First impressions: ‘Hidden Figures’ and its library scene

I recently watched the Best Picture-nominated film Hidden Figures, which is a biographical film featuring three African-American female mathematicians — or “computers” — at NASA during the early 1960s. The film sheds lights on their individual and collective struggles to earn personal and professional respect, both as women and as African-Americans in a field dominated with white males. The three female leads all deliver top-notch performances:  Taraji P. Henson as brilliant mathematician Katherine G. Johnson; Octavia Spencer in an Oscar-nominated performance as mathematician and computer programmer Dorothy Vaughan; and Janelle Monáe as firecracker engineer Mary Jackson.

Here’s an official trailer for Hidden Figures:

Hidden Figures | Official Trailer [HD] | 20th Century FOX,” uploaded by 20th Century Fox, Nov. 16, 2016, Standard YouTube license.

Johnson, Vaughan, and Jackson all accomplished firsts during their lives:  Johnson became the first African-American woman to desegregate the graduate school at West Virginia University; Vaughan became the first African-American woman to supervise a staff at NASA; and Jackson became the first African-American female engineer at NASA.

Based on the non-fiction book of the same title by Margot Lee Shetterly, it is an inspiring story of “hidden figures” finally being publicly recognized for their amazing contributions and talents and intelligence. These are stories of American heroes that need to be shared and experienced.

For more information on the real-life “hidden figures,” please read this insightful and informative NPR article and interview on ‘Hidden Figures’: How Black Women Did The Math That Put Men On The Moon.

First impressions of the film? It is excellent on all fronts; the film does justice to the legacies of the real-life women it’s based on. Highly recommended! It is also a very well-structured film, although some dates were switched around and characters merged to simplify the story and increase the drama. You can read more about the historical accuracy here and additional trivia here on IMDb.com. The film is also Oscar-nominated for Best Writing, Adapted Screenplay. Hidden Figures has also become the highest-grossing film thus far of the Best Picture nominees.

There is a pivotal library scene, clocking in around 2/3 of the way through the film, if I am remembering correctly. Dorothy Vaughan (Spencer) visits the local public library to look at computer programming books in the library’s “white” section because what she’s looking for isn’t available in the library’s “colored” section. A reel librarian (Rhoda Griffis as “White Librarian,” how the character is listed in the credits) tells her she doesn’t “want any trouble” and has Vaughan thrown out of the library. When Vaughan and her two boys are back on the bus, she pulls out a library book out from underneath her coat, a book on the Fortran programming language. Her sons are aghast — and I, too, let out an audible gasp in the movie theater! — but Vaughan’s defiant reaction is, “I pay my taxes for this library just like everybody else!

Here’s how a review on the “Library” Books blog sums up the importance of this scene and what it sets in motion:

She [Vaughan] uses the book to secretly learn to program the new room-sized IBM mainframe computer that has recently arrived at NASA that will surely put her and many of her denizens out of a job. By learning the computer language she not changes her own destiny, but that of dozens of other women, both black and white, who work for the space program. This episode is one of many in the film that reminds us that what is legal is not necessarily right, and what is illegal is not necessarily wrong. Powerful lessons that are still relevant today.

Here’s another trailer for the film that includes a peek at the library scene at 1:45 minutes into the trailer:

Hidden Figures Official Trailer #1 (2017) Taraji P. Henson, Janelle Monáe Drama Movie HD,” uploaded by Zero Media, Aug. 14, 2016, Standard YouTube license.

While Vaughan visited the public library to seek out more up-to-date materials, it is another book — this time, an older book — that provides the solution to another pivotal plot point. When Katherine Johnson is stuck in figuring out a key mathematical conversion to help bring a rocket back down safely, she is inspired to use “old math” for the solution. So she goes straight to the “Colored Computers” area, where there is a bookcase filled with older, hand-me-down books — and finds exactly what she needs! What is old is new again.

I will need to rewatch the movie in order to delve deeper into the library scene and the role that books and research play in the film, but it’s pretty obvious to me that the “White Librarian” character serves the role of Information Provider. She is there not to provide information to any characters, but rather to reflect the societal rules that were in place to unjustly segregate citizens. Her reel librarian character echoes the “That’s just the way things are” barriers of the time period, barriers that were starting to crack, brick by brick and book by book.

Have you seen Hidden Figures? What are your thoughts on the film and/or its library scene? Please leave a comment and share!

Reel librarians in ‘Rollerball’ | Analyzing the 1975 original film and 2002 remake

I have seen Rollerball, the 1975 sci-fi cult classic starring James Caan, several times, and the film features a couple of reel librarians and corresponding library scenes. I had not yet seen the 2002 remake starring Chris Klein, due to scathing reviews, but I decided to watch the remake recently for the purposes of comparing and contrasting it to the original film — and to see if the reel librarians made the cut in the remake. I also wanted to revisit the original Rollerball film, to see how well it held up.

Ready, set, analyze!


The original film: Rollerball (1975)


In Rollerball (1975), a not-too-distant future controlled by corporations, Jonathan E. (James Caan) is the star of the ultra-violent sport Rollerball. The corporate executives want him to quit, but Jonathan defies them.

Rollerball Official Trailer #1 – James Caan Movie (1975) HD,” uploaded by Movieclips Trailer Vault, 2012, under a Standard YouTube license.

Library computer center scene

The first library scene — in this future, they are called “computer centers” — takes place 35 minutes into the 2-hour film. It is a short scene, lasting only a minute and a half. Jonathan goes with friend and teammate Moonpie to the local branch, and the location is like that of a futuristic mall, with escalators. (This location is in Germany, and as director Norman Jewison reveals on a commentary track, it’s a building that was built specifically for the Olympic Games.)

Reel Librarians | Library of the future, set in a mall-like luxury center, in 'Rollerball' (1975)

Library of the future, set in a mall-like luxury center, in ‘Rollerball’ (1975)

There are different information desks, including one labeled “Library” and another one labeled “Travel.” The message is that the “Library” is just another service and just another desk among countless others.

Reel Librarians | The library Circulation desk in a scene from 'Rollerball' (1975)

The library Circulation desk in a scene from ‘Rollerball’ (1975)

At the “Library” desk, a young, pretty, brunette Circulation Clerk — listed as “Girl in Library” in the film’s credits and played by Nancy Bleier– starts off the conversation.

