Watch Suddenly: Frank Sinatra Stars in a 1954 Noir Film

in Film | November 14th, 2012

sinatra suddenly3

For Frank Sina­tra’s 100 birth­day today, we’re bring­ing back to the top a post from our archive that high­lights the 1954 noir film, “Sud­den­ly.” In this pub­lic domain flick, Sina­tra played the role of a psy­chopath. And he played the role con­vinc­ing­ly, get­ting some very fine reviews from The New York Times. Enjoy the film and our orig­i­nal post from 2012 below:

Tricky busi­ness, cast­ing a world-famous musi­cian in a movie’s star­ring role: it seems you must either craft the part to per­fect­ly match their per­sona, or to run per­fect­ly against it. Nico­las Roeg, that inim­itable employ­er of singers to his own semi-fath­omable cin­e­mat­ic ends, has rig­or­ous­ly explored this range of pos­si­bil­i­ties. David Bowie seemed the only pos­si­ble choice for the ter­mi­nal­ly lone­ly alien of The Man Who Fell to Earth, just as Art Gar­funkel seemed the last pos­si­ble choice for the psy­cho­sex­u­al tor­men­tor of Bad Tim­ing.

I per­son­al­ly regret that Roeg nev­er got to work with Frank Sina­tra, used to such strik­ing effect by John Franken­heimer in The Manchuri­an Can­di­date and Otto Pre­minger in The Man with the Gold­en Arm. To hold those pic­tures up against, say, the Rat Pack free-for-all of Ocean’s Eleven is to under­stand that cast­ing against per­sona, though on aver­age the riski­er option, pro­duces more fas­ci­nat­ing­ly con­tra­dic­to­ry per­for­mances. In the 1954 noir Sud­den­ly, avail­able free on Archive.org, you can watch an ear­ly exam­ple of this in Sina­tra’s career, when direc­tor Lewis Allen turns him into a psy­chopath bent on assas­si­nat­ing none oth­er than the Pres­i­dent of the Unit­ed States.

Giv­en the pro­jec­t’s unques­tioned B‑movie con­text, crit­ics regard­ed Sina­tra as hav­ing made a rea­son­ably rich meal of this vil­lain­ous part. “Mr. Sina­tra deserves a spe­cial chunk of praise,” wrote the New York Times’ Bosley Crowther. “In Sud­den­ly he proves a melo­dra­mat­ic tour de force.” Vari­ety also looked favor­ably upon him: “Thesp inserts plen­ty of men­ace into a psy­cho char­ac­ter, nev­er too heav­i­ly done, and gets good back­ing from his costar, Ster­ling Hay­den, as sher­iff, in a less showy role but just as author­i­ta­tive­ly han­dled.” Yes, you read that right: this movie pits Frank Sina­tra against Ster­ling Hay­den. Sina­tra and his crew of killers take over a small-town hill­top fam­i­ly home, the ide­al van­tage point from which to shoot the pass­ing Pres­i­dent. Then Hay­den, the town’s sher­iff, turns up to check things out. How will this clash of titan­ic per­son­al­i­ties resolve? Hit play and find out whether “the num­ber-one man in the nation,” as Sud­den­ly’s sen­sa­tion­al­is­tic poster puts it, falls vic­tim to this “kill-hun­gry hood­lum.”

You will find Sud­den­ly list­ed in our col­lec­tion of Free Noir Films and also our larg­er list 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

 

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Harry Taylor Brings 150-Year-Old Craft of Tintype Photography into the Modern Day

in Art, Photography | November 14th, 2012

Award-win­ning film­mak­er Matt Mor­ris appre­ci­ates craft, hard work and peo­ple who just show up for each oth­er.

His Emmy-nom­i­nat­ed film Pickin’ and Trim­min’ fol­lows the men who cut hair and play blue­grass music togeth­er at Drexel’s bar­ber­shop in North Car­oli­na. In Mr. Hap­py Man, an 88-year-old man talks about the hours he spends every morn­ing greet­ing Bermuda’s com­muters as they endure traf­fic.

