Nov. revivals: now thru Thanksgiving weekend

Mike here with what to catch from now thru Sunday, November 30th. Actually thru Tuesday, December 2nd. Won't waste time, here we go:

CITY LIGHTS and MODERN TIMES- Now thru Tues Dec 2 at 4:30 (City), 6:15 (Modern), 8 (City), and 9:45 (Modern)- plus Fri Nov 28 and Sat Nov 29 at 1 (City) and 2:45 (Modern)- Film Forum- A return of a very popular double feature at the Forum. I caught the two films together back in early May, as the conclusion to the Forum's retrospective on films that came out of the United Artists studio. It was very popular, with every screening of one of the films either sold out or very close. Based on this match-ups' extreme popularity, and I would guess a lack of recent success with the Forum's recent slate of new releases, these 2 Chaplin classics are back for a long run. For the moment, these 2 AFI Top 100 flicks are only scheduled to run through Dec 2, yet I've already brought up extended runs of Rosemary's Baby, The Wild Child and the first two Godfather on previous lists, so I'm learning to take schedules there with a grain of salt.

This was the double feature in that UA retrospective I anticipated the most. Even though I had already seen Modern Times, I had never seen more then a few clips of City Lights. Specifically, the scene where you find the Tramp sleeping in the Virgin Mary statue's arms, and the well choreographed boxing scene. I'd never seen City Lights from beginning to end. Hearing and reading enough stuff about how great it was, and Woody Allen's fawning at how the last 30 seconds are the greatest ending ever in film (an ending Allen did an homage for his ending of Manhattan), piqued interest further. While I liked the film a lot, and laughed hard at some scenes, like his dealings with a drunken millionaire who was the Tramp's best friend (until the rich man sobered up), I came away with the feeling of eh. Good film, yes, great film, nah. Maybe the line from Pretty Woman is appropriate, that I'll like and even grow to appreciate it, but never love it. I enjoyed Monsieur Verdoux more, perhaps because I had no preconceptions going in there as opposed to City Lights. But I'm willing to try again.

Modern Times, that was easy. My favorite of the full length Chaplins, and easily in my top 100. If you've seen Wall-E, then you've seen Modern Times, and vice versa. Wall-E and the Tramp are similar, the same style awkward romance between the heroes and their object of affection, and the same message about not letting improved technology overwhelm humanity. It annoys me that it took MOMA to make me notice the last two, but even I managed to figure out the first part on my own. Yea me. Whatever.

The first 15 plus minutes, until the Tramp is fired, is among my favorite sustained sequences in comedy, but the scenes in the last quarter, when he's a waiter, I like even more. And Paulette Goddard as the gamin, definitely made my heart skip a beat. No wonder Chaplin at 47, went after her, at 26. If you never seen both films, jump at the chance now.


LABYRINTH- Thurs Nov 27, Fri Nov 28 and Sat Nov 29 at Midnight- Landmark Sunshine Cinema- Here's something to catch for Thanksgiving weekend. Perhaps a little weird to go on Thanksgiving night, after a heavy meal. But I'm game if you are, and if you're in town that weekend. For the rest, I'll reprint what I wrote early this January:

A flop back in the summer of 1986. A cult following today. Personally, I think the cult is bigger in say, L.A. and Chicago than here. It feels to me that; if there is more of a following in terms of mid80s Jim Henson work, then it would be more for Fraggle Rock then for this flick. When you hear those from 26-30 in NYC, who had HBO back then, talk lovingly about the show, or even Tina Fey, when she compared Paris Hilton's wig with a Fraggle, you might come to the same idea I did. That said, tell me if I'm wrong, but wasn't Labyrinth the only Jim Henson film to be re-released in a 2 disc DVD set to actually sell pretty well? Someone's rocking out to this.

While babysitting, Teenager Jennifer Connelly gets sick of her little brother, and wishes him taken away by some goblins. Why a mid 80s teen would pick goblins, who knows? But she gets her wish, as Goblin King David Bowie does exactly that. Jennifer goes off to David's Goblin castle to keep the rugrat from becoming a goblin. And of course, has to go through the title set of mazes to get there.

Executive produced by George Lucas, but hey, at least it's better than the other film he produced from that summer, Howard The Duck. Directed by Henson, who co-wrote the story. Monty Python's Terry Jones wrote an early version of the screenplay, with some kind of uncredited re-writing from Elaine May. I'll give this a shot.