Girl in Library:  Can I help you, please?

Jonathan:  Yeah. I tried to order some books. They sent me this notice that I had to appear at the center personally.

Girl in Library:  That’s right. This is our circulation unit. You can make your choice here or by catalog. There must be some mistake. The books you’ve ordered are classified and have been transcribed and summarized.

Jonathan:  Who summarized them?

Girl in Library:  I suppose the computer summarized them.

Moonpie:  What do you need books for?

Jonathan:  I just want to study up on some things.

Girl in Library:  You could go to the computer center where the real librarians transcribe the books, but we have all the edited versions in our catalog, anything I think you’d want.

Jonathan:  Well, let’s see then. This is not a library, and you’re really not a librarian.

Girl in Library:  I’m only a clerk, that’s right. I’m sorry about it, really.

Cue vacant expression:

Reel Librarians | The Circulation clerk's vacant smile and facial expression

The Circulation clerk’s vacant smile and facial expression

Jonathan:  And the books are really in computer banks being summarized. Where is that?

Girl in Library:  There’s a computer bank in Washington. The biggest is in Geneva. That’s a nice place to visit. I guess that’s where all the books are now.

Jonathan:  Thank you.

This is a pivotal scene, one that confirms Jonathan’s suspicions that “something is not right” and provides him motivation to seek out the real books — and a reel librarians — in Geneva. The “Girl in Library” fulfills the Information Provider role.

Here’s how Norman Jewison described the scene and its importance, in a commentary track on the DVD:

Here is where we bring into the story, bring into the film, that knowledge and access to knowledge is controlled. Much like it was controlled in Nazi Germany, during World War II, or indeed in the Soviet Union, where books were banned. And of course in America. It’s happened here too. Where people are prevented from finding out information that may in some way increase their opposition, perhaps to established authority.

We keep referring to “something’s going on,” there’s some sort of conspiracy, this is the build to reveal to Jonathan, the gladiator, that he is really just a cog in the wheel and is being totally manipulated.

Reel Librarians | Walking and talking outside the mall library

Walking and talking outside the mall library

Jewison and screenwriter William Harrison also emphasized this theme as Jonathan and Moonpie walk out of the library:

Moonpie:  Yeah, but why books? I mean, anything you’d want to know, you could hire yourself a corporate teacher. Call somebody up. Use your privilege card.

Jonathan:  I can’t, and that’s just it. I feel like there’s something going on. Somebody’s pushing me.

Geneva library scene

An hour and a half into the film, Jonathan travels to the central computer bank in Geneva that the Circulation Clerk had mentioned. Jonathan wants to go to computer center in Geneva and see what he can find out. The Geneva library computer center looks like a classical building from the outside, but it’s all polished doors and computer machinery and fluorescent lights inside.

The exterior of the library computer center is the League of Nations in Geneva, Switzerland. As director Norman Jewison stated in the director’s commentary, “We tried to show that there was still some respect for some older pieces of architecture, so we decided that we would make the League of Nations into the world’s library.

Reel Librarians | Contrasting the exterior and interior of the main library computer center in Geneva, in a scene from 'Rollerball' (1975)

Contrasting the exterior and interior of the main library computer center in Geneva, in a scene from ‘Rollerball’ (1975)

This is a longer scene, clocking in at six and a half minutes, and the English actor Ralph Richardson plays the librarian, who is star-struck at first by meeting Jonathan. We also get to see the librarian’s office, which looks like a computer storage area.

During this scene, the librarian happens to mention — in an offhand, casual kind of way — that he’s misplaced some data.

Reel Librarians | Librarian meets celebrity, in the Geneva library scene from 'Rollerball' (1975)

Librarian meets celebrity, in the Geneva library scene from ‘Rollerball’ (1975)

Librarian:  Hello, hello. Yes, it is. The famous Jonathan E. Hard to believe. Sorry things are in a mess. The rollerball champion. Wonderful. Not many people come to see us, you know. We’re not easy to talk to, Zero and I. We’re a little confused again here today. This is embarrassing. It’s embarrassing to misplace things.

Jonathan:  Misplaced some data?

Librarian:  Hmmm, the whole of the 13th century. [Tears up cards and throws them on the floor.]

Reel Librarians | Losing the whole of the 13th century, no biggie

Losing the whole of the 13th century, no biggie

Librarian:  Misplaced the computers, several conventional computers. We can’t find them. We’re always moving things around, getting organized. My assistants and I. But this, this is Zero’s fault. Zero. He’s the world’s file cabinet. Yeah. Pity. Poor old 13th century. Well. Come along now. You want to get started, don’t you?

Jonathan:  Yes, sir.

Librarian:  This way. Now, we’ve lost those computers, with all of the 13th century in them. Not much in the century. Just Dante and a few corrupt popes. But it’s so distracting and annoying. You’ve unlimited restrictions here, of course. But you have to come so, so many times. It all takes such effort.

Yes, you read that right. The librarian just dismissed the WHOLE OF THE 13th CENTURY that just disappeared from archival existence. That “Just Dante and a few corrupt popes” amount to “not much.” So I’m pausing in the middle of their conversation to have a moment of silence for the “poor old 13th century” that just got wiped out. RIP, 13th century, RIP.

It’s also becoming obvious how emotionally numb and exhausted the librarian has become.

Reel Librarians | Reel librarian exhaustion, as seen in 'Rollerball' (1975)

Reel librarian exhaustion, as seen in ‘Rollerball’ (1975)

Jonathan:  Do the executives still come here?

Librarian:  Oh, they used to. Some of them.

Jonathan:  What about the books?

Librarian:  Books, books, oh no, they’re all changed, all transcribed. All information is here. We’ve Zero, of course. He’s the central brain, the world’s brain. Fluid mechanics, fluidics. He’s liquid, you see. His borders touch all knowledge. Everything we ask has become so complicated now. Each thing we ask. This morning we wanted to know something about the 13th century. It flows out into all our storage systems. He considers everything. He’s become so ambiguous now. As if he knows nothing at all.

Jonathan:  Could you tell me something about the corporate wars?

Librarian:  Wars? War? Oh, yes, of course. We have them all here. Punic War. Prussian War. Peloponnesian War. Crimean War. War of the Roses. We could recall them in sequence. But corporate wars… hmmm. Well, Zero will, or can, I’m sure, tell you anything.