The sub­ject of his most recent work came to him in a round-about way, but fea­tures the same care­ful, affec­tion­ate film­mak­ing of his oth­er films. Amer­i­can Tin­type chron­i­cles the process of pho­tog­ra­ph­er Har­ry Tay­lor, who dis­cov­ered a pas­sion for the Civ­il War-era “wet plate” pho­tog­ra­phy.

Tay­lor, based in Wilm­ing­ton, North Car­oli­na, spe­cial­izes in tin­types and ambrotypes. He makes them with the same big cam­eras and messy chem­i­cals used dur­ing the late 1800s. At that time, the process pro­duced a whole new lay­er of detail than ear­li­er tech­niques had done, and allowed for an infi­nite num­ber of prints to be made.

Time con­sum­ing, labo­ri­ous and unpre­dictable, the process requires the pho­tog­ra­ph­er to use a portable dark room when shoot­ing out­side of the stu­dio. Tin pho­to­graph­ic plates are coat­ed with col­lo­di­on emul­sion. (The tech­nique is also called col­lo­di­on process. There’s a nice tuto­r­i­al here.) The plate must be coat­ed, exposed and devel­oped with­in fif­teen min­utes, before the col­lo­di­on los­es its sen­si­tiv­i­ty. It’s an incon­ve­nient sys­tem, espe­cial­ly by today’s stan­dards, but it pleas­es Tay­lor immense­ly as it forces both him and his sub­jects to slow down. You can view some of Tay­lor’s images here.

Mor­ris allows Tay­lor to speak for him­self in the four-minute doc­u­men­tary, let­ting the cam­era linger on Taylor’s wood and met­al equip­ment, the dreami­ness of his images and on Taylor’s own obser­va­tions about how long-expo­sure pho­tog­ra­phy reveals more of the subject’s thoughts. Even the flaws are inter­est­ing.

Make a point to notice the music. Mor­ris approached com­pos­er Hanan Town­shend, known for the scores he com­posed for direc­tor Ter­rence Mal­ick. Mor­ris blogs about the process of record­ing Amer­i­can Tin­type’s sound­track at Marin County’s Sky­walk­er Sound—a fun lit­tle peek behind the scenes.

Kate Rix writes about dig­i­tal media and edu­ca­tion. Read more of her work at and thenifty.blogspot.com.

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Great Big Ideas: Free Course Features Top Thinkers Tackling the World’s Most Important Ideas in 12 Lectures

in Online Courses | November 14th, 2012

Begun in 2011 by Big Think and the Jack Park­er Cor­po­ra­tion, The Float­ing Uni­ver­si­ty is an online edu­ca­tion­al ini­tia­tive that debuted at Har­vard, Yale, and Bard Col­lege. The pur­pose of The Float­ing Uni­ver­si­ty, accord­ing to its site, is to “democ­ra­tize access to the world’s best thinkers” by pro­vid­ing free, approx­i­mate­ly one hour-long cours­es on a wide range of top­ics, taught at a uni­ver­si­ty lev­el by experts and pro­fes­sors in the var­i­ous fields. The inau­gur­al course, the most favored at the three uni­ver­si­ties, is Great Big Ideas, and it more or less does what it says: tack­les some of the largest, most per­plex­ing ques­tions in digestible intro­duc­tions that also man­age to be rig­or­ous, infor­ma­tive, and thought-pro­vok­ing.

In the lec­ture above, for exam­ple, Har­vard cog­ni­tive psy­chol­o­gist and lin­guist Steven Pinker presents an “eSem­i­nar” in lin­guis­tics, address­ing dogged ques­tions in the field over whether or not humans have an innate, uni­ver­sal gram­mar (as Noam Chom­sky has famous­ly argued); why lan­guage is so fun­da­men­tal to our social rela­tion­ships; and how lan­guage evolved.

Pinker, who describes human lan­guage in broad terms as a “mir­a­cle” and a “win­dow into the human mind,” also gets into the spe­cif­ic sub­fields of lin­guis­tics, dis­cussing them in terms that any layper­son can under­stand with­out much dilut­ing the fas­ci­nat­ing philo­soph­i­cal and sci­en­tif­ic debates around what Dar­win called our “instinc­tive ten­den­cy to speak” to one anoth­er, from infan­cy onward, all over the world, in some 6000 dif­fer­ent lan­guages.