TO BE OR NOT TO BE and NOTHING SACRED- Fri Nov 28 and Sat Nov 29 at 1:15 (Sacred), 2:55 (To Be), 4:45 (Sacred), 6:20 (To Be), 8:15 (Sacred), and 9:50 (To Be)- Film Forum- Part of the Carole Lombard retro. And frankly the only other Lombard films I have interest in for the rest of the Forum's retro. I'll go in reverse order, and start with Nothing Sacred, Lombard's only color film from director William Wellman. She's a small town girl, who thinks she's dying, so she wrangles a free trip to NYC from low level (and possibly low life) reporter Fredric March. She finds out she's not dying, but why not get the free trip, and people fawning over her with sympathy, and manipulate the reporter who's manipulating her, and maybe even fall in love? There's more, but if you don't know this screwball comedy, I won't spoil it for you. Dark satire from writer Ben Hecht, with a rapid fire war of worlds between Lombard and March.

Next, To Be Or Not To Be. Lombard's last film, and where she received her biggest kudos. A dark comedy, where she and Jack Benny, the stars of a small Polish theatre troupe, pull out all stops from keeping the Gestapo shutting them down and worse, while helping a Polish solider find a German spy. But since this film was made in 1941 while the U.S. was "neutral", it kept from release until after this country declared war. Even then the darkish rapid fire paced satire turned off audiences in 1942. Has a major cult following (some claim it fits our time more then at it's initial release), and has been referred to as a comedy classic. Definitely a classic compared to Mel Brooks' mediocre remake. I wouldn't mind seeing both, but if I could only see one, then it's To Be, easily.

THE OMEN (1976)- Fri Nov 28 at 3- The Walter Reade at Lincoln Center- Part of the weekend series Problem Child: A Cinematic Display of Bad Behavior. And if the little son of Satan, planning on destroying the world with only Gregory Peck to save us, doesn't count, then what does? Effective horror film from director Richard Donner. Usually on the list for best horror films ever made. I may not rank it that high, but I still recommend it. This might never have been made if The Exorcist wasn't huge hit, but it became more successful then expected thanks to an aggressive ad campaign, touting the cute killer child concept, the number 666, the fact it was also coming out in 6/6/76 and the music. Fox proved quite effective, which would come in handy over the years, with the Star Wars films. An Oscar for Jerry Goldsmith's creepy score (but over Bernard Herrmann's score for Taxi Driver?). Donner credits Goldsmith's music and horror chanting song (also Oscar nominated), as being responsible for the film's success.

Accept no substitutes; such as Damien: Omen 2, where it's up to a barely sober William Holden to save us from a teenage Antichrist, or The Final Conflict, where Sam Neill, as a grown up Damien is the only effective part of that crap flick, or the TV film Omen 4 (let's all pretend it doesn't exist), or the limp Julia Styles remake from 2 summers ago.

MOMMIE DEAREST- Sat Nov 29 at 9:30 (Mommie)- Walter Reade at Lincoln Center- Part of the weekend series Problem Child: A Cinematic Display of Bad Behavior. A special screening of the cult classic from 1981. Adapted from the payback novel by Joan Crawford's adopted daughter, this is how Crawford will be thought as forever more. Even though the accuracy of the tale gets questioned more and more as the years pass. That doesn't make this a good film. But it also doesn't mean it's not fun to watch. I don't know if this was supposed to be serious or camp, and I'm not sure if everyone else involved knew what tone to take either. But back in Sept-Oct 1981, when the wire hanger scene came up, a pop culture moment was born. And Faye Dunaway's A list film career ended, while who thought it was a good idea to have Diana Scarwid start playing adult Christina Crawford at age 13?!?!? No wonder she went from an Oscar nominee to a Razzie award winner. If you want to enjoy yourself, catch this campy crappy fun film.

This isn't like the screenings at Chelsea Clearview. There will be no comic there hired to make fun AT the film. But that doesn't mean there won't be any spontaneous action among our fellow patrons. I don't think that's a bad thing, mind you. Not for this one. Just a friendly warning.

That's all. I was tempted to post Scenes From A Marriage at IFC Film Center, but to see what's basically a 5 hour autopsy (well acted throughout) of a marriage at varying states of decay on Thanksgiving weekend? Yeah, right. If I'm going to stick my neck out for a Bergman film right now, it will be for something like the director's cut of Fanny and Alexander or Autumn Sonata, both playing next month. Let me know if there's interest. Later all.

November revivals for the next few days

Mike here with what to catch for the few days in November. I wish I could have gotten this out 48 hours earlier, but this is the best I could do. Normally I would have the entire second half of November posted here. But I noticed there was a bunch of films to catch this week and weekend, then nothing either of not or doable for me until Thanksgiving weekend. So I cut it off this list after a few days, then post another one stictly for Thanksgiving weekend. Here we go:

THE WILD CHILD or ROSEMARY'S BABY- now through Thurs Nov 20 at 2:45 (Baby), 5:30 (Child), 7:15 (Child) or 9 (Baby)- Film Forum- Both films have new 35mm prints. Both films have been held over. Both films are worth catching. But one can't purchase tickets for these films as though they were the typical Forum double feature (buy one, stay for the other). Therefore a choice would have to be made. I won't pick for you.