Reel Librarians | Zero is not a hero

Zero is not a hero

Librarian:  A memory pool, you see. He’s supposed to tell us where things are and what they might possibly mean. Look, Zero, a visitor. Jonathan E., the rollerball champion. You’ve filed away a lot of data on him. Do you remember?

Jonathan:  Does it answer you?

Librarian:  Oh yes, it speaks. It finds things, and loses them, and confuses itself. [Dusts it.] Ask anything. He’ll find it for you, section and lot. Won’t you, Zero?

Jonathan:  All right. I’d like, uh, I’d like some information about corporate decisions:  how they’re made and who makes them.

Librarian:  Zero, you heard the question. Answer him.

Zero:  Negative.

Librarian:  You don’t have to give him a full political briefing. Answer.

Zero:  Negative.

Librarian:  This is Jonathan E. He has to know. Make it simple. Answer.

At first, the librarian speaks lovingly and protectively of Zero, almost like a parent reminiscing about a spoiled child’s antics. Things quickly go downhill from there, as the librarian realizes that Zero refuses to provide the information asked of it. In short, Zero lives up to its name.

Reel Librarians | Librarian dusts off Zero

Librarian dusts off Zero

Zero:  Corporate decisions are made by corporate executives. Corporate executives make corporate decisions.

Librarian:  I know we have the answers. It’s the waters of history.

Zero:  Knowledge converts to power. Energy equals genius. Power is knowledge. Genius is energy.

Librarian:  I don’t want to bully you. You have to answer!

Reel Librarians | Librarian sees red in 'Rollerball' (1975)

Librarian sees red in ‘Rollerball’ (1975)

Zero:  Corporate entities control elements of economic life, technology, capitol, labors, and markets. Corporate decisions are made by…

Librarian:  You have to, Zero! [kicks the base] Let’s show him! Answer him!

Zero:  Negative. Negative. Negative. Negative. Negative. Negative. Negative.

Reel Librarians | Librarian vs. Zero the library computer

Librarian vs. Zero the library computer

As the librarian kicks Zero, in a fruitless attempt to prize information out of it, Jonathan — along with the audience — realize how impotent we all are in this corporatized world. The librarian is educated and intellectual and still valued knowledge, but it is to no avail. The librarian in Geneva is of no more use than the Circulation Clerk back home.

Here’s how Norman Jewison summed up the scene in his director’s commentary:

We came up with the name of Zero for the name of the computer, because we felt that somehow zero was the beginning, and the end, of everything. And I guess we were trying to indicate that as you hear in this scene, that all knowledge. […] I think probably Kubrick’s film 2001, which dealt with HAL, actually was part of the inspiration for this scene. When you start to deal with information stored in one place and one computer, naturally the computer must take on a kind of an identity. You can see here… this is a wonderful scene. [Chuckles.] You can see this is a difficult question for… He’s trying to get Zero to give him some information.

And this is where Jonathan realizes that even the computer is, will not reveal the certain truths that he wants about who really is in charge. So we have a society in which nobody knows really, who’s calling the shots. And there’s only one man questioning it, and he can’t even, he can’t find the answers. And this is where the picture takes off, a little bit, emotionally.

The original 1975 version of Rollerball ends up in the Class III category of films featuring reel librarians, and Ralph Richardon’s librarian ends up being another Information Provider, however ineffectual his information turned out to be.

Although the library scenes in the movie combine for less than 10 minutes total, it’s obvious — especially from Norman Jewison’s commentary — how important those scenes are to the film’s overall message as well as its flow and plot progression.


The remake:  Rollerball (2002)


Rollerball Official Trailer #1 – Jean Reno Movie (2002) HD,” uploaded by Movieclips Trailer Vault, 2012, under a Standard YouTube license.

As I mentioned before, the 2002 remake of Rollerball was not well-received, to put it mildly. It has a 3% — !!! — freshness rating at Rotten Tomatoes. As in 97% rotten. Yikes. The remake’s director, John McTiernan, also went to federal prison due to an investigation resulting from the production of this film. Double yikes.

As for the question of whether or not the reel librarians made it to the remake, the short answer is NO.

The long answer? Also NO.

There is just no room for subtlety or subtext in this remake, which is all about quick action shots and bad special effects. This remake epically fails on all levels, including acting, storytelling, casting, accents, reel librarians, you name it. Very disappointing since the original film was, well, so original. Some movies just don’t need to be remade. The Rollerball remake ends up in the Class V category, films with no librarians.

Just one more cinematic reason why I watch some films so you don’t have to. 😉


Details:

Original:  Rollerball. Dir. Norman Jewison. Perf. James Caan, John Houseman, Maud Adams, John Beck. MGM/UA Entertainment, 1975. Based on the short story “Roller Ball Murder” by William Harrison.

Remake:  Rollerball. Dir. John McTiernan. Perf. Chris Klein, Jean Reno, LL Cool J, Rebecca Romijn. MGM, 2002. Based on the short story “Roller Ball Murder” and 1975 screenplay, both by William Harrison.

A reel librarian for the ages in ‘The Age of Adaline’

Earlier this year, I watched the 2015 film The Age of Adaline, starring Blake Lively as the title character. I saved my analysis post of this film for the end of this month, as the film is set around the New Year holidays.

Here’s a trailer for the film:

The plot? Adaline, a young woman and a recent widow, gets into a car accident in the 1930s and stops aging as a result of the accident. After decades of living alone, she meets a man, Ellis (Michiel Huisman) who makes her question her life choices. Even though that plot has a bit of mumbo jumbo narration thrown in to try and explain the scientific reasoning behind Adaline’s agelessness, it’s played as a pretty straightforward romantic drama. Blake Lively definitely commits to the title role and brings a world-weariness to her portrayal of Adaline. However, the real stars that shine in the movie are Harrison Ford, who plays Ellis’s father, William, and Ellen Burstyn, who plays Adaline’s daughter, Flemming.

The director, Lee Toland Krieger, reveals on the bonus features how much thought he put into the look and feel of the film, focusing on different camera techniques to visually depict the different decades of the film and its flashbacks. The film is stunning to look at.