The Great Big Ideas (now added to our list of 1200 Free Online Cours­es) lec­ture series con­sists of twelve lec­tures total, includ­ing Pinker’s. The oth­er eleven are:

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

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The Normandy Invasion Captured on 16 mm Kodachrome Film (1944)

in Film, History | November 14th, 2012

The Nor­mandy Inva­sion, oth­er­wise known as “Oper­a­tion Over­lord,” was launched by the Allies on June 6, 1944. On that day — D‑Day — Amer­i­can, British and Cana­di­an troops land­ed on five sep­a­rate beach­heads in Nor­mandy, on the west­ern shores of France. By the end of August 1944, the Allies had lib­er­at­ed all of north­ern France and start­ed march­ing towards Nazi Ger­many.

At the time, the film­mak­er George Stevens (1904–1975) was a lieu­tenant colonel in the U.S. Army’s Sig­nal Corps. Dwight D. Eisen­how­er, tasked with plan­ning and car­ry­ing out the Allied inva­sion of Nor­mandy, want­ed film crews present at the inva­sion to pro­vide footage for a doc­u­men­tary film. Stevens took charge of the Spe­cial Motion Pic­tures Unit and gath­ered a group of cam­era­men and writ­ers dubbed the “Stevens Irreg­u­lars”. They used the stan­dard Army motion pic­ture stock, 35 mm black and white news­reel film. But they also brought along a hand-held cam­era and some 16 mm Kodachrome col­or film. Stevens shot sev­er­al hours’ worth of col­or footage from France, Bel­gium and Ger­many. The scenes from the lib­er­a­tion of Dachau con­cen­tra­tion camp are par­tic­u­lar­ly shock­ing and left their mark on the lives of the cam­era­men. In 1994, Stevens’ son used this film footage to assem­ble the doc­u­men­tary George Stevens: D‑Day to Berlin.

Bonus mate­r­i­al:

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

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‘The Needle and the Damage Done’: Neil Young Plays on The Johnny Cash Show, 1971

in Music, Television | November 13th, 2012

Here’s a scene from a clas­sic episode of The John­ny Cash Show, with Neil Young singing a deeply per­son­al song that he had only recent­ly writ­ten.

“John­ny Cash on Cam­pus” was a spe­cial edi­tion that aired on Feb­ru­ary 17, 1971.  Cash and his crew vis­it­ed Van­der­bilt Uni­ver­si­ty in Nashville to talk with stu­dents. In the pro­gram, one of them rais­es the sub­ject of drugs in the music indus­try, and Cash speaks briefly about his own prob­lem with drugs before intro­duc­ing Young, who sings “The Nee­dle and the Dam­age Done” in front of an all-stu­dent audi­ence at the Ryman Audi­to­ri­um. Young then puts down his gui­tar and moves to a piano to play “Jour­ney Through the Past.”

It was a busy time for Young. While he was in Nashville to appear on the show he was per­suad­ed by a local record pro­duc­er to record his next album there. He began work almost imme­di­ate­ly on what would become his mas­ter­piece, Har­vest. On the night of the John­ny Cash Show Young invit­ed two oth­er guests that night, Lin­da Ron­stadt and James Tay­lor, to go back to the stu­dio with him after­ward. Togeth­er the three sang the back­ing vocals on “Heart of Gold” and “Old Man,” and Tay­lor played the dis­tinc­tive ban­jo gui­tar part on “Old Man.”

The Feb­ru­ary 17, 1971 episode of The John­ny Cash Show is also notable for being the first time Cash per­formed “Man in Black.” He got the idea for the song from his dis­cus­sions with the stu­dents at Van­der­bilt, and fin­ished writ­ing the lyrics on the day of the show. The song was so new he need­ed cue cards to sing the words.

