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“You will like it here. We get the cream of the crop. We get the ones with money,” said the caller.

The year was 1986. I had just been invited to teach at one of Canada’s most prestigious universities. Most would have eagerly jumped at the chance.

I went over to see if they looked as silly as they sounded.

When I made it clear I wanted nothing to do with them I was told, “Of course, you realize, your name is mud on this campus.

I replied, “I could not wear it with pride if it were any other color.

Not every one sees my name as mud:

THE CINEFORUM is a blend of Plato’s Academy, 1st century Christianity, Gertrude Stein’s Salon, Henri Langlois’s original Paris Cinematheque, Andy Warhol’s Factories, The Beat Hotel and Rochdale College.

My high school principal told me in the middle of grade 13, “You have the wrong attitude. If you leave this school today you will starve in two weeks.”  I left that moment. I arrived in Toronto in the dead of winter with just enough money in my pocket to buy a beer. I was 17. Drinking age was 21. I did not let that stop me.

TORONTO LIFEsaid, “Reg Hartt is the most loved and loathed man in Canada. People come for the films. They come back for Hartt.”

THE GLOBE AND MAIL said, “REG HARTT is what living in a metropolis is all about. He personifies the city as a meeting place of ideas, as a feast of experience and discussion and debate, as a triumph over the banal and soporific of the original and provoking.”

Rob Salemsaid, “Reg Hartt has had an amazing impact given the size of the venue and the esoteric nature of the programming. He’s had an incredible impact on the city. No one else is doing it. No one else has ever done it.”

Peter More, a Brit Artist, said, “Reg Hartt’s Cineforum is the most perfect place on earth in which to see a movie.

Emo Philipssaid, “I honestly believe Reg Hartt is the greatest teacher I know…For confirmation of everything he says read David Mamet’s TRUE AND FALSE.”

Judith Merril, the mother of modern SF, said, “Reg Hartt is the most creative person in Canada.”

Al Aronowitz, the fabled blacklisted journalist who wrote the first positive press about Allen Ginsberg, William S. Burroughs and Jack Kerouac (and whointroduced Bob Dylan to Allen Ginsberg & The Beatles, The Beatles to pot and Reg Hartt to New York) said, “Reg Hartt made me tingle.”

Chuck Jones, the great animation director, said, “Reg Hartt’s thoughts are close to my heart.”

Will Sloan, a UofT student said, “I rarely felt a film’s greatness in film school. I have often felt it at Reg Hartt’s.”

Steve Leckie, The Vilteones, “I especially like Reg Hartt’s economy with words. In just a few words he says much.”

Smith Hart said, “Reg Hartt is cool.”

Jane Jacobs, author of THE DEATH AND LIFE OF GREAT AMERICAN CITIES said, “The best part of a Reg Hartt presentation is what he has to say.”

Grim Natwick, the creator of Betty Boop, principal animation artist on the character of SNOW WHITE for Walt Disney and the man chosen over Adolf Hitler by the Art School in Vienna, said. “Reg Hartt reminds me of Max Fleischer and Walt Disney. He is inspirational.”                                                          

John Kricfalusi, creator of Ren & Stimpy, who lived in Reg Hartt’s house, said, “I hope Reg Hartt continues to inspire young artists.”

Not too shabby for a high school walk out.

Imagine what you might do.

P.S. To their dying day my mother and father felt I had made all the wrong choices. Many in my family are ashamed of me.

Bix Beiderbecke was one of the greatest musicians of all time. He sent home to his family a copy of each of his recordings. They remained unopened. His family was ashamed of him. Salvador Dali‘s father tried to shoot him. If Rimbaud‘s family had had their way all of his poetry would have been burned.

If your family is ashamed of you you are not alone. Sometimes the most important thing we can do for our family is to leave them behind. Leaving them behind does not mean nor does it need to mean that we stop caring for them nor stop loving them.

Reg Hartt: Raising Hell in Toront

One night in 1981 I was walking up Yonge Sreet when I felt the need to have sex. I walked into The Parkside Tavern, looked around the room and saw a man who stood out from the crowd as I have seen few do. I went over to him and said, "I want to go home with you tonight. If you feel the same way I will be sitting over there." That night one of the most important people I was to meet entered my life for the first time. His name was Billy Panko. He is the man on the General Idea Milk Boy poster. Billy was as bright as he was beautiful.

Billy Panko, The General Idea Milk Boy. By chance we became friends. I could not ask for a better one.

o since 1968.

A young man with a tattoo of Arthur Rimbaud. Unlike far too many queer young men Rimbaud was not ageist. He was 17 when ripped the older Paul Verlaine from the arms of his wife and child.

A young man with a tattoo of Arthur Rimbaud.



“The function of the artist is to disturb.  His duty is to arouse the sleeper, to shake the complacent killers of the world.  He reminds the world of its dark ancestry, shows the world its present and points the way to its new birth.  He is at once the product and preceptor of his time…  In a world terrified of change, he preaches revolution – the principle of life.  He is an agitator, a disturber of the peace – quick, impatient, positive, restless and disquieting.  He is the creative spirit of life, working in the soul of men.”–Adrienne Clarkson, EXTRAORDINARY CANADIAN: NORMAN BETHUNE.

“In my country we had an iron curtain and we knew it. In your country you have an iron curtain of the mind and don’t know it,” a young Russian told me.

“Some of us do,” I replied.

Bethune’s definition of the function of the artist is also the definition of an Old Testament Prophet. It fits Jesus to a “T.” Just take, “He reminds the world of its dark ancestry, shows the world its present and points the way to its new birth,” and change new birth to Resurrection. “He is at once the product and preceptor of his time…” Preceptor means “An expert or specialist, such as a physician, who gives practical experience and training to a student, especially of medicine or nursing.” ( ).

There are those who think that being an artist is producing work for rich folk to buy.

That is not an artist. That is a merchant.

There are also those who think an artist is someone who sings the songs folks want to hear. That is not an artist. That is an entertainer.

The merchant and the entertainer walk the broad path.

The artist walks the strait and narrow.

The merchant and the entertainer complain when times get tough. They quickly revert to what sells. To them a true artist is always seen as a crazy person.



Sometimes the bear eats you

“Sometimes you eat the bear. Sometimes the bear eats you,” my father would say. Those words pop up in the Coen Brothers’ film THE BIG LIEBOWSKI.

Last night the bear tried to take a chunk out of me.

Several people young and older stormed out of my talk, WHAT I LEARNED WITH LSD.

