One Leg Too Few
The One-Legged Tarzan Sketch
by Peter Cook and Dudley Moore
https://www.youtube.com/watch?v=6CVrJDLie0k&list=RD6CVrJDLie0k#t=17

Peter
    Miss Rigby! Stella, my love! Would you please send in the next auditioner, please. Mr. Spiggott, I believe it is. 
(enter Dudley, hopping on one leg)
Peter
    Mr. Spiggott, I believe?
Dudley
    Yes, Spiggott by name, Spiggott by nature. (keeps hopping)
Peter
    Yes...if you'd like to remain motionless for a moment, Mr. Spiggott. Please be stood. Now, Mr. Spiggott you are, I believe, auditioning for the part of Tarzan?
Dudley
    Right.
Peter
    Now, Mr. Spiggott, I couldn't help noticing almost at once that you are a one-legged person.
Dudley
    You noticed that?
Peter
    I noticed that, Mr. Spiggott. When you have been in the business as long as I have you come to notice these things almost instinctively. Now, Mr. Spiggott, you, a one-legged man, are applying for the role of Tarzan - a role which, traditionally, involves the use of a two-legged actor.
Dudley
    Correct.
Peter
    And yet you, a unidexter, are applying for the role.
Dudley
    Right.
Peter
    A role for which two legs would seem to be the minimum requirement.
Dudley
    Very true.
Peter
    Well, Mr. Spiggott, need I point out to you where your deficiency lies as regards landing the role?
Dudley
    Yes, I think you ought to.
Peter
    Need I say without overmuch emphasis that it is in the leg division that you are deficient.
Dudley
    The leg division?
Peter
    Yes, the leg division, Mr. Spiggott. You are deficient in it to the tune of one. Your right leg I like. I like your right leg. A lovely leg for the role. That's what I said when I saw you come in. I said "A lovely leg for the role." I've got nothing against your right leg. The trouble is - neither have you. You fall down on your left.
Dudley
    You mean it's inadequate?
Peter
    Yes, it's inadequate, Mr. Spiggott. And, to my mind, the British public is not ready for the sight of a one-legged apeman swinging through the jungly tendrils.
Dudley
    I see.
Peter
    However, don't despair. After all, you score over a man with no legs at all. Should a legless man come in here demanding the role, I should have no hesitation in saying "Get out. Run away."
Dudley
    So there's still a chance?
Peter
    There is still a very good chance. If we get no two-legged actors in here within the next two months, there is still a very good chance that you'll land this vital role. Failing two-legged actors, you, a unidexter, are just the sort of person we shall be attempting to contact telephonically.
Dudley
    Well...thank you very much.
Peter
    So my advice is, to hop on a bus, go home, and sit by your telephone in the hope that we will be getting in touch with you. (shows Dudley out) I'm sorry I can't be more definite, but as you realise, it's really a two-legged man we're after. Good morning Mr. Spiggott.

Edgar Rice Burroughs
Lindon Avenue
Oak Park, Illinois

March 15, 1916

J.G. Kilmer, Esq.,
Chicago, Illinois

Dear Mr. Kilmer:

This will introduce William Bosley concerning when I spoke to you over the phone this morning. 

If you will be so kind as to figure out for him just what he owes the Illinois Investment Co., I will mail them a check for the correct amount to-day, if he gets back with the information in time. 

It is very kind of you to interest yourself in this matter and I assure you that I appreciate it.

Very sincerely yours, 
sid: E.R. Burroughs

Gentlemen:
Please deliver to Mr. Hulbert Burroughs goods as selected and charge to my account. 

General Charles King

Charles King (1844-1933) was decorated for fighting for the United States in five wars and was a well-known chronicler of the frontier army and the Indian wars of the 1870s.

His fascinating life, from West Point to his experiences in the American west, and the Philippines were an inspiration to Edgar Rice Burroughs. 

Burroughs kept up correspondence with King from his Michigan Military Academy days -- King was MMA Commandant during part of ERB's enrolment there -- to King's death in 1933.

TARZANA 1920s BROCHURE

Founded and owned by Edgar Rice Burroughs, Inc., Tarzana, the city thought by Burroughs to become the haven of  artists and writers failed in 1922 to sell enough lots.

The multi-acre project, part of the orginal Ranch property, comprised of 63 commercial lots all along Ventura Boulevard and over 130 residential acre lots, some split into 1/3 and ¼ acres. 

