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In 1964, National Educational Television decided to make a program as a memorial to President Kennedy. Since he had been assassinated just a year before, it seemed unnecessary to recite the events of his death again. Executive Producer, Brice Howard, discussed with Hurwitz the possibility of making a film for television that, instead of engaging the assassination head on, would deal with the inevitablity of mortality and its trauma. Essay On Death uses a story of a camping trip by a father and son to weave the thoughts about death that intercede in our everyday affairs. The commentary is made up of writings, ancient and modern, on the life and death. Beautifully realized, it succeeds at a task that mainstream television rarely attempts.
Strange Victory" is about racial bias in post World War II America. Following "Native Land" in Leo Hurwitz' filmography, it uses some of the same techniques: dramatized scenes interspersed with scenes of compilation news reel footage, and scenes of evocative imagery.
The only known film record of the mass march and meeting held in Detroit on Feb. 4, 1932, against hunger and unemployment. Also shows the dramatic demonstration by workers at the Ford auto plant in River Rouge, Michigan in March of 1932, which ended with a violent attack by Dearborn police and Ford Company guards on the crowd with clubs, tear gas and guns which killed four young men. These deaths set off a wave of protest across the country.
Rodgers’ friends and colleagues pay tribute to him. Among the original Broadway cast members reprising the songs they introduced are Vivienne Segal (“Bewitched” from “Pal Joey”) and Alfred Drake (“People Will Say We’re in Love” from “Oklahoma!”). Vera Zorina dances “Rodgers in Three Quarter Time,” a ballet created expressly for the show set to three Rodgers waltzes, and Mary Martin sings “Wonderful Guy” as Rodgers himself accompanies her on piano.
How the art in the Detroit Institute of Art connects to life's experiences and the neighborhood.
By the start of World War II, Paul Robeson had given up his lucrative mainstream work to participate in more socially progressive film and stage productions. Robeson committed his support to Paul Strand and Leo Hurwitz’s political semidocumentary Native Land. With Robeson’s narration and songs, this beautifully shot and edited film exposes violations of Americans’ civil liberties and is a call to action for exploited workers around the country. Scarcely shown since its debut, Native Land represents Robeson’s shift from narrative cinema to the leftist documentaries that would define the final chapter of his controversial film career.
A documentary about the film-maker's wife and co-worker, Peggy Lawson, who died in 1971.
An impressionistic study of the celebrated tap dancer.
The film shows the National Unemployment Council Hunger March of Nov. and Dec. 1931, which set out from disparate parts of the U.S. to represent twelve million unemployed.
First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.