“This isn’t what I came for?” said one.

“I thought this would be different,” shouted another.

“I came to one of your presentations years ago. It was just like this!” shouted a woman who laughed, got up and left.

“I have to go,” said the man who had come with her.

“Get to the point!” shouted a young man.

In THE WAY OF THE TAO Lao Tze wrote: “When a sage of the highest order hears about the way he is quick to act in accordance with it. When a sage of the middle order hears about the way he half believes, half doubts. When a sage of the lowest order hears about the way he laughs loudly. If he does not laugh loudly it is not yet the true way.”

Today those folk are probably telling all and sundry what an anus I am.

When they had left the three people who had least seemed to be interested while I was speaking turned out to be the ones who were listening most closely.

One remarkable older woman filled with the vitality of a youthful woman spoke about her experiences with ayahuasca and DMT. It turned out that what was needed was that those who had left leave.

One does not have to be an old person to be a sage of the highest order. Last week I had several young men here in their late teens. Each was a sage of the highest order. Sages of the highest order are not made. People can take all the courses in metaphysics and altered states on consciousness they want. They do it in vain. A true sage of the highest order need take no special courses. S/he is born a sage of the highest order.

The poor bear did not even get a bite.20121 6088865baa6c7ba2ab2af57f6d5d1f07_article ayahuasca___kaialagoulart_painting_2012_by_artekaialagoulart-d55k0m5 Ayahuasca_by_autechre2002 ayahuasca_vision_by_willowhole-d5stum6 ayahuasca-pleasant-vision ayahuasca-visions_014 goddess-001aa lsd-444890 pablo2 Trippy_Loops_by_UberMari0 trippyy


BLIND FAITH: Belief without true understanding, perception or discrimination.

Matthew 4:1-11 ( )

New International Version (NIV)

Jesus Is Tested in the Wilderness

Then Jesus was led by the Spirit into the wilderness to be tempted[a] by the devil. After fasting forty days and forty nights, he was hungry. The tempter came to him and said, “If you are the Son of God, tell these stones to become bread.”

Jesus answered, “It is written: ‘Man shall not live on bread alone, but on every word that comes from the mouth of God.’[b]

Then the devil took him to the holy city and had him stand on the highest point of the temple. “If you are the Son of God,” he said, “throw yourself down. For it is written:

“‘He will command his angels concerning you,
    and they will lift you up in their hands,
    so that you will not strike your foot against a stone.’[c]

Jesus answered him, “It is also written: ‘Do not put the Lord your God to the test.’[d]

Again, the devil took him to a very high mountain and showed him all the kingdoms of the world and their splendor. “All this I will give you,” he said, “if you will bow down and worship me.”

10 Jesus said to him, “Away from me, Satan! For it is written: ‘Worship the Lord your God, and serve him only.’[e]

11 Then the devil left him, and angels came and attended him.

A while back a man who let poisonous snakes bite him as a sign of his faith was killed by a poisonous snake which bit him ( ). While many might think that God failed him (and those who don’t believe in God that he was whatever they think he was) clearly the man had yielded to the second of the three temptations which Satan put before Jesus in the desert. He was tempting God. God did not fail him. He failed God.

This is what is meant by being able to discern the word.

Most fall for the last of the three temptations. They enter politics.

Here is a Sufi story:


There was a man who was a woodcutter. He heard that in the next village there were people who worshiped a gum tree. And he thought, I’m going to take my ax and cut down that tree. So he put his ax on his shoulder and walked down the path toward the town with the intention of chopping down that tree. He knew that Allah is One. And they were wrong to worship that tree. Before he approached the town, a figure jumped before him and announced that he was the Devil and asked, “Where are you going?”

The woodcutter answered, “I’m going to chop down the gum tree in the next village because the people there worship it.”

The Devil told him, “Look, it’s not necessary. Let them do what they do. You go and do what you want to do. ”

He said,”No, I insist. I have every intention to go.”

The devil tried to stop him. The man punched him down and jumped on top of him and held him there. Presently the devil looked up at him and said, “Look, you’ve got me pinned down now. Let’s make a deal. I will give you one piece of gold every single day. It will be under your pillow in the morning for the rest of your life if only you forget this task and go back home.”

The man thought, every day of my life? The Devil said, “Yes. That’s a promise.”

He asked the Devil, “How do I know you’ll keep this promise?”

“The first day that you don’t find the gold, you can just take your ax, and come and chop down this tree.”
He thought that seemed logical and agreed. That night he had a sleepless night wondering whether the gold would be under his pillow or not. When he awoke in the morning, there was a piece of gold. He had visions of being an extremely wealthy man. Because he thought every day one piece of gold would appear. The next night, the anticipation of the gold again prevented him from sleeping well. And when he woke, he searched under his pillow, and there was no gold. There was nothing. He looked all around thinking that it might have fallen down, but it wasn’t anywhere to be found. He got very angry, picked up his ax and said, I’m going to chop that tree into bits. And he stalked off to the village. At the same spot he met the Devil again.

He said, “You tricked me so now I’m going to chop that tree”.

The Devil said, “Now look, let the villagers do what they want, and you go and you do—–”

And in a flash, this time the Devil was on top of him. He was weakened. As strong as he was, he couldn’t move.

He looked up, and the devil said to him, “Now do you want to know why it was so easy for me to overthrow you this time? Where as before, you threw me down, and were more powerful than I was.”

He said, “yes.”

And the Devil said to him, “Yesterday you were going to chop the tree down because of your faith in Allah. And today you were going to chop the tree down because you didn’t get gold. If you desire gold, it will weaken you in this world.”


When we desire gold and not God our life goes to Hell. The addition of that “L” kills us.


 1 John 4:1

Douay-Rheims 1899 American Edition (DRA)

4 Dearly beloved, believe not every spirit, but try the spirits if they be of God: because many false prophets are gone out into the world.



Proverbs 4:7

Authorized (King James) Version (AKJV)

Wisdom is the principal thing; therefore get wisdom:
and with all thy getting get understanding.


Clearly while wisdom is the principal thing wisdom without understand is nothing.

Solomon asked for wisdom.

I asked for understanding.

–Reg Hartt



THE BIRTH OF A NATION is essentially truthful.”–William M. Drew (D. W.Griffith Scholar and Motion Picture Historian).