Marketing plans and strategies, lot sizes and numbers changed in the following years to poultry, eggs, berries, rabbits, squabs, flowers and figs. More lots sold and a few years later the city of Tarzana was a real city.

This folded 1-page, two color brochure measures folded, 8 ½ X 11 inches, unfolded to show map it measures 11 X 17 inches.  In this map, it appears all the commercial lots have been sold and 112 residential are still unsold. 

 

LA SubERBs MEET

The Los Angeles chapter of the Burroughs Bibliophiles (the "SubERBs") had a get-together on Saturday the 17th of July.

Premiere Burroughs artist William Stout was there, with a large dynamic painting of John Carter and Tars Tarkas battling the plant men. Rob Greer and Tracy Griffin attended, as did Jim Van Hise and Jerry Schneider (publisher of the ERBville editions). Mr. and Mrs. Billy York were there, as was Joe Musso and Jerry Hill. The meeting was held at Bob Zeuschner's house.

We all got to admire Phil Normand's faithful recreation of the original McClurg "Tarzan of the Apes" dust jacket. It has been frustrating to many of us that the First Edition Library facsimilie of ToA had a jacket that was not that close to the genuine McClurg jacket. Phil's recreation has taken several years and a whole lot of frustration, but the result is a great achievement. Those who have original McClurg first editions will probably want to purchase one of these jackets for their books (even if you don't have a McClurg 1st you may want a jacket -- I purchased two, one to put on my book and one to frame and hang on the wall).

We also discussed options for hosting the Dum-Dum in 2005. The first choice was the Disneyland Hotel, but an initial exploration reveals that the prices for rooms and services seem too high for our limited budgets. More exploration of options seems desirable. Bill Stout has been in touch with the folk working on the "Princess of Mars" movie and we are all hoping that Bill will be officially employed on the PoM project, adding his lifetime of artistic experience with Barsoom, and his many years of film industry experience as well. Bill says that the script for PoM is great, and that there is a possibility that a very big name Hollywood star may portray John Carter, thereby ensuring that the budget will be appropriate and that the special effects will bring Barsoom to life for all of us.

Jerry Schneider brought a copy of his newest ERBville book project, a volume printing out Dick Spargur's comparison of the All-Story ToA with the McClurg ToA, and turning it into a paperbound book. Jerry reported that it has been on the market for a couple of months from CafePress.com for $14.92. and  lulu.com for $8.34. Both prices are the actual cost, with no profit being made by either Jerry or Richard Spargur, who wrote the program which created the comparison between the All-Story pulp and the McClurg book texts. The CafePress book is 7.5x9.25 inches and 264 pages. The lulu.com book is 8.5x11 inches and 190 pages. These books can only be ordered directly from the printers. Ordering information is found on Jerry's website www.erbvillepress.com.

The next SubERBs meeting is tentatively scheduled in another three months.

B.Z.

ME TARZAN, YOU JANE
Readers Digest, November, 1969.

This issue contains a feature article called: 'Me Tarzan - You Jane' by Dolph Sharp, ie. ". . . After 24 books and 39 movies, the King of the Apes has become an indestructible if not immortal folk-hero. . . ." The article contains two pictures, one of ERB, the other a line drawing of Tarzan and Jane. 

The magazine also contains an article discussing the accuracy  Jules Verne's Trip to the Moon, written 104 years ago,compared to the current US moon missions.

Writer's Digest 
May 1937
This 66-page magazine features 
a.two-page letter by ERB titled
"Letter From An Author Who Publishes His Own Books."

Satellite images 'show Atlantis'
By Paul Rincon ~ BBC News Online science staff
A scientist says he may have found remains of the lost city of Atlantis.

We have in the photos concentric rings just as Plato described
Dr Rainer Kuehne, University of Wuppertal

Satellite photos of southern Spain reveal features on the ground appearing to match descriptions made by Greek scholar Plato of the fabled utopia. Dr Rainer Kuehne thinks the "island" of Atlantis simply referred to a region of the southern Spanish coast destroyed by a flood between 800 BC and 500 BC. The research has been reported as an ongoing project in the online edition of the journal Antiquity.

Satellite photos of a salt marsh region known as Marisma de Hinojos near the city of Cadiz show two rectangular structures in the mud and parts of concentric rings that may once have surrounded them. "Plato wrote of an island of five stades (925m) diameter that was surrounded by several circular structures - concentric rings - some consisting of Earth and the others of water. We have in the photos concentric rings just as Plato described," Dr Kuehne told BBC News Online.

