disguised in what seems to be simply an entertaining cartoon or newsreel. Another selection, In the Suburbs, produced for the benefit of Redbook's ad sales staff, is peppered with startlingly avant-garde passages. "That's an amazing movie," Prelinger says without irony. "I could just watch it over and over."
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