Relat­ed con­tent:

Neil Young Busk­ing in Glas­gow, 1976: The Sto­ry Behind the Footage

Neil Young Reveals the New Killer Gad­get That Will Save Music

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Google Revisits the Fall of the Iron Curtain in New Online Exhibition

in Google, History | November 13th, 2012

I like to col­lect sounds while trav­el­ing. A few favorites that come to mind include the whine of scoot­ers buzzing down the streets of Paris, the calm female voice announc­ing the next stop on the Prague Metro and the clink clink of peo­ple chip­ping away chunks of the Berlin Wall.

That was 1990, just a few months after mil­lions of Germans—from both sides of the wall—succeeded in end­ing the East Ger­man regime through street protests.

The Google Cul­tur­al Insti­tute cap­tures this amaz­ing peri­od of recent his­to­ry with The Fall of the Iron Cur­tain, a new col­lec­tion of his­tor­i­cal doc­u­ments, videos and pho­tos curat­ed by Niall Fer­gu­son, an emi­nent Har­vard his­to­ri­an.

The 1980s saw the Cold War come to an end with a wave of cit­i­zen protests that swept across Europe. Google’s col­lec­tion includes 13 exhibits that begin with Poland’s Sol­i­dar­i­ty Move­ment but then con­sid­ers the his­to­ry and sig­nif­i­cance of the Berlin Wall.

Google part­nered with major Ger­man and Pol­ish muse­ums to cre­ate the exhibits so the expe­ri­ence is rich with con­text, includ­ing inter­views with his­to­ri­ans and images from the pop­u­lar cul­ture of the time.

Fol­low the riv­et­ing events of Decem­ber 14, 1989 as Roman­ian cit­i­zens crowd­ed Maria Plaza in Timisoara call­ing for lead­ers Nico­lae and Ele­na Ceauces­cu to step down. By evening the crowd filled all of the roads off the plaza and the mil­i­tary opened fire, killing 62 peo­ple. The peri­od of the Ceauces­cu tri­al and exe­cu­tion is brought to life in anoth­er exhib­it with images and inter­views.

The exhibits con­clude with the rapid accel­er­a­tion of events that led to the fall of the Berlin Wall itself.

Each exhib­it is rich and com­plete with anec­dotes, includ­ing a diary of life dur­ing Ger­man reuni­fi­ca­tion.

Speak­ing of col­lect­ing sounds while trav­el­ing, check out the Pink Floyd’s live per­for­mance we brought you of The Wall in east­ern Berlin, a mere eight months after the Wall had come down.

Kate Rix writes about dig­i­tal media and edu­ca­tion. You can con­tact her and find more of her work at and thenifty.blogspot.com.

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The Creators Project Presents the Future of Art and Design, Brought to You by Intel and Vice Magazine

in Art, Design | November 13th, 2012

The Cre­ators Project, a col­lab­o­ra­tion between Intel and Vice Mag­a­zine, pro­duces behind-the-scenes short films with con­tem­po­rary artists, musi­cians, and film­mak­ers. Call­ing itself “a glob­al cel­e­bra­tion of art and tech­nol­o­gy,” the three-year-old project offers per­haps the best way to keep up with incred­i­ble advances in visu­al and audio tech­nol­o­gy in the arts. The project also spon­sors new work (from, for exam­ple, visu­al artists Mick Rock and Bar­ney Clay and musi­cians J. Space­man and Karen O) and hosts glob­al events and meet-ups.

I per­son­al­ly check in with the project’s YouTube chan­nel on a semi-dai­ly basis, and I nev­er fail to find some­thing cap­ti­vat­ing, whether an intro­duc­tion to a new artist or new work from an old favorite (if you pre­fer Vimeo, they’ve got you cov­ered there too). Most recent­ly I’ve dis­cov­ered the aston­ish­ing work of a per­for­mance artist/photographer from Bei­jing, Li Wei, whose work involves Buster Keaton-style stunts—or, more pre­cise­ly, Kung Fu-film high-wire action—captured on cam­era in ver­ti­go-induc­ing images of impos­si­bil­i­ty. In the short film above, Li Wei walks us through his process and his phi­los­o­phy, which begins with the unset­tling notion, “We are all con­trolled by some­one else. Our thoughts and actions are con­trolled by unseen forces.” His work is a high-tech attempt to out­wit one of those forces for brief moments, ren­dered time­less by pho­tog­ra­phy and the mag­ic of Pho­to­shop.