Dr Kuehne, of the University of Wuppertal in Germany, believes the rectangular features could be the remains of a "silver" temple devoted to the sea god Poseidon and a "golden" temple devoted to Cleito and Poseidon - all described in Plato's dialogue Critias.

Temples of the sea god

The sizes of the "island" and its rings in the satellite image are slightly larger than those described by Plato. There are two possible explanations for this, says Dr Kuehne. First, Plato may have underplayed the size of Atlantis. Secondly, the ancient unit of measurement used by Plato - the stade - may have been 20% larger than traditionally assumed. If the latter is true, one of the rectangular features on the "island" matches almost exactly the dimensions given by Plato for the temple of Poseidon.

The features were originally spotted by Werner Wickboldt, a lecturer and Atlantis enthusiast who studied photographs from across the Mediterranean for signs of the city described by Plato. "This is the only place that seems to fit [Plato's] description," he told BBC News Online. Mr Wickboldt added that the Greeks might have confused an Egyptian word referring to a coastline with one meaning "island" during transmission of the Atlantis story. Commenting on the satellite image showing the two "temples", Tony Wilkinson, an expert in the use of remote sensing in archaeology at the University of Edinburgh, UK, told BBC News Online: "A lot of the problems come with interpretations. I can see something there and I could imagine that one could interpret it in various ways. But you've got several leaps of faith here.

Metal trading

"We use the imagery to recognise certain types of imprint on the ground and then do [in the field] verification on them. Based on what we see on the ground we make an interpretation. "What we need here is a date range. Otherwise, you're just dealing with morphology. But the [features] are interesting." The fabled utopia of Atlantis has captured the imagination of scholars for centuries. The earliest known records of this mythical land appear in Plato's dialogues Critias and Timaios.
 

His depiction of a land of fabulous wealth, advanced civilisation and natural beauty has spurred many adventurers to seek out its location. Tne recent theory equates Atlantis with Spartel Island, a mud shoal in the straits of Gibraltar that sank into the sea 11,000 years ago.

Plato described Atlantis as having a "plain". Dr Kuehne said this might be the plain that extends today from Spain's southern coast up to the city of Seville. The high mountains described by the Greek scholar could be the Sierra Morena and Sierra Nevada. "Plato also wrote that Atlantis is rich in copper and other metals. Copper is found in abundance in the mines of the Sierra Morena," Dr Kuehne explained. Dr Kuehne noticed that the war between Atlantis and the eastern Mediterranean described in Plato's writings closely resembled attacks on Egypt, Cyprus and the Levant during the 12th Century BC by mysterious raiders known as the Sea People.

As a result, he proposes that the Atlanteans and the Sea People were in fact one and the same. This dating would equate the city and society of Atlantis with either the Iron Age Tartessos culture of southern Spain or another, unknown, Bronze Age culture. A link between Atlantis and Tartessos was first proposed in the early 20th Century. Dr Kuehne said he hoped to attract interest from archaeologists to excavate the site. But this may be tricky. The features in the satellite photo are located within Spain's Donana national park.
 

 

ERB Inspires Yet Another Star Wars

ERB lost his highest-profile advocate in recent history  with the death of Ronald Reagan. Past biographers have commented on Reagan's appreciation of ERB's novels, & even suggested they were responsible for Reagan's confidence in the viability of the "Star Wars" SDI program.

Why Stalin loved Tarzan and wanted John Wayne shot
The Telegraph: 04/06/2004

The Soviet dictator was also a film buff who'd teach Eisenstein how to make movies. Simon Sebag Montefiore delves into the newly opened Politburo archives

Every one of Stalin's houses had its own private cinema, and in his last years, the cinema became not only his favourite entertainment but also a source of political inspiration. It was one of the venues from which he ruled the Soviet Empire: this was cinematocracy - rule by cinema.

Bring me the head of John Wayne: Stalin wanted the actor killed
Stalin loved movies, but he was much more than a movie-buff. The new Communist Party archives in Moscow, and the recently opened personal papers of Stalin, reveal that he fancied himself a super-movie-producer/director/screenwriter as well as supreme censor, suggesting titles, ideas and stories, working on scripts and song lyrics, lecturing directors, coaching actors, ordering re-shoots and cuts and, finally, passing the movies for showing.