Nancy Beiman 6633a3e3c1a241ec050d239cc8c066cc

Nancy Beiman

Nancy Beiman


What follows is my reply to her threat:

Remove me. It won’t be the first time I was kicked out of a group (or a church) for speaking the truth. TWELVE YEARS A SLAVE is a fine film. I have no doubt what we see in it happened. I have seen the same sort of brute behavior on the part of “civilized” people today far too often. 

We seem the same chaos and the same events depicted in THE BIRTH depicted in GONE WITH THE WIND. The only difference is that GONE WITH THE WIND, by removing all reference to the Klan except in the most oblique terms is a dishonest film which is why Margaret Mitchell, the author of the book, said, “THE BIRTH OF A NATION is the only honest film” about that conflict.

Do I agree with the ideas expressed? Of course not.

The value, to myself, of THE BIRTH is that I see those values expressed clearly. Certainly, Griffith’s ideas of Heaven come the Revelation are limited. 

[In THE BIRTH] Griffith in his subtitles makes clear that the Black people were the puppets of unscrupulous Northern whites.

My hand is not responsible for what my head directs it to do.

Far too many lack the discernment to understand that Griffith, in those titles, absolves the Black beforehand.

This is a complicated issue which requires more space (and time) than this format allows.

Once in a church I was going to I quoted, “A man’s reach must exceed his grasp…” “We won’t have that here!” shouted the congregation as a body. I was  seized and shown the door. That made a heckuva scene.

I flagged a passing cab. “What happened there?” the driver asked. “I quoted, ‘A man’s reach must exceed his grasp.’ I never got to, ‘Or what’s a Heaven for.’ They shouted, ‘We won’t have that here,’ and threw me out.”

“My God,” he said, “they are all losers.”

Katharine Hepburn at the dawn of her career was invited to join New York’s prestigious Group Theater. She turned them down saying, “I want no part of the group dynamic. The group dynamic is always second rate.”

The mere fact you choose to threaten me with expulsion proves not only that you are second rate but also ignorant. Good-bye.

D. W. Griffith‘s THE BIRTH OF A NATION (1915) began production as the motion picture adaptation of a popular novel and play THE CLANSMAN by The Reverend Thomas E. Dixon ( ,,_Jr. , .) To ascribe the ideas of the work’s author Dixon is to ascribe the character of Robert Bloch to Alfred Hitchcock for having filmed Bloch’s novel PSYCHO.

THE BIRTH OF A NATION is a great film, perhaps the greatest ever made. Our personal like or dislike of the picture has nothing to do with its greatness. Some folk make the trek to The Louvre, look at The Mona Lisa and wonder what all the fuss is about. Truth be told, probably the majority of those who stare at have not a clue what they are looking at. They just want to be able to say afterwards, “I saw the Mona Lisa,” as if that somehow lends value to their lives.

Arguments to the rightness or wrongness of slavery, social attitudes and issues of the time, etc., while often engaged in are irrelevant to serious discussion of the picture.

Before THE BIRTH we have a blank canvas. After THE BIRTH we have everything. THE BIRTH is the big bang moment in the the birth of the motion picture as an art form, an industry and a medium of mass communication.

I am posting this however because in this one woman, Nancy Beiman, is summed up everything that is wrong with public education.

John Taylor Gatto can, if you care, fill you in on that ( ).

In the middle of my last year in high school my principal called me into his office where he told me I had the wrong attitude and would starve in two weeks if I left school that day. That was fifty years ago. Had I not left I would have starved.

I encourage others to turn their back on academia. Unfortunately most lack what it takes to do that but then, the first rate have always been few in number. “I had great teachers in the first and second grades who taught me everything I know. After that the terachers were nice but they were dumb,” said my friend Jane Jacobs  ( , ).

Nancy Beiman is the dumbest of the dumb.

It is one thing for a casual movie goer to espouse the attitudes she manifests and quite another for a person who sees themselves as an educator. Unfortunately it is a far too common thing.

William M. Drew (D. W. Griffith scholar) on THE BIRTH OF A NATION from a letter to Geoff Pevere of THE TORONTO STAR:

—–Original Message—–
Sent: 1/11/2005 3:52 AM
Subject: on maligning D. W. Griffith

Dear Geoff Pevere,

In your zeal to denigrate D. W. Griffith and “The Birth of a Nation,” you are guilty of several gross errors and untruths. As a film historian who has for years attempted to bring recognition to Griffith’s relevance as a great artist (among my publications is the 1986 book, “D. W. Griffith’s ‘Intolerance’: Its Genesis and Its Vision”), I have had to continually respond to those who, under the guise of presenting facts, consistently perpetrate myths and outright falsehoods about the director. The apparent objective is to unmask Griffith as an evil-minded racist who caused great harm to American society, and in the service of such an endeavor accuracy is of no concern whatever. I do not believe these inaccuracies and misstatements are all accidental slip-ups but represent a calculated effort on the part of these critics to justify censorship and military occupation, things which they would normally oppose After a lifetime of battling people such as yourself, I am frankly sick and tired of the controversy and am presently debating with myself whether I should even bother to respond to your reckless disregard for the truth. Nevertheless, I will point out several gross errors in your article:

1. Margaret Mitchell, not Edna Ferber, was the author of “Gone With the Wind.” This bizarre inaccuracy has already been pointed out on the newsgroup, alt.movies.silent. It seems to be typical of your approach to scholarly research in general.

2. You state that the longest American film made prior to “The Birth of a Nation” was a four-reel film by Griffith running 40 minutes (presumably, you mean the 4-reel “Judith of Bethulia” which, at the proper projection speed, runs about one hour). In fact, most of the early American features of 1912, 1913 and 1914 were five or six reels in length. The first full-length US feature, “Richard III” (1912), the rediscovery of which received great publicity some years ago, was 5 reels in length; Helen Gardner’s “Clipart” (1912) was 6 reels. In 1914, Mack Sennett’s famous comedy feature, “Tile’s Punctured Romance,” was 6 reels, as was the “The Squaw Man,” co-directed by Oscar Capful and Cecil B. Demille. Other films Demille directed that year, such as “The Virginian,” were 5 reels long. In the case of Griffith, the four reels of “Judith,” his final film for Biography (filmed in 1913, released in1914), was a compromise between the studio’s insistence on shorter films and his desire to expand with longer films. After that, Griffith left Biography and, in partnership with the Aitken brothers, formed his own company for the purpose of making feature films. In 1914, he directed the following four features prior to “The Birth of a Nation”: “The Battle of the Sexes” (5 reels), “The Escape” (7 reels), “Home, Sweet Home” (6 reels), “The Avenging Conscience” (7-8 reels). I believe the longest American feature released in 1914 may have been Selig’s version of the famous Western story, “The Spoilers,” 9 reels in length or nearly two hours running time at silent speed. 1914 also saw the release of the first Canadian feature, “Evangeline,” produced by Bioscope at 5 reels. (It was also shown widely in the US.) I guess you simply didn’t bother to look up the acknowledged facts in making your statement that a four reel film was the longest American feature prior to “The Birth.”