*SPOILER ALERTS AHEAD*

Just five minutes into the film, we get a sweeping view of Adaline as she walks up the steps of a library. The film is set in San Francisco, but these scenes were filmed at the Vancouver Art Gallery in Vancouver, British Columbia.

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline walks up the library steps

As she walks into a light-filled room rimmed with bookcases and filing cabinets and card catalogs, we see a woman sitting at the desk by a computer (Cora, played by Indian-British actress Anjali Jay), and a man standing by the window (Kenneth, played by Japanese-Canadian actor Hiro Kanagawa). We also glimpse an older woman in the background by the bookshelves, but she doesn’t get a screen credit. Adaline’s co-workers are surprised to see her.

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline’s co-workers are surprised to her on New Year’s Eve

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline greets her co-workers at the library on New Year’s Eve

Kenneth:  We thought you might not be coming in today, it being New Year’s Eve and all.

Adaline:  It’s still a Wednesday. The fun doesn’t start till tonight anyway.

Kenneth:  Well, are you up for a little excitement right now?

Adaline:  Sure, what is it?

Kenneth:  Your favorite. The news reel archives. It’s finally being digitized. We need a little help getting it ready to be shipped.

Adaline:  I’d love to.

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline and the archives

We then go into a scene in which Adaline sets up the film reel projector and settles in to watch news reel archives of San Francisco. This is a clever set-up for the narrator to take over and introduce her life while a montage of clips visually accompany the central plot phenomenon. As the narrator explains, at age 29 in 1937, Adaline gets into a car accident. As a result, her cells stop aging, leaving her perpetually 29 years old, even as her daughter and everyone else around her ages.

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline watches a news reel from the early 1900s

Although only a few minutes long, these scenes in the library archives are crucial to introducing the film and introducing us to the character (and motivations) of Adaline. Through her conversation with Kenneth, we learn that Adaline eschews socializing and is committed to her work, and that she loves working with archives. And then we find out why through the montage. We also see in the montage that Adaline studies up on her condition, taking a clerical job at a school of medicine. It’s a very clever and compact scene, one that includes an emphasis on archives and the value of researching and reading.

We also get introduced to the style of Adaline, who is in her prime — and dresses accordingly — through multiple decades. She has a classic style, which comes across as retro-inspired in the present day. She is a lady, and her clothing and hairstyles reflect that. I am definitely adding Adaline to my list of most stylish reel librarians!

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline in her closet

Reel Librarians | A collage of Adaline's style through the decades

A collage of Adaline’s style through the decades

Adaline then dresses up for a New Year’s Eve party, where she “meets cute” with Ellis in the hotel elevator, setting off the romance part of the film’s plot.

Ellis:  I don’t want to come across like a know-it-all.

Adaline:  Too bad, I adore know-it-alls.

Ellis is (understandably) smitten, but Adaline keeps an emotional distance, as she doesn’t want to get involved with anyone. She is also about to change identities yet again, something she does every decade to escape notice.

Unbeknownst to her, Ellis had already noticed Adaline before the party. Later, he describes how he first noticed her when she was reading a Braille book on the front steps of the library. For someone who’s trying to go unnoticed, she fails spectacularly!

Reel Librarians | A collage of Adaline reading a book in braille on the library steps

A collage of Adaline reading a book in braille on the library steps

A half-hour into the film, Ellis returns to the library to donate a lot of rare first editions. (It turns out he has made a lot of money in the tech industry and is now giving back and doing good works.) Just the way to capture a reel librarian’s heart!

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Ellis returns to the library to donate books

Adaline’s co-worker, Cora, gets some lines to provide the backstory — plus reveals the name of where they work.

Cora:  Major news. Mr. Jones is donating $50,000 worth of first edition classics to this library.

Adaline:  What books? Do you know?

Cora:  We’re going to find out very soon. Because his office called to say that he’ll be here to deliver them himself.

Cora [to Ellis]:  On behalf of the San Francisco Heritage Society, I’d like to express our sincere gratitude for your most generous gift.

Note:  I could not find record of a San Francisco Heritage Society (y’all knew I would look that up, right?). However, I suspect it’s standing in for the California Historical Society, which has headquarters in San Francisco. The California Historical Society does have its own library.

Ellis then proceeds with his real mission: to flirt with Adaline. Cue the obligatory library ladder scene!

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Library ladder scene in ‘The Age of Adaline’ (2015)

Ellis:  Hey, it’s me. The know-it-all. I got something for you, too. Some flowers. [Gives her a gift of first editions: Daisy Miller, Dandelion Wine, White Oleander.]

Adaline:  Very clever. How did you know I work here?

Ellis:  I just joined the board. I saw you coming out of our meeting.

Adaline:  Oh. You could have mentioned that in the elevator.

Ellis:  I don’t know about you, but I’m ready for some donating.

Adaline:  Great. I’ll be here.

Ellis:  No way. I would like for you to accept the books on behalf of the library.

Ellis wants to take a photograph of Adaline accepting the books, but of course, she has her own reasons for not wanting to be photographed. She initially refuses, giving him a stern look, as seen in the screenshot below. (By the way, I love the composition of this shot! They all look like professionals, but Adaline stands out in green against the blacks and greys of her reel librarian co-workers.)

Reel Librarians | Screenshot from 'The Age of Adaline' (2015)

Adaline refuses to be photographed accepting a donation of books to the library

Then Ellis threatens to take away his donation.

Ellis:  Suit yourself. If you won’t accept them, I won’t donate them.

Adaline:  You wouldn’t do that.

Ellis:  I will. I’ll even have a book burning. Okay, fine, fine. Here’s an alternative. Let me take you out tomorrow.

I know this is the central romance of the film, and this is supposed to be another “meet cute” scene, but I was incensed at this. A man “joking” about a book burning?! I was literally shouting at the screen, “NO!!!! That is NOT the man for you. Walk away!”

Ellis then attempts to make up for this later when he woos Adaline by complimenting the way she reads. He seems to appreciate Adaline’s intelligence and knowledge, even saying, “You can tell me anything you want, and I’ll believe it.”

His father, William, is not so easily convinced. Ellis wants Adaline to meet his parents, and we get a brief scene an hour into the film between William and his wife, Kathy. William questions any woman who’s beautiful who is “hiding out in a library,” and he suspects her of being a gold-digger.

William:  So, what’s the story with this girl? She works there?