In the video below, a for­mer aero­space engi­neer for NASA, James Pow­der­ly, now occu­pies strange ter­ri­to­ry between design and engi­neer­ing. Inspired by anoth­er cor­po­rate engi­neer­ing dropout, Pow­der­ley left aero­space engi­neer­ing for a res­i­den­cy at New York art and tech­nol­o­gy cen­ter Eye­beam to refine his visu­al aes­thet­ic, which he’s tak­en all over the world.

Final­ly, in the short video below, The Cre­ators Project vis­it­ed Min­Suk Cho, founder of futur­is­tic Seoul archi­tec­ture firm Mass Stud­ies. Cho describes the vision and pur­pose of Mass Stud­ies over a mind-blow­ing series of images of archi­tec­tur­al designs from worlds you’ve nev­er seen before but (if you’re like me) always hoped exist­ed some­where.

http://vimeo.com/44749711

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

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Reefer Madness, 1936’s Most Unintentionally Hilarious “Anti-Drug” Exploitation Film, Free Online

in Film | November 13th, 2012

reefermadness

The motion pic­ture you are about to wit­ness may star­tle you. It would not have been pos­si­ble, oth­er­wise, to suf­fi­cient­ly empha­size the fright­ful toll of the new drug men­ace which is destroy­ing the youth of Amer­i­ca in alarm­ing­ly increas­ing num­bers. Mar­i­hua­na is that drug — a vio­lent nar­cot­ic — an unspeak­able scourge — The Real Pub­lic Ene­my Num­ber One! Or at least that’s how the open­ing crawl of Reefer Mad­ness tells it.

Also known, in oth­er forms, as Tell Your Chil­dren, The Burn­ing Ques­tion, Dope Addict, Doped Youth and Love Mad­ness, the film has spent the past forty years accru­ing cult cred­i­bil­i­ty on the (high­ly over­lap­ping) mid­night-movie and cannabis-cul­ture cir­cuits. That pecu­liar spelling of what we know as mar­i­jua­na reveals only a whiff of its dis­tinc­tive blend of hand-wring­ing sala­cious­ness, aggres­sive square­ness, and sheer igno­rance. Kei­th Stroup, founder of the Nation­al Orga­ni­za­tion for the Reform of Mar­i­jua­na Laws, spot­ted the movie’s unin­tend­ed comedic poten­tial back in 1971, when he bought a print and began col­lege-cam­pus screen­ings. It today draws more pro­longed, dis­be­liev­ing guf­faws and chor­tles than ever before.


Since Reefer Mad­ness has fall­en into the pub­lic domain, you can hold your own mid­night screen­ing near­ly with­out effort by watch­ing it online. Behold the deeply askew motion pic­ture that began as a church-fund­ed moral­i­ty play, got into the hands of ear­ly exploita­tion-film icon Dwain Esper (he of 1934’s Mani­ac, 1937’s How to Undress in Front of Your Hus­band, and 1938’s Sex Mad­ness), and wound up as an uproar­i­ous main­stay of hazy uni­ver­si­ty audi­to­ria. While the film clear­ly knows noth­ing of mar­i­jua­na or its real effects — or, seem­ing­ly, of the real effects of any nar­cot­ic — that does­n’t stop its script from yield­ing a host of res­o­nant lines. These run from the “straight­for­ward ques­tion” of whether “you have, per­haps unwill­ing­ly, acquired a cer­tain habit through asso­ci­a­tion with cer­tain unde­sir­able peo­ple” to the rec­ol­lec­tion of hav­ing been “high enough to take over the marines and the navy” to that immor­tal imper­a­tive, “Bring me some reefers!” Laugh if you must, but bear in mind the final words from the solemn Dr. Car­roll: “The next tragedy may be that of your daugh­ter’s… or your son’s… or yours… or yours… or yours!”