3. You state that “The Birth” was the most popular film of the entire silent era. This may be more excusable than the others, but it is still something which has long been refuted by more scholarly studies. The biggest box office hit of the whole silent period was King Vidor’s World War I epic, “The Big Parade,” released in 1925. “The Birth” was the single most popular American film of the 1910s, no question about that, but the exaggerated claims of how much money it made and how many people saw it stem from the Griffith company’s publicity department and the film’s various distributors over the years. Initially, it was an understandable way of attracting favorable publicity and increasing its box office pull during its later revivals. More recently, however, it has been used as a tool against Griffith and the film by those who, by accepting the inflated numbers, now assign the film to the central position in American race relations, in effect, making Griffith responsible for the entire course (in a negative sense) of the black experience in much of the 20th century.

4. This leads to your most egregious misstatement, one that is absolutely unforgivable. You write that, in the year of 1915, membership in the revived Klan in the state of Georgia alone suddenly “ballooned to 8 million, and 22 Klan-related lynchings took place. This is historic fact.”

Er–not quite. In 1915, the total population of was between two and three million people. 50 years later, the state’s population was just under four million. It has only been in recent years that Georgia’s population reached and then surpassed eight million. As for the figures regarding the number of Klan members in the US in the period beginning in 1915, membership grew slowly; it was only in 1920 and 1921, following the breakdown of Progressivism in World War I and the Red Scare, that the Klan emerged as a powerful organization in the US. Even so, it never attained 8 million members nationwide, much less in the state of Georgia. In 1921, it was estimated that over 100,000 people had joined the Klan; at its peak of popularity in the mid-20s, membership is estimated to have been 6 million for the entire country. After that, however, it quickly declined after a series of scandals and widespread corruption brought upon them well-merited scorn. The attempt to blame the whole thing on Griffith, which, as the title of your article suggests, seems to be your main point is excessively misleading and simplistic. The immediate spark that brought the Klan back into existence in Georgia was the sensational Leo Frank case which raged in Georgia throughout 1913 and 1914, climaxing in his lynching in 1915. A Jew from the North, he had been falsely accused of raping and murdering a young girl named Mary Phagan. Ironically, the real culprit was a black man who falsely implicated Frank. Members or supporters of Frank’s lynch mob, calling themselves the Friends of Mary Phagan, soon started a new Ku Klux Klan, which first appeared in Georgia in November of 1915. However, they were only a minor organization at that time. Had the United States managed to stay out of involvement in World War I, the new KKK would probably have gotten nowhere. What provided the shot in the arm to turn them into a national phenomenon was the hatreds and repressive climate spawned by World War I and the reaction to the demands for greater equality by minorities and labor. The KKK rode the wave of this reactionary mood for several years, not because of Griffith’s film (which, in 1920, when the Klan began its first major recruiting drive, had not been screened for several years) but because of the right-wing climate of the time. However, most people these days, instead of undertaking a sophisticated examination of the social, economic and political strains that gave rise to the revived KKK, prefer a simple demonization of D. W. Griffith. That Griffith had earlier directed a film in 1911, “The Rose of Kentucky,” which depicted the Klan as heavies, and that his pleas for tolerance in “Intolerance” (1916) and “Broken Blossoms” (1919) were totally opposed to the kind of bigotry embodied by the revived KKK is something his critics now choose to forget.

The myths, exaggerations and total fabrications have had their effect of erasing Griffith’s reputation in his own country. It was 30 years ago that his centennial was widely observed here and a postage stamp issued in his honor. Griffith was largely revered as, in the words of Orson Welles, “the premier genius of our medium.” Sadly, with the passing of the “Griffith generation” (those directors from Allan Dwan and King Vidor to Orson Welles and John Huston who were most directly  influenced by him) as well as close associates like Lillian Gish, there were elements who emerged that were bent on destroying him. They have succeeded beyond their wildest dreams, symbolized several years ago by the Director’s Guild of America dumping their DWG lifetime achievement award amidst a torrent of anti-Griffith invective justifying the move.  In his own country, Griffith is now largely remembered, not as the visionary who transformed an art worldwide but merely as the “racist” who allegedly poisoned American race relations. His detractors never mention his criticism of the capitalist system in his films, his championship of women, the poor, the Native Americans, his opposition to war, the death penalty and (in a number of films) racism. Instead, they have created a monster bearing no resemblance to the real individual.

In order to create this unlovely, fanciful portrait, they will not hesitate to make up any story, circulate any outrageous claim. A number of years ago, a writer named Homer Croy wrote a fictionalized account of Griffith’s life in which he included an invented tale and character, a black maid of Griffith’s who was allegedly so offended by “The Birth” that she angrily departed his service. Although this incident never took place nor did the woman even exist, the story of Cora the black maid who stood up to the nefarious Griffith was related as fact in a widely-seen PBS documentary on black filmmakers and has continued to circulate ever since, despite my own efforts to point out the falsity of this anecdote. I would be typing a far longer letter than this if I were to point out the errors and outright lies that inevitably crop up in articles, books, documentaries etc. intending to malign Griffith. In fact, I have never yet seen an article slamming Griffith over “The Birth” without its including at least one or two such falsifications.

The beleaguered few who still try to uphold his reputation are, by contrast, usually much more accurate.  As to why people persist in this pattern of distortion instead of relating the simple facts, I believe it is largely because they subscribe to the same kind of “noble lie” advanced by the Straussian neocons to justify such actions as the US conquest of Iraq. After all, if the goal is the lofty one of creating a democratic Middle East or a racially egalitarian society, why bother with a little thing like the truth? So go ahead–repeat the claim that Iraq had weapons of mass destruction and was in league with Al Qaeda–and that Griffith was the main source of all of America’s racial problems and that his film led to hundreds of people being killed. (I’ve done considerable research in the papers of that period, and I’ve yet to uncover a single instance of a showing of “The Birth” provoking a lynching or a deadly race riot.

