February might be my favorite month. It’s certainly in the top ten. (I can do without March and its schizophrenic weather patterns and August’s unending humidity. The rest are okay.) February is among my favorites because of the Academy Awards. Quite honestly I don’t think I could possibly care less who goes home with an Oscar this year. I love February because of the old winners.

I love old movies and there is no better time to get a fill of them than in the month leading up to the Oscars. Whether your film love is for musicals, thrillers, book adaptations, war, epics, comedies, or tragedies you will find it on a small screen near you in February. February is when movie services and networks go all out to rake in the viewers with past nominees and winners. The good movies. The ones produced before Hollywood decided America needed a conscience and it was the perfect choice. These are the ones you watch and say to yourself, “they wouldn’t do that today.”

Something else about those old movies they don’t do today is the credits. (Hmm. Some things else are the credits?) I’ve bemoaned the state of movie credits before but it never rears its ugly head as much as now when the screens are filled with the elegance of crediting those who deserve credit and not every Tom, Dick, and Harriet who come close to the set or is close to the financiers.

Buried in those early credits is another thing “they wouldn’t do today.” Among the actors, director, producer, editor, cameraman, set designer, and costumer, almost always is “Script Girl.” Sexism notwithstanding, the title was gradually changed to Script Supervisor in the 60s and 70s, long before males entered the role. But for years, and as long as February remains Oscar Movie Month, for years to come, “Script Girl” was how the continuity expert was defined around the world. Literally.

Just over the weekend I was watching the 1974 Best Foreign Language Film winner, François Truffaut “Day for Night.” (Reading maybe as much as watching as my French comprehension was never as good as my high school grades suggested. Hooray for subtitles.) As the credits rolled (before the movie as they should be) after the acteurs, among the équipage, and before the producteur and the réalisateur was “Script Girl,” just like that, en anglais, capitalized, and in quotes.

And what does this “girl” do. At one time she or he, although then it was almost exclusively she would be the director’s secretary and would record information about how of each scene was shot, prompt actors, and often write notes to be used in publicizing the movie before it’s release. Today the Script Supervisor also keeps notes of wardrobe, props, set dressing, hair, makeup and the actions of the actors during shooting to assist the editor in maintain continuity during and between scenes. Thus when the hero enters a scene with a half full cup of coffee it doesn’t turn into a can of ginger ale 24 seconds later in the final cut.

I’d love to stick around longer and talk about old movies but there’s only 17 days left to February and my DVR is filling up. I have to catch up on some classics today.