WILD STYLE- Now through Thurs Nov 20 at 10- Film Forum- A new 35mm print of a film screened only at 10pm at night. Was popular in 1983 and in its various re-releases in 84 and 85. Well, let me re-phrase, it was popular in places like Brooklyn and the Bronx. Outside, the rest of the country preferred films like Breakin and Beat Street. A quasi-musical/documentary, it followed various graffiti people (I'm not calling them artists), DJs and rappers, with concert performances of people like Grandmaster Flash and Fab Five Freddy. Consider this a lesson in Hip Hop history, pre-MTV Raps.

WALL-E- Wed Nov 19 at 6- MOMA- Part of the Contenders series. Basically, MOMA picked what they felt were the best films of 2008 up to this point, that have a chance at winning critics' awards and/or an Oscar or two. I have no time to list films like Iron Man (good summer blockbuster. Passable to decent action, but an interesting script and Downey's performance makes it worth catching on your own, if you haven't already.) or Encounters at the Far End of the World (interesting Antarctica doc from our old buddy Werner. You learn a little more about penguins, and a lot more about the type of person willing to spend years studying down there).

But I am willing to make time to catch Wall-E again on the big screen. This summer, I made the time to catch a revival screening of Fantasia first, Wall-E last, and Monkey Business in-between. An unexpectedly (and not completely planned) perfect combo of movies in one day. Wall-E, in its way, combined the visual dazzle of Fantasia, with the quality humor of a very good Marx Brothers film. Don't have time to go further, but let's just say, my new favorite Pixar, and it will take at least a 20 megaton bomb to blast it out of my Top 10 for 2008. For this screening, I don't know if there will be any shorts before it, or just Wall-E, which is fine by me. Yes, I know its on DVD now. So are most of the films I list. Shut up.

Now if you can't go on a Wed., it will play this Friday for free, but one would probably need help to pull that off, and I'll go into that later in the list.

HISTORY OF THE WORLD PART 1- Thurs Nov 20 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- The Mel Brooks comedy from 1981 gets a cheap screening. Not in the league of Blazing Saddles and The Producers, but still fun. Took a critical shellacking back in the summer of 81, with Rex Reed, Jeffery Lyons and Kathleen Carroll leading the brutally unnecessary charge. Time has since been kinder to the flick. It's a silly comedy, with some witty moments, some "gross" moments that rival some of South Park, and like I said before, it's fun. Even the line "It's good to be the King" has entered the lexicon. Not every revival has to be a serious French film, you know.

I personally prefer the Busby Berkeley number that Brooks himself performs about the Spanish Inquisition, and the little section of "Jews In Space". Most of Brooks' regulars appear, including Cloris Leachman, Harvey Korman, Madeline Kahn, and Dom DeLuise. Some new cast members include Gregory Hines (a last minute replacement for Richard Pryor, after Rich turned himself into a human charcoal with a freebasing accident), Pamela Stephenon (hired mainly for her British accent and her breasts), and Mary-Margaret Humes (hired only for her beauty; gained fame on Dawson's Creek as Dawson's mom). Funny cameos from Bea Arthur, Jackie Mason, and John Hurt as Jesus, and Orson Welles as the narrator (in full paycheck mode). All this for a cheap price, so why not?

WALL-E and/or HAPPY GO LUCKY- Fri Nov 21 at 6 (Wall-E) and 8:30 (Happy)- For free, subject to availability- MOMA- Now if you can't go for Wall-E on Wed, here's a second chance for free. That is, if you can get tickets in time. See, like I've said before on previous lists, tickets for admission into MOMA is free on Fridays, late afternoon and evening. No problem providing free tickets for the Museum itself, but the film tickets can go fast. I had no problems seeing the original Breathless, but catching a Coen brothers double feature was impossible. If you can get there by 5, give or take a few minutes, it shouldn't be a problem. If you can't get there yourself by then, send someone who can.

A double feature in a series of films MOMA considers to be contenders for awards and critics top 10 lists for 2008. Wall-E, I brought up earlier. If for some reason, you didn't catch it in theaters, this might your last best chance. Unless you choose to catch it at some theater for free at 10 in the morning next summer with a group of screaming kids. So catch it now, for free, if you can.

At the same time you get your tickets for Wall-E, you can also get free tickets for Happy Go Lucky, Mike Leigh's new dramedy. Haven't seen it, but I'd like to. Especially for free. Some of Leigh's previous films, including Topsy Turvy, and Vera Drake have been on my top 10 for their year before, and I hope this would be on this year's as well.