The violence it caused was mainly in the form of scattered fist fights and vandalism during the course of protest demonstrations. Significantly, no one has ever sought reparations because of some supposed harm done to them or their family because of the release of “The Birth.”) However, if Griffith’s enemies have their way, the film may finally lead to bloodshed–any individual publicly showing “The Birth” in the US today runs the risk of being killed. Just last year, when Charlie Lustman announced his intention of screening “The Birth” for one night only at his Silent Movie Theatre in Los Angeles, his life was threatened and protestors spoke of burning down the theatre.

Thus, Griffith’s foes through their litany of errors and falsehoods have succeeded in creating such a climate of fear that it is virtually impossible now to have even a limited public screening of the film. And they have so tarnished Griffith’s name that few people here are even willing to discuss any of his work with the blending of sympathy and objectivity that is essential to all valid aesthetic criticism. That in discrediting the film’s depiction of history in favor of a rosy picture of the Reconstruction era they are also trying to justify military occupation is perhaps another reason for their persistence. In their heart of hearts, they know “The Birth of a Nation” is essentially truthful in its portrayal of the harshness of a civilian population being subjected to military rule. The nagging feeling that many of these critics have that Griffith’s film IS valid is one reason they are driven to such frenzies. An outrageously foolish distortion of historical reality would hardly arouse such fierce opposition for such a long time. It is the truth which hurts–and the truth which must be suppressed. There is no such thing as a “nice” military occupation–as is being demonstrated once again in the US aggression in Iraq and was also true in the defeated South in the 19th century.

Given my great respect for Canada and Canadians, I am sorry to see that even a Canadian publication has signed on to the mountain of misinformation that has destroyed D. W. Griffith’s reputation in his own country. Griffith was very much a friend of Canada and in the mid-20s made a speech in the Canadian parliament in which he urged them to develop their own film industry independent of both Hollywood and Britain. However, it appears that the use of a common language, English, facilitates the spread of the anti-Griffith propaganda since it is largely in the non-English-speaking world (countries like France and Japan) that Griffith is now most highly regarded.

Perhaps this letter has been another exercise in futility on my part. But in closing, I’m providing a link to my own online article on Griffith which, I believe, places his achievements in the proper perspective.

The URL is:


It is part of my series of articles on great silent film directors representing every inhabited continent of the globe at:


I have also included some of Griffith’s anti-war statements in my online “pamphlet,” “Hollywood’s
Answer to War,” at:


William M. Drew
PS. The photo used to accompany your article is from Griffith’s “Abraham Lincoln,” not “The Birth of a Nation.” Yet another error.

I have included this reference to Nancy Beiman which I got this morning Jerry Beck because it confirms everything I intuitively felt about this woman.

     I had Nancy Beiman as a professor at the Savannah College of Art and Design. She only lasted for a year or two, but she was hands down the absolute worst animation teacher I have ever had (I earned my BFA in Traditional Animation from SCAD, and got stellar grades; I also have an MFA from the Academy of Art University in Film with a minor in Concept Development for Animation). She was rude, dismissive, condescending, and downright evil. Rather than enabling female students to be prepared to enter into the male dominated world of animation, she instead mistreated us, focusing only on the males in class whom she deemed to be worthy of her attention. She also routinely tore into any homosexual males in our class, whittling us down from six students (while most instructors had 13-20 students per class, students were too terrified of Nancy to take her class), to only two students-both white, straight males. She verbally attacked a female student who was pregnant, asking her during her third trimester why this “child she was carrying” was “more important than her degree”. The woman was a monster, who acts as if she is the end-all, be-all of animation. She was never a supportive mentor or teacher, and instead used her credentials from CalArts and her few films she was able to actually work on at Disney as an excuse for mistreating those around her. To top it all off, she was eventually fired from SCAD after an incident in which she demeaned a student who was Asian-American, implying that he could not understand or speak English (which he could, perfectly, because it is his native tongue), all because he was unable to check out a piece of equipment she wanted, due to another professor having it checked out. From what I heard, after she was fired from Disney, she came to us, and after she was fired from SCAD, she went to EA Games, where she was fired after she got into a fight with a fellow employee over a copier. I wish NPR had interviewed someone with more credibility and kindness as an animator from this insanely talented group of artists at CalArts, as opposed to the horrific monster who treated myself and every other aspiring female animator as if we were usurping, conniving whores out to steal her job (the implications she made towards me during a particularly brutal final class we spent together).

WHY ACADEMICS HAVE NEVER OPPOSED TYRANTS: “After all, what is a scholar? One who may not break bounds under pain of expulsion from the academy of which he is a member.”—Robert Graves, THE WHITE GODDESS pg. 25.

In plain English, it is because they have no balls.

Tuesday, April 8, 15, 22, 29.

7pm: THE FILM OF ADOLF HITLER’S 1934 NUREMBERG RALLY.reg+hartt+2Reg Hartt   3 Reg Hartt   4 Reg Hartt   7 Reg Hartt   15 Reg Hartt   16 Reg Hartt   17


The Cineforum, 4673 Bathurst below College Across From The Beer Store, Toronto, Ontario, Canada. 416-603-6643.

Introductions By Reg Hartt.Stupid People harlan ellison crop einstein-great-spirits-have-always-encountered-violent-opposition-from-mediocre-minds TRIUMPH OF REG'S WILL TRIUMPH OF THE WILL Telegraph Journal press 052 Winifred-Wagner-right-with-Hitler tinpan09z


“and if you call me ignorant, Mr. Hartt, I will be removing you from this page. Thank you.”—Nancy Beiman.

One of the most important films we can see is Leni Rifenstahl’s TRIUMPH OF THE WILL, the film of Adolf Hitler’s 1934 Nuremberg rally.

I have been screening this film since 1972. I have seen it more times than probably anyone else on the planet. When I first screened the film a large part of the audience rose and gave a Nazi salute when Hitler stepped off the plane at Nuremberg the first time. I knew that if I stopped the film there would be a riot and that the print would probably be stolen (There were several big men back near the projector). I let the moment pass.

At the next screening a week later I introduced the program for the first time. I dealt with the back story. My determination was that there would be no more public displays of admiration for Hitler.

Unbeknown to me there were several people in the audience from The Ontario Human Rights Society. They were there, they told me after, because they had received complaints I was promoting Nazi beliefs through my screening of the film. As a body they said to me, “You are doing great work here. Keep it up.”

