Movies always cover a broad spectrum and subjects that mean a lot of different things to everyone in the world. This statement couldn’t be made more true especially when the movie business started back in the early 20th century. Of course, all movies started in black and white. From the early comedies with Charlie Chaplin and the Little Rascals, The Three Stooges, and Laurel and Hardy to even “Frankenstein,” “Dracula,” and “Citizen Kane.” These types of movies are classics whether they are made in the 1930s or even today depending on who you talk to. Jeff Genung and the Toddster decided to so something different with this one and Tyler Murphy got the honor of picking the topic for this one. We all had some really great choices on this one. Let’s find out if any of this appeals to you.

BRIAN GOLDEN
“King Kong” 1933
I grew up watching just about every black and white science fiction and horror flick out there, thanks to my stepfather, a notorious movie buff. From “Dracula” to “Invasion of the Body Snatchers,” “Night of the Living Dead” to “Young Frankenstein,” the list goes on and on. When it comes to my all-time favorite B&W motion picture, however, let’s just say there’s really only one choice for me – the truly timeless Merian Cooper and Ernest Schoedsack-directed, 1933 adventure classic “King Kong.”
Starring Robert Armstrong as movie director Carl Denham, Fay Wray as the beautiful Ann Darrow and Bruce Cabot as First Mate Jack Driscoll (not to mention Frank Reicher’s excellent performance as Captain Englehorn), the film is beyond compare when it comes to the jungle adventure format popular for that day and age, featuring the absolutely brilliant stop-motion special effects of Willis O’Brien.
I’m sure most people know the premise of the film already – giant gorilla takes girl, menfolk rescue girl and capture giant gorilla, transporting him thousands of miles to New York City where he’s put on display before finally falling to his death from the heights of the Empire State Building. And while all of that is well and good, the movie’s fantastic plot is not my primary reason for its status as the best of the best in black and white.
No, that particular classification is due to the amazing battle Kong gets into with a Tyrannosaurus Rex mid-way through the film, which my young mind could barely comprehend thanks to the scene’s absolutely breathtaking magnificence. And if you have no idea what I’m talking about, well, let’s just say my inner geek was probably born the moment I saw this.
Even though a lot of people out there may only be familiar with “Lord of the Rings” director Peter Jackson’s re-telling of this classic motion picture, those who have never seen the original are truly missing out. The effects may seem dated now, but back in 1933 they were absolutely awe-inspiring. An all around fantastic movie that ends with one of the all-time best lines ever delivered on the Silver Screen – “Well Denham, the airplanes got him.”
To which the director replies, “No, it wasn’t the airplanes ... it was beauty killed the beast.”

MELISSA STAGNARO
“Teacher’s Pet” 1958
Really, Todd? You want me to pick just ONE black & white movie to write about? As you might have guessed, given my penchant for old movies, this Toddster team-up was nearly impossible for me. I can’t even begin to quantify how many classic movies I’ve seen - and loved - in my 30 plus years on this planet. I was tempted to pull an eeny-meeny-miney-mo, but in the end I capitulated and selected “Teacher’s Pet,” a 1958 romantic comedy starring Clark Gable and Doris Day. Why this film over all the truly brilliant cinematic features which fall into the b&w category? Because it’s about the newspaper biz, and as one reviewer so aptly put it, the film is both “witty and wise” about the industry I have come to love.
Gable is incredibly believable as hard-nosed city editor James Gannon, who staunchly believes the newspaper business can only be learned in the trenches. He has nothing but disdain for those who believe journalism can be taught in a classroom, like the night school class taught by Instructor Erica Stone (Day). Determined to prove this point, he enrolls in her class. Under an alias, of course. But it soon proves more than he bargained for, as he finds himself both taken by Stone herself and influenced by her ideas about journalism. His rival for the lady in question’s affections is Dr. Hugo Pine (Gig Young), a handsome, educated, refined, well-traveled professor with “more degrees than a thermometer). In short, everything the gruff, “un-pressed,” chain smoking Gannon is not. But the gritty newspaperman isn’t about to give up. Besides, he’s got a few tricks up that wrinkled sleeve.
I’ve always found it a thoroughly enjoyable film, but watching it now, I can also appreciate how accurately it portrays the newspaper industry. In some ways, it is almost a how-to. It’s also a commentary on a paradigm shift, and the evolution of print media as newspapers were forced to evolve in order to stay relevant in an era when people were just starting to turn to the radio and television to get the news. It is a struggle the industry continues to face in today’s digital information age.
And did I mention it’s a great movie? (I let Tyler pick this one, Melissa. The Toddster is totally innocent.)