You can always find Reefer Mad­ness in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed con­tent:

This is What Oliv­er Sacks Learned on LSD and Amphet­a­mines

Bela Lugosi Dis­cuss­es His Drug Habit as He Leaves the Hos­pi­tal in 1955

Beyond Tim­o­thy Leary: 2002 Film Revis­its His­to­ry of LSD

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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Monsterpiece Theater Presents Waiting for Elmo, Calls BS on Samuel Beckett

in Comedy, Theatre | November 13th, 2012

Through­out the years, Sesame Street aired 37 episodes of Mon­ster­piece The­ater, a fun-lov­ing par­o­dy of PBS’s long-run­ning dra­ma series Mas­ter­piece The­atre. In this par­tic­u­lar episode, the host Alis­tair Cook­ie (aka Cook­ie Mon­ster) intro­duces “a mod­ern mas­ter­piece, a play so mod­ern and so bril­liant that it makes absolute­ly no sense to any­body.” Yes, we’re talk­ing about Wait­ing for Elmo, a two-minute clip that lam­poons — or dare I say polite­ly calls bull$hit on — Samuel Beck­et­t’s absur­dist 1953 play, Wait­ing for Godot. If you’ve nev­er expe­ri­enced the orig­i­nal play, you can watch a stag­ing that Beck­ett direct­ed in 1985 or read the orig­i­nal play here.

In the mean­time, it unfor­tu­nate­ly looks like we’re all going to be wait­ing for Elmo a bit longer … or, then again, maybe not.

via Bib­liok­lept

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Venice is Way Under Water…

in Current Affairs | November 12th, 2012

Venice is made up of 124 islands, 183 canals and 438 bridges, with water con­stant­ly flow­ing in and around it. As the video below explains, the city has his­tor­i­cal­ly devel­oped an elab­o­rate way of defend­ing itself against the seas. But occa­sion­al­ly moth­er nature wins out, and floods take their toll on the city. This year it’s par­tic­u­lar­ly bad. Heavy rains and strong winds have left Venice 70% sub­merged, with water lev­els reach­ing 60 inch­es. It marks the sixth worst flood record­ed in the past 150 years. You can find footage above, and a pret­ty remark­able pho­to gallery over at The Atlantic. And then anoth­er  com­pelling set at Boston.com.

via @eugenephoto

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Meryl Streep Shrooms Her Way Through Modern Alice in Wonderland

in Literature, Poetry, Television, Theatre, Video - Arts & Culture | November 12th, 2012

Beware the Jub­jub bird…

Beware post-70s the­atri­cal exper­i­men­ta­tion…

Beware a chil­dren’s clas­sic — Alice in Won­der­land, in a mod­ern musi­cal update …

Beware a grown woman cast as a lit­tle girl…

On the oth­er hand, what if we’re talk­ing about Meryl Streep? Specif­i­cal­ly the Deer Hunter / Kramer vs. Kramer-era Streep, star­ring in Alice in Con­cert, play­wright Eliz­a­beth Swa­dos and direc­tor Joe Pap­p’s 1981 adap­ta­tion of Lewis Car­rol­l’s orig­i­nal trip­py tale. If Alice at the Palace, a slight­ly restaged for tele­vi­sion ver­sion, is any evi­dence, Amer­i­ca’s Most Seri­ous Actress had a blast, bound­ing around in bag­gy over­alls, doing every­thing in her con­sid­er­able pow­er to upend the pris­sy pinafore-sport­ing Dis­ney stan­dard. She jigged. She pout­ed. She slew the Jab­ber­wock and almost imme­di­ate­ly regret­ted it.

Not sur­pris­ing­ly, giv­en the con­text, she also got to play stoned. Her spacey mean­der­ings ush­ered in the most fan­tas­ti­cal­ly para­noid inter­pre­ta­tion of the Jab­ber­wocky you’re ever like­ly to hear, cour­tesy of a sup­port­ing ensem­ble that includ­ed Mark Linn-Bak­er and the late Michael Jeter. Sud­den­ly, that which has long proved mad­den­ing starts to make sense.

It’s  a feat all around.

Relat­ed Con­tent:

Pho­to: The Real Alice in Won­der­land Cir­ca 1862

Alice in Won­der­land: The 1903 Orig­i­nal Film

Lewis Car­rol­l’s Alice in Won­der­land avail­able in our Free Audio Books and Free eBooks col­lec­tions.

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