I continued screening the film. Many of the people who came out to see it spoke with me after the presentation. Naturally, I welcomed their input. One woman who came week after week for many weeks intrigued me. I could understand seeing the film two or three times but this went way beyond that. Finally I asked her why she was coming so often.

She replied, “I am in it.” She then told me that she had been six years old when all this had happened. She was Jewish. She lost her entire family to Hitler and his beliefs. She had come the first time out of interest. In one scene when a camera panned by a building she recognized her father, her mother, her brothers, her sisters and herself leaning out of a window viewing the spectacle waving Nazi flags as Hitler and company rolled by. As I said, they were Jews.

I was so awed by her response that I moved back and respected her space. It was the last thing I expected to hear. Later, during the week, I thought of having her identify the scene so that I could have a photograph made for fer from the frame. She never returned after that moment I spoke with her. To this day I wish I had been more swift on my feet.

There are no end of silly people swift to judge and even more swift to condemn. It was to such as these that Hitler addressed his speeches.

This week a silly woman upset because I took umbrage with her uniformed comments on D. W. Griffith’s THE BIRTH OF A NATION (1915), a film equally as volatile as this one, threatened to remove me from her site.

I replied, “Remove me. It won’t be the first time I was kicked out of a group (or a church) for speaking the truth.
TWELVE YEARS A SLAVE is a fine film. I have no doubt what we see in it happened.

I have seen the same sort of brute behavior on the part of “civilized” people today far too often. We seem the same chaos and the same events depicted in THE BIRTH depicted in GONE WITH THE WIND. The only difference is that GONE WITH THE WIND, by removing all reference to the Klan except in the most oblique terms is a dishonest film which is why Margaret Mitchell, the author of the book, said, “THE BIRTH OF A NATION is the only honest film” about that conflict.

Do I agree with the ideas expressed? Of course not.

The value, to myself, of THE BIRTH is that I see those values expressed clearly. Certainly, Griffith’s ideas of Heaven come the Revelation are certainly limited. Griffith in his subtitles makes clear that the Black people were the puppets of unscrupulous Northern whites. My hand is not responsible for what my head directs it to do. Far too many lack the discernment to understand that Griffith, in those titles, absolves the Black beforehand. This is a complicated issue which requires more space (and time) than this format allows.

Once in a church I was going to I quoted, “A man’s reach must exceed his grasp…” “We won’t have that here!” shouted the congregation as a body. I was seized and shown the door. That made a heckuva scene. I flagged a passing cab. “What happened there?” the driver asked. “I quoted, ‘A man’s reach must exceed his grasp.’ I never got to, ‘Or what’s a Heaven for.’ They shouted, ‘We won’t have that here,’ and threw me out.”

“My God,” he said, “they are all losers.”

Katharine Hepburn at the dawn of her career was invited to join New York’s prestigious Group Theater. She turned them down saying, “I want no part of the group dynamic. The group dynamic is always second rate.” The mere fact you choose to threaten me with expulsion proves not only that you are second rate but also ignorant. Good-bye.”

Of course,the moment I sent the reply I was banned from her site. No shame there. The shame would have been in caving in to this silly creature’s threat.

Montesquieu said, “We get three educations. The first is from our parents, the second our schoolmaster, the third from life. The last makes liars of the first two.”

This woman describes herself as a grand poobah at a College. She reminded me of a time I found myself sitting in a club car on a train surrounded by high school principals. The head one said, “Sir, if you not not desist I will have you thrown from this train.” I said to myself, “The silly bitch thinks she is in a school.” As soon as the words left her mouth the conductor of the train spoke up. He said, “Sir, don’t you give her any mind.”

I have learned much from showing this film. The essential thing I learned is that when threatened with expulsion we must always say good-bye.

I am not alone in this.

“Most teachers say you should go to school to get your degree to have something to fall back on. Aside from being a huge lie, that also creates a very high level of mediocrity, because nobody who really believes that is going to take the leap of faith required to be a serious artist. Stay out of school.”–Ellis Marsalis to his sons Branford, Delfeayo and Wynton.

So great was the power of Nazi propaganda that it terrified people into submission by making them think they were defeated before they began to fight.

There is no greater antidote to the power of tyranny than laughter. This is an examination of the power of laughter to win wars. It is a greater weapon than any bomb, cannon or gun.

One of the people at my programs gave me a copy of Jerry Mander‘s book FOUR ARGUMENTS FOR THE ELIMINATION OF TELEVISION (which I can not recommend too highly).  Mander writes, “In retrospect we can see what should have been obvious all along. The Great Depression of the 1930s never ended. It went underground, covered over by a war which created jobs and expanded industrial capacity, and then, when the war was over, by an advertising fantasy, a pipe dream sold to us with a purpose.”


April 2014 @ The Cineforum

April 2014 @ The Cineforum, 463 Bathurst below College across from The Beer Store (B.Y.O.F.D.)

Saturday, April 5, 12, 19, 26.

7pm: THE BEST OF THE SEX & VIOLENCE CARTOON FESTIVAL Bugs Bunny, Daffy Duck, Popeye, Betty Boop and their pals have been spanked.

Columnist Terry Ramsaye reported in the MOTION PICTURE HERALD of February 28, 1931:

“Mickey Mouse, the artistic offspring of Walt Disney, has fallen afoul of the censors in a big way, largely because of his amazing success. Papas and Mamas, especially Mamas, have spoken vigorously to censor boards and elsewhere about what a devilish, naughty little mouse Mickey turned out to be. Now we find that Mickey is not to drink, smoke, or tease the stock in the barnyard. Mickey has been spanked. It is the old, old story. If nobody knows you, you can do anything, and if everybody knows you, you can’t do anything – except what every one approves, which is very little of anything. It has happened often enough among the human stars of the screen and now it gets even the little fellow in black and white who is no thicker than a pencil mark and exists solely in a state of mind.”—Terry Ramsaye, MOTION PICTURE HERALD, Feb. 28, 1931.

Cut everything that might offend anyone,” cried the sponsors when they received letters from irate mothers threatening to boycott their products because they felt Bugs Bunny, Daffy Duck, Popeye, Betty Boop and their pals were having a bad influence on kids. To see what has been cut go here: . To see these films as we are meant to come to this festival.

