Do Not Fold, Staple, Spindle or Mutilate in the NFB collection catalog
| Do Not Fold, Staple, Spindle or Mutilate | |
|---|---|
| Directed by | John Howe |
| Written by | Millard Lampell |
| Starring | Ed Begley Harvey Sid Fisher George Sperdakos Bruno Gerussi Cec Linder Sean Sullivan Al Waxman |
| Cinematography | Eugene Boyko |
| Edited by | John Howe Dennis Sawyer |
| Music by | Dave Brubeck |
Production company | |
Release date | 1967 |
Running time | 50 minutes |
| Country | Canada |
| Language | English |
| Budget | $67,495[1] |
Do Not Fold, Staple, Spindle or Mutilate is a 1967 Canadian short drama film, directed by John Howe for the National Film Board of Canada.[2]
Written by American playwright and screenwriter Millard Lampell, the film stars Ed Begley as an established trade union leader fighting an attempt by the union membership to push him out in favour of a new, younger leader with a more modern approach. The modern union wants to change the leadership without realizing how far their leader has brought them since the 1930s. As things heat up, both sides share their views with the old union leader speaking his mind and generally winning the debate. But, after a lifetime of service for the cause, he has outlived his usefulness and esteem among the workers of his factory. Times have changed, a new strategy is needed, and he realizes that he must retire.[3]
The origin of the expression "Do not fold, spindle or mutilate" comes from the inscription on an IBM punch card. Office workers organized papers and forms by stapling or folding them together, or by impaling them on a spindle. Because punched card readers scan uniform rectangular holes in a precise arrangement, any damage to the physical card makes it unusable. In the 1950s and 1960s, when the use of punch cards became widespread, manufacturers printed a warning on each card reading "Do not fold, spindle or mutilate". In 1964, the student revolution at Berkeley used the phrase as a symbol of authority and regimentation.[4]
Dave Brubeck composed the score for this film. It was recorded in his home studio in Wilton, Connecticut and became part of his album Summit Sessions.[5]