So, while in Hitler's Third Reich, even Goebbels, minister of culture and enlightenment, did not perform all these roles, in Soviet Russia, Stalin considered himself (in modern terms) Sam Goldwyn and Harvey Weinstein, Steven Spielberg and Martin Scorsese, Joe Eszterhas and Richard Curtis, rolled into one.After late meetings in his office, Stalin would suggest a movie and then some dinner. Leading the way through Kremlin alleyways and courtyards, he took his seat in the front row of the Great Kremlin Palace cinema with Beria, Molotov and his cultural supremo, Andrei Zhdanov. "What will Comrade Bolshakov show us today?" Stalin would ask. His terrified cinema minister, Ivan Bolshakov, had to gauge Stalin's mood. If it was good, Bolshakov could risk a new Soviet movie.

Stalin took his role as supreme censor very seriously. Lenin had said "For us, cinema is the most important of all the arts," and Stalin agreed. From the early 1930s, he had supervised every aspect of the huge Soviet film industry, promoting not only Socialist Realism but also cheerful jazz comedies. When he saw the first of these, Grigori Aleksandrov's Jolly Fellows in 1934, he was so pleased he summoned the director: "I felt I'd had a month's holiday!" Then he quipped: "Take it away from the director! He might spoil it!"

He commissioned three more jazz comedies including his favourite Volga Volga (1938). In his archives, I found that he had handwritten the rhyming lyrics for some of the songs: "A joyful song is easy for the heart/ It does ever bore you/ And all the villages great and small adore that tune/ While the big cities sing the song!" Stalin took great interest in every director and movie: the archives show his suggestions for titles and his shortlists of screenwriters who were often summoned for briefings with the maestro. The archives are filled with line-by-line numbered comments on all sorts of movies such as Dovzhenko's Aerograd (1935). He took an even more detailed interest in films in which he appeared as a character: hence, for Aron's Lenin in 1918 (1939), he supervised the scriptwriter Aleksei Kapler who later outraged him by becoming his daughter Svetlana's first love. (Kapler was arrested.) As war with Nazi Germany grew closer, Stalin shot two of his movie commissars and commissioned films to promote his new nationalist-Bolshevik paradigm, calling on Sergei Eisenstein to direct Aleksander Nevsky (1938) about the Russian hero defeating Teutonic invaders.

The archives reveal how closely the Politburo followed this one director. After triumphs such as Battleship Potemkin (1925), Eisenstein had left for Hollywood and then returned. He was, Stalin told his deputy Kaganovich, "a Trotskyite if not worse" but also "very talented". Kaganovich wanted to stop Eisenstein making films (as well as shoot him), because he "we can't trust [him], he'll waste millions and give us nothing because he's against Socialism", but Molotov and Zhdanov saved him, and Stalin agreed. Later in the war, Stalin gave Eisenstein his biggest blockbuster, Ivan the Terrible parts one (1945) and two (1958) - the story of the Tsar on whom Stalin based himself. He adored part one but part two, when Ivan launches his own insane Great Terror, was different. In 1947, Bolshakov showed him the finished part two; it appalled Stalin: "It's not a movie, it's a nightmare!"

Eisenstein appealed desperately to Stalin and was summoned to a masterclass. Ivan was Stalin's alter ego. When Stalin attacked Eisenstein's Ivan, he was defending himself: "Your Tsar is indecisive, he resembles Hamlet. Ivan was great, wise…" Zhdanov, also present, chimed in: "Ivan the Terrible seems a hysteric in Eisenstein's version." Then Stalin added tellingly: "Ivan kisses his wife for much too long." Indeed, Stalin was very prim: once, when Bolshakov showed him a movie with a nude dancer in it, he asked: "Are you running a brothel, Bolshakov?" and stormed out.

In Volga Volga, Stalin was shocked by a passionate French kiss and had it excised so furiously that, for a while, all kissing was banned from all Soviet movies. Back in the dictatorial movie seminar, Stalin talked to Eisenstein about his own Terror: "Ivan was very cruel. You can show he was cruel. But you must show why he needed to be cruel." Also, Ivan's beard was too long. Eisenstein promised to shorten the kiss and the beard - and to justify the cruelty.

At a typical movie night with Stalin, when the showing was over, he would often ask: "Where have we seen that actor before?" He frequently asked actors who were playing him in films over for dinner: once he asked the best "Stalin", "How will you play Stalin?" "As the people see him," replied the clever actor. "The right answer," said Stalin, presenting him with a bottle of brandy. After the showing, Stalin asked his favourite "fellow intellectual": "What will Comrade Zhdanov tell us?" Sometimes Stalin joked about the director, "If this one's no good, we'll sign his death sentence." Bolshakov rang the directors next day to tell them Stalin's comments without attributing them to anyone.