 9pm: REG HARTT: WHAT I LEARNED FROM LSD (2014) A Film talk By Reg Hartt. Everything I had read and seen about LSD told me that if I used it I would lose my self control. I might even get so scared I would try to kill myself. Then, by pure chance, I was offered LSD in 1968. Naturally, I turned down the offer. But something happened that caused me to take a chance. Half an hour into that first trip the person who had given it to me came back. He seemed friendly. He said friendly things. I was shocked to see that I could look into his soul where I saw he had nothing but contempt for me. That did not bother me. What bothered me was the realization that the lie is that transparent. I knew that from that moment on I would have to anchor myself in the truth. After having done LSD that first time I realized everything I had in mainstream media I had heard, read and seen about it was not true. Naturally, I researched the subject. Information is meant not to be hoarded but to be shared. People tell me they have gained a lot from hearing this talk. I have certainly gained a lot from having them share their experience with me.

Here are some films on YOUTUBE you can look at: Anti-LSD Propaganda  1960s. ,

First rate documentaries:

Sunday, April 6, 13, 20, 27.

7pm: Reg Hartt’s NOSFERATU, A SYMPHONY OF FEAR (1922) F. W. Murnau. Presented with a score arranged by Reg Hartt from the macabre music of the world’s greatest composers: Includes Beethoven’s MOONLIGHT SONATA, Chopin’s FUNERAL MARCH and WINTER WIND, Saint Saen’s DANCE OF DEATH, Wagner’s SIEGFRIED’S FUNERAL MARCH and Scriabin’s infamous # 9 BLACK MASS SONATA (which the composer claimed, properly performed will bring on the Apocalypse.

 9pm: Reg Hartt’s KID DRACULA [NOSFERATU (1922) presented with a score arranged from RADIOHEAD’S KID A and OK COMPUTER]

 Monday, April 7, 14, 21, 28.

 7pm: Reg Hartt: The Essential Silent Films: THE BIRTH OF A NATION (1915) D. W. Griffith. Presented with a special score created by Reg Hartt after consultation with motion picture sound pioneer Bernard B. Brown (Who, in addition to playing first violin through 365 presentations of THE BIRTH at Clune’s auditorium in Lo Angeles during its premiere 1915 engagement also Directed The Sound recording on 1927’s THE JAZZ SINGER, introduced multi-track recording on 1939’s ONE HUNDRED MEN AND A GIRL, served as head of sound first at Warner Brothers and then at Universal, received 11 Academy Award Nominations and Two Oscars, taught Film & Film Sound At UCLA when he retired).

 Tuesday, April 8, 15, 22, 29.

7pm: Reg Hartt Presents The complete, uncut film of Adolf Hitler’s 1934 Nuremberg Rally. Special introduction.

9:30 pm: Reg Hartt Presents World War Two Propaganda Cartoon Festival.

Wednesday, April 9, 16, 23, 30.

 7:00 pm: ONE FLEW OVER THE CUCKOO’S NEST (1975) Milos Forman.

 9:30 pm: Post Film Talk By Reg Hartt; WHY DOES A ROLLING STONE GATHER NO MOSS?  OR WHAT HAPPENED TO ME AFTER MY FAMILY COMMITTED ME AGAINST MY WILL TO McMASTER PSYCHIATRIC HOSPITAL IN HAMILTON ON THE EVE OF MY 35th BIRTHDAY IN 1981. (The kicker is that this had been foretold to me by a man I had met by chance in a Toronto bar when I was 17. At that time I had laughed. I thought that no one could foretell what tomorrow will bring. Now I know different.

Thursday, April 10.

7pm: Jack Troughton Presents The Films Of The Coen Brothers: THE MAN WHO WASN’T THERE (2001)

Thursday, April 17.

7pm: Jack Troughton Presents The Films Of The Coen Brothers: INTOLERABLE CRUELTY (2003)

Thursday, April 24. See and compare.

5pm: THE LADYKILLERS (1955) Alexander Mackendrick

7pm: Jack Troughton Presents The Films Of The Coen Brothers: THE LADYKILLERS (2004) Joel & Ethan Coen.

Toronto’s best Pizza Restaurants

Regina PizzaThere is one pizza chain that proclaims itself Ontario’s best. I feel sorry for those who proclaim it so as they clearly do not know good pizza.

Recently this chain came out with a set of Italian sandwiches. “The only way to get rid of a temptation is to yield to it,” said Oscar Wilde.

I knew the sandwiches would be awful but, nonetheless, I wanted to try them.

As I was about to enter one of their franchises a family walked by. The daughter, about twelve, said, “I had the worst sandwich of my life in there.” From the way she said it I knew it was true. Nonetheless I wanted to experience it for myself.

I did. It was the worst sandwich I have ever eaten in my life.

Often when I poster for my programs people ask me to name good restaurants in Toronto.

We all have our favorites. Mine are places I can not resist when I go by them on my bike.

Here they are. Check them out for yourself (I do not see the point in coming to Toronto to eat at MacDonald’s, Burger King, KFC, Domino Pizza, etc. You might as well stay at home. No chains are listed here). All these places are irresistible to me.

Regina Pizza ( ). I have been ordering pizzas from this place since it opened. I love turning people on to it.

The Big SliceThe Big Slice ( ) Writer Harlan Ellison ( ) when he was in Toronto wanted pizza. People took him to a host of genteel pizza restaurants all featuring “Gourmet” pizza. At each Ellison said, “This ain’t pizza.” My friend Rob Myers took him to THE BIG SLICE on Yonge Street below Gerrard. Said Ellison, “NOW THIS IS PIZZA!”

Pizza Gigizza Gigi ( ) Just incredible.

FRESCA PIZZA201135-fresca-pizza( ) MASSIMO’s PIZZA held this spot for decades but after the place was gutted by a fire they chose to relocate. They also chose to leave their best chef in the cold. Well, fortunately, he took over the spot. Meanwhile Massimo’s at its new location tanked. The pizzas here are great as are the Italian Sandwiches. Massimo’s forgot the cardinal rule: LOCATION, LOCATION, LOCATION.

VINNY MASSIMO’S PIZZA ( ) Massimo’s has a Queen Street West location. I am very sorry to lose them from my area (College Street) but thankful their ex-chef opened FRESCA.

I have a few more to list. This will get you going. They certainly keep me coming.

Max Fleischer‘s father was one of New York’s star tailors. He accepted an invitation to relocate his shop in a new mall. Once the mall had his customers used to coming to their space Max’s dad got the boot.