Kathy:  I’ve told you everything Ellis told me.

William:  A beautiful girl working in a public library.

Kathy:  Maybe she likes books. And silence.

William:  Or maybe she Googled him, and found out about his generous contribution and then worked her way in there so she could get her hooks into him.

But Adaline shows up William when they all play Trivial Pursuit. William has had a longtime winning streak — he’s a professor — but Adaline sweeps the game due to her lifetime of knowledge. It’s an enjoyable scene.

More romantic drama ensues, including a super-awkward love triangle, plus some more scientific mumbo jumbo thrown into the mix. I won’t reveal the ending of the film, but it’s pretty predictable. Enjoyably predictable, but predictable nonetheless.

So why is Adaline working in a library? As the New York Times review puts it, “By the time the present rolls around, Adaline has become an emotional shut-in.” The library — or at least the library at this particular historical society — is a quiet place, which suits her. There is no mention of qualifications or education for any of the four librarians pictured onscreen, but it’s obvious that Adaline has lots of personal experience with the older technology and artifacts.

We see Adaline do a variety of tasks in the library, including helping out with archives, running news reels on film projectors, stacking and shelving books, and filing cards. Her co-workers are seen working on computers. They must leave the older technology to Adaline! 😉

Reel Librarians | A collage of Adaline using older technology in the library

A collage of Adaline using older technology in the library

Adaline mentions several times about having to work for a living:

  • I only get an hour” [for lunch]
  • Some of us work for a living.”

However, we witness a flashback scene in which we learn that she has bought stock in Xerox. My thoughts are that she doesn’t actually need to work for a living; she simply prefers to do so in order to keep her mind alert, to utilize her knowledge and skills, and to indulge her nostalgia for the past. An historical library and museum are a good fit for those purposes.

Adaline’s co-workers serve the role of Information Providers, which is pretty straightforward. We don’t learn much about them as individuals, but I do enjoy the diversity of the reel librarians seen onscreen, representing different ages, genders, and ethnicities.

What purpose then does Adaline provide in this role as a reel librarian? I believe she serves the role of a Liberated Librarian:

  • Female Liberated Librarians tend to “discover” themselves with the help of a man or in the face of an adventure/disaster. (Check. Her life does change when she meet Ellis.)
  • The “liberations” can be positive or negative. (It’s positive in this film)
  • They are usually substantial roles with the librarian’s “liberation” often the film’s major plot. (Check and check. Adaline is the title character, and her “liberation” is both emotional and physical.)

Adaline is, indeed, “hiding out” in the library, trying to go unnoticed and to stay emotionally unattached. She is perfectly content in her life and at the library — but she is also content to leave that job and move on in order to preserve her privacy.

The Age of Adaline (2015) ends up in the Class II category, films in which the protagonist or other major characters are librarians, but the librarian’s occupation does not directly affect the plot.

The film’s conclusion, however, does not answer whether or not she will continue to work at the library. My guess — or rather, hope? — is that she will, but then, I’m also a romantic librarian at heart. ♥


And with that, 2016 comes to a close for Reel Librarians. I’ll be back next week — and next year! — with a wrap-up for 2016. Have a great New Year’s holiday!

Reader poll of runner-ups: Soylent Green and the Books

Last week, the winner of the reader poll of runner-ups (say that phrase 3 times fast!) was the 1973 sci-fi classic, Soylent Green. In the year 2022, food is scarce, and a majority of the world’s population relies on a food product called “Soylent Green.” A detective, played by Charlton Heston, investigates the murder of a Soylent official… and discovers the secret behind Soylent Green.

Reel Librarians| DVD cover for 'Soylent Green' (1973)

DVD cover for ‘Soylent Green’ (1973)

If you don’t already know what Soylent Green really is, then I won’t spoil it for you. (I just hope you didn’t have any with your Thanksgiving leftovers! 😉 ) “What is the secret of Soylent Green?” is also the hook for the original trailer:

The film stars screen legend Edward G. Robinson, in his final performance. The director’s commentary track on the DVD also revealed that Robinson was almost totally deaf by the time he made this film. He learned his scenes by timing during the rehearsals!

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Edward G. Robinson as Sol Roth in ‘Soylent Green’ (1973)

Robinson plays Sol Roth, and we meet him within the first five minutes of the film. He’s described in the trailer as:

Sol Roth, Thorn’s private library. A Living Book in a world without books.

This futuristic world — only 5 years away from our current present day! — has stopped printing books for almost 20 years. The word “Book” now refers to people, to former scholars and librarians who serve as personal researchers for others. Sol is a self-described “Police Book,” assigned to Detective Sergeant Thorn, and there is a “Supreme Exchange” where he goes almost daily for information and to talk to other Books.

Real books are treasures to be hoarded in this overcrowded, dirty, violent nightmare of a future, and Thorn and Sol live together in comparative luxury, in an apartment filled with bookcases.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Bookcases in Thorn’s and Sol’s apartment

Even though they look to have a lot of books, we learn that Sol is having trouble finding files for Thorn, looking up information on suspects and cases. This scene also sets up their relationship and how insulting each other is their way of showing their mutual love and respect for one other.

Thorn: What’d you dig up on those cases I gave you? You’ve been telling me that for the last three days.

Sol:  Well, I can’t locate the files. I spent hours on it at the Exchange today. Talked to every other Book who was there. […] What the hell kind of miracle do you want of me? I’m just an ordinary Police Book, not the Library of Congress. I don’t know why I bother.

Thorn:  Because it’s your job. Besides, you love me.

Thorn then goes to the apartment of Simonson, the Soylent official who has been killed (another screen legend, Joseph Cotten, in a cameo role), and Thorn comes back with multiple treasures. Twenty-two minutes into the film, we are treated to a wondrous site:  new books. Thorn brings back two large volumes from the dead man’s apartment, books entitled Soylent Oceanographic Survey Report from 2015 to 2019.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Book cover for the Soylent Oceanographic Survey Report

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Sol’s amazement at the new reference books Thorn finds

Sol:  Where the hell did you get all these?

Thorn:  Off his shelves. They were the only reference books he had. You like them?

Sol:  I love them. Do you know how many books were published in this country, once upon a time? When there was paper and power and presses that worked.

A little over 10 minutes later, Thorn again asks for more info about Simonson.