Bolshakov once authorised a movie for national release without asking Stalin, who was on holiday. At the next showing, Stalin asked him: "On whose authority did you release the movie?" Bolshakov froze: "I consulted and decided." "You consulted and decided, you decided and consulted," intoned Stalin. "You decided." He then left the room in a doomladen silence. Eventually, his head popped round the door: "You decided right."

Bolshakov was right to sweat: life and death was decided during the showings. When a projectionist broke his machine, spilling mercury, he was arrested and accused of trying to poison Stalin. If Stalin was in a bad mood, Bolshakov would show an old favourite or, even better, a foreign film. The running gag was that Bolshakov was expected to interpret but he did not really speak English so he spent most of his days with an interpreter "learning" the films.

At court, Stalin's magnates would honk with laughter at Bolshakov's absurdly obvious translations: "He's running. He's stopped…" "What's he doing now?" guffawed Beria. But Stalin never got a proper interpreter: he was a creature of habit and liked Bolshakov (who survived him to serve Khrushchev as deputy trade minister, before dying in 1980). 

Stalin inherited Goebbels's movie library after the war; he loved Chaplin and films such as In Old Chicago (1937) and It Happened One Night (1934). In the archives, I found a document requesting Tarzan the Ape Man (1932).Westerns with Spencer Tracy and Clark Gable were also favourites. Stalin the solitary, pitiless and Messianic egocentric seemed to associate himself with the lone cowboy riding shotgun into town to deal our brutal justice. Hence, he liked director John Ford's work - and John Wayne.

Khrushchev recalled how Stalin would ideologically criticise cowboy movies - and then order more. But, in spite of his enjoyment of the films, one source claimed that Stalin once declared at the end of a showing that Wayne, a vociferous anti-Communist, was a threat to the cause and should be assassinated. Whether Stalin was speaking drunkenly in the early hours, or whether he meant what he said, such was his power that, either way, the order was quite likely to be executed. Assassins were supposedly sent to LA but failed to kill Wayne before Stalin's death. When Khrushchev met "Duke" in 1958, he told him "that was the decision of Stalin in his last mad years. I rescinded the order."

*    *     * 'Stalin: The Court of the Red Tsar' by Simon Sebag Montefiore, which recently won the British Book Awards history book of the year prize, is published in Phoenix paperback at £9.99 on June 10.

Trivia Jock Mahoney was the stepfather of Sally Fields, who  later appeared with Mike Henry in the Smokey and the Bandit films.  Mike played the Sheriff's son.

TARZAN: Ron Ely holds the record as far as screen time for all the Tarzans with approximately 2,964 hours. Wolf Larson comes in second with 1,725 hours, and Johnny Weismuller is third with 966 hours. 

Ron Ely's sidekick for the 1966-1967 television season was a jungle orphan called "Jai," played by Manuel Padilla Jr. Prior to his stint with Ely, Padilla had costarred in Tarzan and the Valley of Gold (1966) and Tarzan and the Great River (1967)
with Mike Henry.

"Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way."

E.L. Doctorow

Mailstrom

Subject: Documentary about Johnny Weissmuller
Dear Mr Hillman,
 I`m writing you from Germany with a very special request. We are a Film Production company located in Frankfurt/Main and are producing educational and cultural programs. At the moment we are planning a special documentary about Johnny Weissmuller ~  (title "Tarzan - the hidden story") who would celebrate his 100th Birthday this year.
The director of this film, Florin Iepan ( who is rumanian and was born in the same area as Johnny Weissmuller), and his team are preparing a trip to  the United States to meet and interview people that knew Johnny Weissmuller to find out more about him and his life. We are also working together with his son, Johnny Weissmuller jr. Now during my research I found your Homepage and your detailed information  about Johnny Weissmuller. Do you own all the old pictures from him and  Maureen O`Sullivan and all the other photos which are shown on your pages?  Are you a fan of him, did you any have contact with him?
Many thanks for your answer, very best regards,
Eva Specht: Director`s assistant
Westend Film & TV Produktion GmbH
Friedrichstrasse 40 ~ 60323 Frankfurt
Tel  0049 (0) 69 7137570 ~ Fax 0049 (0) 69 71375736
www.westend.tv