Likewise Max himself was one of the great masters of animation in the 1920s and 1930s. His animated films have a zest all their own. Unlike Disney who grew up on a farm Max reflected big city life in his films. In 1942 Paramount Pictures, Max’s producer, gave him the boot. Today the incredible films from the Max Fleischer Studio are here, there and everywhere but on dvd and Blu-ray. They are fascinating works that deserve to be rescued.

Steve Stanchfield, of THUNDERBEAN ANIMATION, has restored Max Fleischer’s 1939 animated feature, GULLIVER’S TRAVELS to a level of quality it has not seen since 1939. Working from several Technicolor prints Steve has taken the best elements from each to generate a presentation of GULLIVER that does proud Max Fleischer and those who worked on the film, the second animated feature (after Disney’s SNOW WHITE) produced in America.

You can get more information on the film (and order your own copy) at these sites:

I got mine yesterday. I ran it on my High Def Optoma Projector on the big screen in THE CINEFORUM. I have seen the film many times before but this was the first time I really saw it.

I brought master animation artists GRIM NATWICK and SHAMUS CULHANE (who worked on both SNOW WHITE and GULLIVER’S TRAVELS to Toronto to talk about their art to young animators. Those talks are on dvd. You can get them from me [rhartt4363 (at)].

Here are some rare posters and more from GULLIVER’S TRAVELS.

P.S. Everything Thunderbean has is worth getting. I have all their titles. Steve Stanchfield does first rate work.$(KGrHqRHJDUE63ZSB8O9BPrDIY712Q~~60_12 $_35 $T2eC16N,!)cFId6EOfJ-BSdljVg9E!~~60_3 _Gulliver_s_Travels__thumb 2gullivercolor5 5gul05

Jack Mercer and Margie Hines pouring water down the throat of Pinto Colvig to create sound effects for GULLIVER'S TRAVELS. Jack was the voice of Popeye.

Jack Mercer and Margie Hines pouring water down the throat of Pinto Colvig to create sound effects for GULLIVER’S TRAVELS. Jack was the voice of Popeye.

155A-066pipe 10148502_1 10499253_1 11537930_1 11537932_1 104919009_vintage-1939-gullivers-travels-jchein-character-tin-sand 104919019_vintage-1939-gullivers-travels-jchein-character-tin-sand aaawatch1 aaawatch2 aaawatch2a aaawatch2g aaawatch3 aaawatch3a aaawatch3aa aaawatch4 aaawatch4a aaawatch5 aaawatch5a aaawatch6 aaawatch6a aaawatch7 aaawatch7a aaawatch8 aaawatch9 aaawatch10 aaawatch11 aaawatch14 aaawatch15 Big Little Book, Big Little Book #1172 Gulliver's Travels (Whitman, 1939) Boxoffice061039p09 full.gulliverstravels-9394__73588.1383175882.360.360 fvUG-v8A.B gabby_card480 GetAttachment1 Gulliver   1 gulliver__s_pistol_thunder_machine_by_becdecorbin-d4kni6x gulliver05bluray5 Gulliver-image Gulliver's Travels (NTA, R-1957). Half Sheet Gulliver's Travels (NTA, R-1957). Lobby Card Set of 4 Gulliver's Travels (NTA, R-1957). Lobby Cards 1 Gulliver's Travels (NTA, R-1957). One Sheet Gulliver's Travels (NTA, R-1957). Stills 1 Gulliver's Travels (NTA, R-1957). Stills 2 Gulliver's Travels (NTA, R-1957). Stills 3 Gulliver's Travels (NTA, R-1957). Stills 4 Gulliver's Travels (NTA, R-1957). Stills 5 Gulliver's Travels (NTA, R-1957). Stills 6 Gulliver's Travels (Paramount, 1936). Photo Gelatin Gulliver's Travels (Paramount, 1939). Australian One Sheet Gulliver's Travels (Paramount, 1939). Half Sheet Gulliver's Travels (Paramount, 1939). Insert Gulliver's Travels (Paramount, 1939). Jumbo Lobby Card Set of 8  2 Gulliver's Travels (Paramount, 1939). Jumbo Lobby Card Set of 8 1 Gulliver's Travels (Paramount, 1939). Lobby Card Gulliver's Travels (Paramount, 1939). Midget Window Card Gulliver's Travels (Paramount, 1939). Window Card Gulliver's Travels (Paramount, 1939) Gulliver's Travels (Paramount, R-1950s). Mexican Lobby Card Gullivers Travels 3 Gulliver's travels 1939 little people Gulliver's Travels Book to Color (Saalfield, 1939) Gulliver's Travels Gabby Model Drawing Group (Fleischer)   1 Gulliver's Travels Gabby Model Drawing Group (Fleischer)   2 Gulliver's Travels Gabby Model Drawing Group (Fleischer)   3 Gulliver's Travels Gulliver Production Drawing (Max Fleischer) Gulliver's Travels King Bombo Production Cel Gulliver's Travels Lilliput Production Drawing Original Art 1 Gulliver's Travels Lilliput Production Drawing Original Art 2 Gulliver's Travels Memorabilia Group (1939-42) Gulliver's Travels Model Sheet Group Gulliver's Travels Princess Glory Production Drawing (Max Fleischer)  1 Gulliver's Travels Princess Glory Production Drawing (Max Fleischer)  2 Gulliver's Travels Princess Glory Production Drawing (Max Fleischer)  3 Gulliver's Travels Princess, Prince, and King Production Drawing Group (Fleischer Studios, 1939)  2 Gulliver's Travels Princess, Prince, and King Production Drawing Group (Fleischer Studios, 1939)  3 Gulliver's Travels Princess, Prince, and King Production Drawing Group (Fleischer Studios, 1939) 1 Gulliver's Travels Sneak, Snoop, and Snitch Model Sheets (Max Fleischer)   1 Gulliver's Travels Sneak, Snoop, and Snitch Model Sheets (Max Fleischer)   2 Gulliver's Travels Sneak, Snoop, and Snitch Model Sheets (Max Fleischer)   3 Gulliver's Travels Sneak, Snoop, and Snitch Model Sheets (Max Fleischer)   4 Gulliver's Travels Sneak, Snoop, and Snitch Model Sheets (Max Fleischer)   5 Gulliver's Travels Snitch Production Cel (Fleischer Studios)

This is how GULLIVER'S TRAVELS looks on many public domain dvds. It is NOT how it looks on Thunderbean's great dvd & Blu-Ray set.

This is how GULLIVER’S TRAVELS looks on many public domain dvds. It is NOT how it looks on Thunderbean’s great dvd & Blu-Ray set.

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