Sol’s response:  I’ve got a handful of reference work 20 years out of date. You throw out a name, and you expect a miracle?

He then proceeds to read out Simonson’s bio from the last biographical survey that was published, in 2006.

Thorn then asks about the books he brought back from Simonson’s apartment.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Sol describes the Soylent Oceanographic Survey Report

Sol:  Oh, very technical and highly classified. Unnumbered copies. Officially they don’t exist. […] What else do you want?

Thorn:  Everything. Across the board.

Sol:  Across the board? That’s impossible.

Thorn:  Check the Exchange.

Sol:  Check the Exchange? I need you to tell me that? You know, I was a teacher once, a full professor, a respected man.

This short conversation conveys a lot of information — about the books, about Sol and his past, as well as about the Exchange and its importance in their work.

The next scene that features the Exchange, which comes in at a little over an hour into the film, is one of the most important scenes in the entire movie. It anchors the film and sets up the finale. It is a scene in which the Books reveal that they know the secret of Soylent Green… only Thorn, and by extension the audience, remain in the dark.

Sol takes the two large volumes with him to the former public library, now known simply as the “Supreme Exchange.” A sign on the door reveals it’s for “Authorized Books Only,” and as Sol earns admittance, he is therefore visually confirmed as an “Authorized Book.”

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Supreme Exchange: Authorized Books Only

Sol slowly walks past row after row of crumbling books and papers, on his way to talk to the others. The books and the Books are all that is left of civilization, of knowledge, of humanity.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Bookshelves in the Supreme Exchange

As the director states on the commentary track, Sol is “reporting on this committee on what he’s learned through his research,” and he brings the two volumes to the Exchange Leader. The other Books greet him by name, so they are obviously familiar with and comfortable around him.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

The Books at the Supreme Exchange

Reel Librarians | Screenshot from 'Soylent Green' (1973)

The Exchange Leader looks in reverence at the volumes

The rest of this scene — a pivotal scene lasting only a minute and a half total! — features all of the Books:  Celia Lovsky as Exchange Leader, Morgan Farley as Book #1, John Barclay as Book #2, Belle Mitchell as Book #3, and Cyril Delevanti as Book #4.

However, only two of the Books exchange words during this scene, Sol and the Exchange Leader. Here’s their entire conversation:

Sol:  It’s horrible.

Exchange Leader:  You must accept it.

Sol:  I see the words, but I can’t believe them.

Exchange Leader:  Believe. The evidence is overwhelming. Simonson was a member of the board. He learned these facts, and they shook his sanity. The corporation knew he was not reliable anymore. They felt he might talk, and so he was eliminated.

Sol:  Then why are they doing this?

Exchange Leader:  Because it’s easier. I think expedient is the word. What we need is to prove what they are doing, before we bring it to the Council of Nations.

Sol:  Good God.

Exchange Leader:  What God, Mr. Roth? Where will we find Him?

Sol:  Perhaps at Home. Yes. At Home.

The director’s commentary during this scene is illuminating and thoughtful:

This sequence is an interesting comment on the state of humanity in this period. When this hidden-away little niche in this enormous library. That’s all there is. There are really no big libraries, and communication is very difficult. People have to actually get together and talk to each other, but they have nothing technical to help them. They have to read the books, and analyze them themselves. Which is not a bad idea, but under these circumstances, it’s terrible when you think there are no books being printed, everything is stopped. No paper, no ink. Just these wonderful people, like this actress, Celia Lovsky, who carries the scene. She’s wonderful, brings the whole feeling in her face of what is really wrong with that civilization.

Can you imagine? These are the only people left who can analyze information, who even know how to read reference books — or any books! And they are all old. The director rests the camera on their faces and wrinkles, and he does not flinch away. When they are gone, there will be no one left to remember. Librarians are holding down the fort for civilization in this film; they are gatekeepers in a very literal sense.

Although the rest of the Books are silent, their expressions speak volumes.

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Books at the Supreme Exchange

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Books at the Supreme Exchange

It’s honestly hard to watch this movie today, as parts of it feel TOO real, thinking how close we really might be to the edge of this dystopian future. Corruption is a fact of life in Soylent Green, and people are categorized into functions:  Furniture, Books, and so on. And the Books, although they hold the key to knowledge in this future, are arguably no more effective than Thorn himself is as a policeman. But they all carry themselves with dignity, particularly Sol and the way he holds himself upright in his threadbare blazer and beret. All of the Books, including Sol, serve as reel librarians in the role of Information Providers.

Sol does go Home, and his final words to Thorn are, “You’ve got to prove it, Thorn. Prove it. The Exchange…”

Sol’s words spur Thorn to finally uncover the terrible secret behind Soylent Green. As he walks home to his apartment, he passes by the old public library building and current home of the Supreme Exchange. Before, when Sol entered the building, it was quiet and deserted. Now it is the scene of violence. Foreshadowing of the future, perhaps?

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Sol walks to the Supreme Exchange, the former public library

Reel Librarians | Screenshot from 'Soylent Green' (1973)

Violence in front of the Supreme Exchange, the former public library

The final words of the film also focus on the former library, as Thorn’s supervisor states, “I promise. I’ll tell the Exchange.”

I originally had placed this film in the Category III and listed only the four Books and the Exchange Leader as reel librarians. Upon rewatching the film, I realized that I had overlooked Sol Roth as another reel librarian. We learn he was a former teacher, yes, but as an “Authorized Book,” he also serves the same role as the other Books. I have therefore reclassified this film as a Class I film, as Sol’s job is indeed integral to the plot.

I will leave you with a riddle from Michael, a longtime reader of Reel Librarians:

All librarians may be books, but are all books librarians?

What say you, dear readers?

Pitfalls and fantasies in ‘The Pit’

A couple of months ago, Movie Vigilante, a long-time reader and supporter of Reel Librarians (thank you!), gave me a heads-up about the new release of the 1981 film, The Pit (aka Teddy). It’s a pretty obscure film, but one that has developed its own cult following. I pre-ordered a copy of the DVD, and it arrived on my doorstep this past weekend, just in time for me to watch and analyze it for the blog. As the film is a horror film — and it even begins with a Halloween party scene! — it’s perfect timing to round out our scary movie theme for October.