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Dear Bill,
Many thanks for your kind mail (with reference links) 
Your connections to Danton Burroughs and  Bruce Scivally (writer/producer of James Bond DVD documentaries & reference book and a US-made Weissmuller documentary) are very helpful for us. We would be very interested to interview Mr Danton Burroughs, could you mail me his contact? And also we would like to get in contact with him because of the archive.
Thank you also for the mail address of Bruce Scivally. We will certainly contact him,
I`m sure we would have a great exchange of ideas.
These are very interesting news for us...!
 I really appreciate your support.
 Sunny greetings from Frankfurt,

 Eva

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Good morning, dear Bill!
How are you? You`ve already been a great help for us, thanks a lot! Our director is now in the States for research, he will get in contact with Danton. I have another little question: Do you maybe also have a contact of David Fury? Florin, our director would like to get in contact with him and I have some problems to find any details about him. I`ll try the publisher of his biography. I`ll see if they would help me. But maybe you have a contact?
Mannnnyy thanks!
Until soon, have a nice day!
Eva
PS: Do you live in California? Maybe our director could get in touch with you?

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RELATED NEWS ITEM

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German film crew explores Tarzan actor Weissmuller's roots, life
The Associated Press ~ May 24, 2004
WINDBER, Pa. - Johnny Weissmuller may have played Tarzan swinging on a vine, but a German film crew is more interested in his roots. 

West End Films Inc. is coming Friday to Windber, a former coal company town that has long claimed as a native son the Olympic swimmer-turned-actor. Many film authorities and fans now believe that Weissmuller, who portrayed Tarzan in a number of Depression-era movies, was actually born June 2, 1904, in what is now Romania. But that hasn't diminished the enthusiasm of officials in Windber, about 100 miles west of Harrisburg.

West End Films is making a documentary on Weissmuller with the help of his son, Johnny Jr., a former actor who has had bit roles on TV and in films such as "American Graffiti." The documentary is slated to premiere Aug. 22 on ZEF/Arte, a French/German network. Part of the documentary will deal with Weissmuller's disputed roots, said film producer Robert Heitmann of Frankfurt, Germany. "We want to find out about it. We are interviewing as many people as possible," Heitmann said.

What's not in dispute is that Weissmuller was raised in the borough of about 4,400, which grew up around and was named for the Berwind-White Coal Mining Co. in the early 20th century. The filmmakers will tour neighborhoods where Weissmuller lived and hope to interview some of his old neighbors. They'll also question those who remember a much ballyhooed homecoming trip the actor made in April 1950 after he had made a name for himself as perhaps the best known of all Hollywood Tarzans.

Weissmuller's son, now a computer analyst who lives in Texas, will accompany the film crew. A special exhibit will be displayed at the Windber Coal Heritage Center, a local museum, where locals can meet Weissmuller Jr. and talk about his book, "Tarzan, My Father." "I think it's a neat thing that he thought enough of his father's town - whether he was born here or not - to include us in the film," said museum director Chris Barkley. Filming will include St. Elizabeth Ann Seton Church, which Weissmuller's family attended when it was named St. John Cantius, and feature the borough's old coal mines, where the actor's father worked.

Weissmuller, a gold medalist swimmer at the 1924 Olympics in Paris, went on to star as Tarzan in a dozen movies, including the first Tarzan talkie, and later played another character known as Jungle Jim.

Heitmann said the film crew is also finishing work in California and Acapulco, Mexico, where Weissmuller died in 1984.

Number of Silent Films: 3
Number of Foreign Language Films: 8
Number of Sequels: 10
Aliens
Bride of Frankenstein*
Dawn of the Dead*
The Empire Strikes Back*
Evil Dead 2+
The Road Warrior+
Star Trek II+
Star Trek IV: The Voyage Home+
Terminator 2*
Toy Story 2+
*Sequels ranked higher than their predecessors (8)
+Sequels to films that didn’t make the list (5)

Number of Remakes: 12
Batman+
Beauty and the Beast (Disney)
A Christmas Carol+
Curse of Frankenstein
Dracula+ (remake of Nosferatu)
Dr. Jekyll and Mr. Hyde+ (remake of John Barrymore version)

Directors With More Than One Film in the Top Ten
Stanley Kubrick (2)
Ridley Scott (2)
Stars with the Most Films on the List
Harrison Ford (4)
Peter Cushing (3)
Boris Karloff (3)
Christopher Lee (3)