JEFF GENUNG
“All About Eve” 1950
Talk about a broad topic – favorite black & white movies – but the first one that popped into my mind was the Bette Davis classic, “All About Eve.” It’s a seminal work that’s inspired countless imitators and iterations of the basic plot over the years, most recently, perhaps, in “Black Swan.” 
Anne Baxter plays aspiring actress Eve Harrington, who insinuates herself into the lives of Broadway star Margo Channing (Davis, never more sharp-tongued) and her cadre of theater friends. Margo’s a tad temperamental, but well loved by her friends Karen Richards (Celeste Holm), her husband and playwright Lloyd Richards (Hugh Marlowe), boyfriend director Bill Simpson (Gary Merrill) and producer Max Fabian (Gregory Ratoff). They’re all beguiled by Eve’s seemingly sweet and innocent nature – all that is except for cynical critic Addison DeWitt (George Sanders, who crackles with wit and charm). 
But Eve’s far from innocent of course – she’s brilliant, conniving, and a bit of a sociopath. It’s the classic ‘understudy steals the spotlight’ plot that’s never done more convincingly than here. Eve’s out to get everything that Margo’s got and leaves a trail of unhappiness in her wake. 
Beyond the plot, what gets me most in “All About Eve” is the dialogue. Rapidly-paced and rapier-sharp, the bon mots (the most well-known: Margo’s ‘Fasten your seatbelts, it’s going to be a bumpy night’) come at you so quickly and fiercely you barely have time to digest its complexity. To say they don’t write ‘em like that anymore is an understatement. I doubt today’s Hollywood stars could keep up the pace.

TYLER MURPHY
“Schindler’s List” 1993
Favorite original black and white film. Why? Because so much great movie writing and acting goes unnoticed between the grandest of special effects these days. I am a writer after all, and it’s nice to reflect on a more word-focused performance. Maybe that’s why there are so many good classic films to choose from. But I can’t help selecting one that’s a little out of the box. “Schindler’s List” was intentionally made in black and white, perhaps to help capture the movie’s cold historical plot and its dire moral purpose. For its more recently written words and acting echo back to a time of classical proportions.
There is an element of truth and realism in our history that is seldom grasped by later generations once their time has passed. There are horrors to war that can’t be fully realized beyond those who actually lived through them. The movie is a window into a such fading past, one where you find the darkest of human intentions at the cusp of our modern industrial age – a world that for not a war of unprecedented proportions, might still exist today. And one, as the movie would remind us, is always in danger of returning.
German entrepreneur Oskar Schindler (Liam Neeson) arrives in Poland hoping to make himself rich. He finds business opportunity as the Third Reich takes power though his relations with corrupt Nazi Party officials and at the expense of the local migrant and Jewish populations. 
At first Schindler conscience is kept comfortable from reality as he resides in his new found success. A key component of that profit starts with the use of Jewish labor, which was even cheaper than migrants. Being a businessman but not necessarily an evil man, Schindler follows the money. He takes cash from desperate Jewish investors to boot and offers them factory goods in exchange. 
But as the Nazi agenda continually tightens around the Jewish community’s neck, Schindler has a change a heart. At first they must wear the Star of David in public. Then they’re forced to live in guarded ghettos with their rights limited, executions becoming more prevalent and humanitarian condition deteriorate. Then at the turning point of the film, a new Nazi overseer arrives and with him the bloody edict of eventually eradicating the local population. Though his arrival brings more money and opportunity for Schindler, his soul refuses to be bought for such a high price. 
At its worst point, the movie vividly captures the eerie apathy of bureaucratic genocide coexisting with capitalism. But Schindler takes all his hard-earned money and dedicates his entire wealth, even his life, to manipulating the corrupt system to save as many Jews as possible instead of gaining more wealth. It eventually leads to his material downfall, but the saving of his legacy. It’s a movie about history, about human nature and the power of a single individual.  

TODD CAMPBELL
“Young Frankenstein” 1974
I have written about a lot of movies in my time but a tougher subject couldn’t have been picked. I have never really liked a lot of black and white classic movies except for the comedies and monster movies of the time. Taking a page from Tyler’s book, I picked a classic that I loved growing up. “Young Frankenstein” paid homage to the classic monster movies of the day but at the same time made fun of them too. Director Mel Brooks took a lot of liberties with it but he did such an amazing job.
Trying to get out from the shadow of someone in your family can never be easy when your last name is Frankenstein. Victor (Gene Wilder) always tried to distance himself from it for years and always corrected people when they said his last name “It’s pronounced Frankensteen.”
Victor is working in Europe when he finds out that he has inherited his grandfather’s castle. The site where the experiments on the monster took place. He really doesn’t want it but he thinks the only way to escape the curse of his family’s name is to confront it and hope to come to some kind of terms with it. When he arrives he meets some interesting characters like Igor (Marty Feldman), his pretty new assistant Inga (Terri Garr), and even a strange one named “Frau Blooker” (played by the hilarious Cloris Leachman).his own monster
Victor decides the one way to get rid of the stain on his Family’s name is to do make his own monster and try to do it right. He tries his best but when Igor goes to get the brain, the name “Abby Normal” tends to worry Victor just a bit. He proceeds anyway and it seems like he’s done it. The monster (Marty Boyle) seems to be OK but escapes from the castle and goes into the countryside. Victor finds him and brings him back to the castle. Will he find a way to save him?
This movie was just so much fun and has so many laughs. Brooks has tried the same formula with other movies such as “Spaceballs” and “Blazing Saddles.” A great one to add to the collection.

As always, all the movies are available on DVD in stores now. Before we go, another reason Jeff and I gave the pick to Tyler was he’s heading down the road to try some other pursuits and things he’s been wanting to do. I’ve been doing this column for awhile and every time Tyler has brought some great insights and opinions to the table with his tastes and thoughts of movies that we’ve written about over the years. I’m not a person who likes to say goodbye. I’ll just say “Good Luck” and I’ll see you in the sequel. Take care and Godspeed, pal! The Toddster is out of here!