*PLOT SPOILERS THROUGHOUT*

The basic plot? This plot summary from IMDb.com sums up The Pit quite well:

Twelve year-old Jamie Benjamin is a misunderstood lad. His classmates pick on him, his neighbors think he’s weird and his parents ignore him. But now Jamie has a secret weapon: deep in the woods he has discovered a deep pit full of man-eating creatures he calls Trogs… and it isn’t long before he gets an idea for getting revenge and feeding the Trogs in the process!

One major detail this plot summary leaves out? That Jamie talks to Teddy, his teddy bear… and Teddy answers him back. Teddy even gets highlighted in the film’s title card sequence, as seen below.

Reel Librarians | Title card from 'The Pit' (1981)

Title card from ‘The Pit’ (1981)

The original screenplay, written by Ian A. Stuart, was a bit different from the final film. Jamie was younger, 8 or 9 years old, and the “tra-la-logs” (what Jamie calls the Trogs) were imaginary, not real. It’s kind of a shame that the director, Lew Lehman, didn’t follow that original vision. I always prefer psychological horror — are they real? are they not real? — because your imagination makes things scarier and more horrifying. And that’s the major pitfall (har har) of this film, the cheesy special effects. Plus some gaping plot holes that rival the actual pit in The Pit. ;D

The Pit is definitely an odd film in many ways, including the fact that it’s a Canadian horror movie that was filmed entirely in the United States. More specifically, it was filmed in Beaver Dam, Wisconsin, utilizing well-known locales in that city. Beaver Dam is even thanked in the film’s credits!

Reel Librarians | Special thanks in end credits of 'The Pit' (1981)

Special thanks in end credits of ‘The Pit’ (1981)

When I unwrapped the DVD, I read the back of the cover, which states:  “Jamie will teach everyone a lesson:  the kids who teased and bullied him, the mean old lady down the street, even his pretty new babysitter.”

Reel Librarians | DVD cover for 'The Pit' (1981)

DVD front and back covers for ‘The Pit’ (1981)

My senses went up at the “mean old lady” comment, wondering if this was the reel librarian? But I was mistaken! The reel librarian character, Marg Livingstone, is a much younger and attractive woman (in her 30s?) played by Laura Hollingsworth. IMDb.com lists this as Hollingsworth’s sole film credit. She gets 4th billing, and the credits also list a Library Clerk, played by Cindy Auten.

But before we get to the library scenes — there are several in this film! — let’s get to the context. Within the first five minutes of the film, Jamie (played by Sammy Snyders) is seen writing sentences on a school blackboard, punishment for bringing in a naughty book. The schoolteacher opens the book, titled Creative Nude Photography, and comes across a page with a nude silhouette that’s been cut out.

Reel Librarians | Book closeup in 'The Pit' (1981)

Book closeup in ‘The Pit’ (1981)

Even though the book clearly has NO CALL NUMBER on the spine (the tell-tale clue to differentiate between books in a bookstore vs. a library), the schoolteacher assumes it’s a library book. She also states that she’s sure “Ms. Livingstone can find some way to repair it [the book].”

We then see her walking up to a large and beautiful stone building with the words “Williams Free Library” in scrollwork atop the front windows.

Reel Librarians | Williams Free Library exterior seen in 'The Pit' (1981)

Williams Free Library exterior seen in ‘The Pit’ (1981)

Side note:  The Williams Free Library was also the first public library in the United States to have open stacks, which is quite impressive. This stone building was completed in 1891 and is one of the most well-known buildings in that region. Beaver Dam built a new library in 1984, so this building now houses the Dodge County Historical Society.

Even though a few websites erroneously list Miss Livingstone as a school librarian, it’s clear that she’s actually a public librarian. Here’s a peek into the library itself (the library interiors were actually filmed at Wayland Academy in Beaver dam), when the teacher comes in to the drop off the book. In the screenshot below, you can see a corner of the nameplate on the front counter, which reveals the librarian’s name (and marital status) as Miss M. Livingstone. You are invited to also visually contrast the more formal (and dare I say, more glamorous?) attire and hairstyle of the librarian with the more casual look and hairdo of the library aide beside her.

Reel Librarians | Public library counter in 'The Pit' (1981)

Public library counter in ‘The Pit’ (1981)

Here’s how this scene plays out:

Librarian:  Hello, Marian. What can I do for you?

Teacher:  I’m returning this. Jamie, one of my little boy borrowed it. There isn’t likely to be any record of it having gone out. Perhaps you could slip it back for me?

Librarian:  I’ll make sure it’s put back on the shelves.

Teacher:  There’s been a little clipping from one of the pages, I’m afraid. One of the figures cut out. Can you fix that?

Librarian:  We’ll just take out the whole page. Thank you.

The dialogue of this exchange seems innocuous enough, but the expressions on their faces reveal a deeper subtext. The librarian’s face visibly tightens when the teacher mentions the clipping, and the teacher notices this and looks a bit puzzled.

The next scene reveals WHY the librarian reacted this way to the news about Jamie and the clipping from the book. After the teacher leaves, Miss Livingstone immediately takes the book and her purse to a back room in the library. Unbeknownst to her, Jamie is also peeking in on this scene. (One of many convenient plot points.)

Reel Librarians | Library backroom in 'The Pit' (1981)

Library backroom in ‘The Pit’ (1981)

She then takes out an anonymous letter from her purse, which reveals that Jamie has sent her the nude clipping with a picture of her head glued on top! Definitely creepy and unsettling! And now the librarian knows who sent her the letter. But instead of alerting authorities, she just rips up the letter.

Reel Librarians | Ripping up an anonymous letter in 'The Pit' (1981)

Ripping up an anonymous letter in ‘The Pit’ (1981)

The commentary track, provided by a film critic and film historian, highlights a major problem I had with this scene. It’s clear Miss Livingstone is an object of Jamie’s fantasies, but what was his plan or motivation for sending the letter? Is he trying to flatter her? Or is he trying to creep her out? It’s unclear.

Whatever Jamie’s motives, Miss Livingstone remains suspicious of Jamie. This also rises to the surface in the next scene in the library, almost a half-hour into the film. This is when Miss Livingstone meets Jamie’s new babysitter, Sandy, who has come to the library to check out books on “problem children.”

