The titles and info below should all be complete and accurate, but I’ll be adding some additional anecdotal and contextual info as I have time!
THE LAST SUPPER (original version) (1970)
16mm, color, sound, 21.5m (21:43)
The original version of Mike Henderson’s first film The Last Supper was filmed and edited between 1968-1970, and world premiered in a program with Robert Nelson’s film Bleu Shut on March 20, 1970 at the San Francisco Art Institute. This is the version of the film that initially circulated, and a print was placed in distribution at Canyon Cinema and the Film-makers’ Cooperative. Around 1972-73, Henderson decided to radically recut the film, encouraged and assisted by Robert Nelson, and produced a final cut about 14 minutes shorter and with a completely remade soundtrack. This version replaced the original in distribution, and remains the preferred, final version of the film. There is only one extant print known to exist of the original version – the former Film-makers’ Cooperative that Henderson had forgotten about until it was removed from distribution in the 2000s – and which is now in Henderson’s collection at the Academy Film Archive.
THE LAST SUPPER (revised version) (1970/73)
16mm, color, sound, 8m (7:52)
This revised version, dramatically shortened and with remade soundtrack, should be considered Henderson’s preferred, final version of the film.
DUFUS (aka ART) (original version) (1970)
16mm, bw, sound, 9m
This film was actually originally entitled Art, and this title is clearly presented in both versions of the film. However, possibly because of the memorable and initial appearance of the Dufus character in the film, it became more popularly known as Dufus quite quickly, and Henderson himself even came to call it Dufus instead. As a result, Dufus should be considered the canonical title of the film, despite the original intention.
This is the version of Dufus that initially circulated, and a print was placed in distribution at Canyon Cinema and the Film-makers’ Cooperative at the time of its original release. Around 1972-73, Henderson decided to radically recut the film, encouraged and assisted by Robert Nelson, and produced a final cut about 2 minutes shorter and with a completely remade soundtrack. This version replaced the original in distribution, and remains the preferred, final version of the film. There is only one extant print known to exist of the original version – the former Film-makers’ Cooperative that Henderson had forgotten about until it was removed from distribution in the 2000s – and which is now in Henderson’s collection at the Academy Film Archive.
DUFUS (aka ART) (revised version) (1970/73)
16mm, bw, sound, 6m (5:57)
This revised version, shortened and with remade soundtrack, should be considered Henderson’s preferred, final version of the film.
MONEY (1970)
16mm, bw, sound, 2m (1:54)
MOTHER’S DAY (1970)
16mm, bw, sound, 14m
HARVEY HOG (1970)
16mm, bw, sound, 3m
KING DAVID (original version) (1970) (w/ Robert Nelson)
16mm, color, sound, 17m
KING DAVID (revised version) (1970/2003) (w/ Robert Nelson)
16mm, color, sound, 7.5m (7:27)
MANIPULATING THE STRETCHER BAR (1970)
16mm, bw?, silent?, ca.3m
IN THE U.S.A. (1971)
16mm, bw, sound, 2m
WILL SHE GET OVER IT? (1971)
16mm, bw, sound, 8m
DOWN HEAR (aka DOWN HERE) (1972)
16mm, bw, sound, 11.5m (11:43)
THE ROCKING CHAIR FILM (ca.1972)
16mm, bw & color, silent 24fps, 23m
IT’S A JUNGLE (ca.1972)
16mm, color, sound, 13.5m
LOOK WHAT DADDY CAN DO (ca.1972)
16mm, bw & color, sound, 11m
WORLDLY WOMAN (1973) (w/ Robert Nelson)
16mm, bw & color, sound, 7m
PITCHFORK AND THE DEVIL (1979)
16mm, bw & color, sound, 15m
THE SHAPE OF THINGS (ca.1981)
16mm, bw & color, sound, 8m (7:48)
MONEY DOES (ca.1982)
16mm, color, silent/sound, 5.5m
This film was shot on black and white film, but printed on color stock. It was also printed on double-perf stock with the intention of playing it as a sound film.
TOO LATE TO STOP DOWN NOW (1982)
16mm, bw, sound, 4m (3:52)
HOW TO BEAT A DEAD HORSE (1983)
16mm, bw & color, sound, 7.5m
DUCKSARENODINNER (aka DUCKS ARE NO DINNER) (1983)
16mm, bw, sound, 3.5m
JUST ANOTHER NOTION (1983)
16mm, color, sound, 3m (2:47)
WHEN AND WHERE (1984)
16mm, bw, sound, 4m
DELIVER THE GOODS (1984) (w/ Michael Rudnick)
16mm, bw, sound, 11m (10:52)
SINCERELY, THE MANAGEMENT (1984) (w/ Michael Rudnick)
16mm, bw, sound, 0.5m (35 seconds)
GORILLA GRIP (1984-85) (w/ Michael Rudnick)
16mm, bw, sound, 5m
This film was destroyed by the filmmakers and no longer exists.
DENIZENS OF THE SEE (1985) (w/ Michael Rudnick)
16mm, bw, sound, 2m (2:11)
THE DOLL & THE BUFFALOES (1985) (w/ Michael Rudnick)
16mm, bw, sound, 2m (1:58)
THIS HAS NOTHING TO DO WITH THAT (1986) (w/ Michael Rudnick)
16mm, bw, sound, 2m (1:59)
SUMMER/WINTER (1989) (w/ Michael Rudnick)
16mm, bw, sound, 3m (2:49)
OTHER WORK
SAN FRANCISCO BLUES FESTIVAL DOCUMENTATION
Henderson shot numerous acts at at least 10 different years of the San Francisco Blues Festival on 16mm with sync sound.
[DOCUMENTATION OF GOSPEL SHOW AT THE SAN FRANCISCO MUSEUM OF ART, JUNE 6, 1976]
LIGHTSTRUCK 