Sandy:  I’m working for Mr. and Mrs. Benjamin, looking after…

Miss Livingstone:  Jamie. Yes, well, I can certainly understand why you’d want a book on problem children. […] Look, I’d like to tell you something about that little boy that you might not know. As another woman, I’m sure you’ll understand.

Reel Librarians | Library scene in 'The Pit' (1981)

Library scene in ‘The Pit’ (1981)

Although Miss Livingstone takes the opportunity to warn Sandy about Jamie, it’s clear that, once again, she chooses NOT to go to the police or other authorities to warn them about Jamie’s escalating behavior.

The next, and final, scene that takes place in the library clocks in at 37 minutes, when Miss Livingstone observes Jamie browsing the shelves at the library. The camera angles on this scene are fantastic, revealing the librarian’s suspicions nature about Jamie. It also visually posits the librarian as the “peeping tom” in this scene. Role reversal!

Reel Librarians | Librarian observes Jamie in 'The Pit' (1981)

Librarian observes Jamie in ‘The Pit’ (1981)

Reel Librarians | Librarian observes Jamie in 'The Pit' (1981)

Librarian observes Jamie in ‘The Pit’ (1981)

The librarian then questions the library aide, seen shelving behind Jamie, about what he checked out.

Miss Livingstone:  What kind of books was that little boy taking out?

Library Aide:  Art.

Miss Livingstone:  What kind of art?

Library Aide:  Some drawing and painting. How-to-do-it stuff. And some on animal husbandry.  Maybe wants to be some kind of veterinarian.

Reel Librarians | Library steps from 'The Pit' (1981)

Library steps from ‘The Pit’ (1981)

We then see Jamie opening up one of the animal husbandry books on the library steps, where he learns about carnivores. Uh oh! This is a pivotal scene, as the library book provides Jamie with knowledge about what to feed carnivores. He starts out buying meat from the butcher’s shop to feed the tra-la-logs… and then when his money funds out, he starts feeding them humans! Convenient that he only feeds them people who have been mean to him…

Jamie’s next prank is quite complex, as he successfully blackmails the librarian. He waits until her niece, Abigail (which he keeps mispronouncing as Abrigail, very annoying), is out of the house and Miss Livingstone is doing yoga in her leotard. He then plays a tape recording over a public pay phone with a pre-recorded message stating that he has kidnapped Abigail and won’t release the child unless Miss Livingstone takes off her clothes. Jamie then sneaks under her window and takes pictures of her on his Polaroid as she undresses.

Reel Librarians | Peeping Tom and polaroids from 'The Pit' (1981)

Peeping Tom and polaroids from ‘The Pit’ (1981)

Major plot holes with this scene? First, Jamie makes NO ATTEMPT to disguise his voice on the recording, and Miss Livingstone has had several disturbing encounters with Jamie already. Why doesn’t she recognize his voice? (The commentary track also brings up this issue.) Second, he says on the recording that he’s watching her yet she DOESN’T BOTHER to look out the window, where she could easily spot Jamie with his camera. Third, a 12-year-old boy has pre-recorded the blackmail message, therefore having to anticipate the reactions of a 30-ish woman. Like I said before, another very convenient plot point.

When Jamie takes the Polaroids home, he shows them to Teddy, who says, “I’m going to look at these a lot.” Creepy! And then I realized that these Polaroids of the librarian are actually included on the film’s poster. Double creepy!

Reel Librarians | Polaroids in a scene from and poster for 'The Pit' (1981)

Polaroids in a scene from and poster for ‘The Pit’ (1981)

We never see the library or librarian again in the film. It’s interesting to note that Miss Livingstone does survive in the end, and there doesn’t seem to be any attempt on Jamie’s part to include her with the “bad people” he lures into the pit. (By the way, the aforementioned niece, Abigail, is not so lucky. She was mean to Jamie and played a trick on him with her bicycle. She got scolded by her librarian aunt for this trick, but that was not punishment enough for Jamie… )

In general, Miss Livingstone comes across as a pleasant, stylish, competent, and intelligent woman (except for when she didn’t recognize Jamie’s voice over the phone). She is seen both inside and outside the library, including at home with her hair down) as well as around town. The reel librarian is a supporting character, earning The Pit a spot in the Class III category.

Reel Librarians | Closeups of the librarian in 'The Pit' (1981)

Closeups of the librarian in ‘The Pit’ (1981)

As for what purpose or role she fulfills in the film? Primarily, she’s an Information Provider:  she, or the library she represents, provides pivotal information to Jamie — unwittingly helping escalate his behavior. Miss Livingstone also provides a reference point, a touchstone, for the audience as she mirrors our growing dread and suspicion of Jamie.

Although she doesn’t actually portray a Naughty Librarian in the film, it’s almost as if the filmmakers are pitting her character against that fantasy in others, namely Jamie. This is also echoed in the commentary track for the first library scene, as the film critic and film historian (both males) talk about how Miss Livingstone is an object of Jamie’s affection.

1st commentator:  You can tell because the glasses are so enticing. [sarcastic tone]

2nd commentator:  At some point … the hair’s going to go down and the glasses are going to come off, and she is going to be a hottie.

Here’s how the reel librarian character is described on the Canuxploitation site:

“Miss Livingston is the world’s most uptight librarian and appears to hold some deep, dark secret which is never revealed.”

I don’t agree with this characterization, that she is “the world’s most uptight librarian.” I interpreted her reactions to Jamie’s behavior as quite understandable, as a woman who is trying to do her job and go about her daily life. Instead, she has to deal with unwanted and inappropriate — not to mention unsolicited! — sexual attention and fantasies from a young boy.

Can you tell who I sympathize with in this movie? It sure isn’t Teddy…

One final note:  Although the creatures are listed as “Trogs” in the film’s credit, Jamie refers to them as “tra-la-logs” throughout the entire film. Every single time, this made me think of the “Mr. Trololo” singer and YouTube video clip that made the rounds on the Internet a couple of years ago. More creepiness!

So that wraps up this year’s scary movie posts, an annual tradition each October on the Reel Librarians blog. Here are the scary movies and reel librarians we looked at this past month:

After collating this list, I also realized that during this past month we have looked at movies from four different decades:  the ’50s, the ’70s, the ’80s, and the ’90s. 🙂

Which scary movie post was your favorite? Please leave a comment and share.