Award attention will probably not only go to Leigh's direction, but also to Sally Hawkins for her lead performance. She plays a young school teacher with an optimistic view on life. Cheery to the point of exasperating to some of the people around her. Pollyanna-like to the point that someone cynical might think she's insane, or overly naive. In fact, that's part of the point: is some as cheerful as her in our world today a sign of imbalance, naivety or stupidity, or is this something we need and we shouldn't try to crush? I'm very interested. Hope some of you are as well. This might have been the first time you've heard of this, but I expect you'll hear about this off and on for the next 3 1/2 months.

MY MAN GODFREY and TWENTIETH CENTURY- Fri Nov 21 at 8 (Century) and 9:45 (Godfrey)- and Sat Nov 22 at 1 (Century), 2:45 (Godfrey), 4:30 (Century), 6:15 (Godfrey), 8 (Century), and 9:45 (Godfrey)- Film Forum- The start of a Carole Lombard retrospective. Considered by some with an institutional memory as one of the great actresses ever on film. Her untimely death at 34 in 1942, has probably more to do with not being better known, then the fact that her best films were made in the 30s and early 40s.

She's best known for her comedies, and the retrospective starts off with a double feature of her two of her more successful screwball comedies. First, My Man Godfrey, one of my favorites of this genre. Lombard's rich girl character (think Paris Hilton, minus STDs and plus 100+ I.Q. points), on a whim and in scavenger hunt mode, brings in homeless man William Powell to become the family butler. He turns out to be more than meets the eye, not the least of which being brighter then the rest of the family. Why Powell's a hobo probably wouldn't hold up today, not without a big storyline about him getting treatment, put on medication, etc. But the rest of the comedy holds up quite well. Powell may always seem to have the upper hand on Lombard, but that's the script, and not for lack of trying. But Powell has the advantage of playing a straight man while also going into depth with his character, while everyone else around him are batshit nuts.

6 Oscar nominations; Powell for Actor, Lombard for Actress, Gregory La Cava for Director, plus 2 for Supporting Actress and one for the Screenplay. When this is shown on TV, it looks every bit it's age of over 70 years. While we're not getting a new 35mm print here, I'm hoping it's a lot better here then on TV.

Another film I hope the Forum has a better print of then what is used for TV, is the other half of the double feature, Twentieth Century. I'm more familiar with the stage version by Ben Hecht and Charles MacArthur (uncredited!), then this film version. Specifically, the Roundabout revival from 2004. I was entertained, but I had higher expectations for it. I enjoyed Anne Heche, but Alec Baldwin seemed to have his ham meter set to 11, the supporting actors were more interesting then either Baldwin or Heche, except for Tom Aldridge (Carmela's dad on the Sopranos). I know he was playing an insane man pretending to be a millionaire, but he seemed to not match the tempo of the play, and frankly I didn't always find him funny. Why he got a Tony nomination, I'll never know. Sorry, I digressed.

Point is, this did color my initial viewing on TV of the 1934 film written by a credited Hecht and MacArthur (with uncredited assistance from Preston Sturges). It took a second chance to get into it more (it seems to play a lot on either TCM, or PBS' Ch. 21.). Full speed dialogue attacks, as John Barrymore is in full ham blast (is that why Baldwin did it hammily, to copy Barrymore?). He's a Broadway director whose career hit the skids when his biggest discovery (Lombard) leaves him and becomes a movie star. When he sees her on the same train from Chicago to New York, he spends the whole ride in a full court press to get her on his new show. And she spends the entire train ride resisting. Directed by Howard Hawks, 2 years after Scarface, and years before Bringing up Baby.

Would definitely want to catch My Man Godfrey, and if you want to stay for Twentieth Century, so be it.

MEAN STREETS- Sat Nov 22 at 4:40- The Walter Reade at Lincoln Center- The first pairing of actor Robert De Niro and director Martin Scorsese. I have never seen this on the big screen, and I really want to. Not Scorsese's first film, but it is his first studio film. Done cheaply since Warner Bros was only going to devote so much Dirty Harry profits to distributing a film from the director of Boxcar Bertha. In college I dealt with a Scorsese sycophant, I mean fan, who talked about the raw power of this film was superior to the polished works of Raging Bull and Goodfellas. Considering he was coming out with Casino and The Age of Innocence, it was easy to conjure up babel like that.

But just because the film is raw as opposed to polished, doesn't mean it doesn't belong near the top of the director's work. Just that when you have Taxi Driver, Raging Bull, Goodfellas and lower profiles works like After Hours and Kundun on your resume, it's hard for a lot of films to get the respect it deserves. And respect AND viewer ship is what Mean Streets deserves. More of a character study than a plot driven project, Harvey Kietel's small timer is who we follow, but De Niro's living embodiment of a psychotic screw-up is what steals the show. The quintessential New York film, shot mostly in Los Angeles. Please let's make time to see this.

Let me know if there's interest. Later all.

November first half update

Mike here with an update of what to catch for the first half of November. I couldn't wait forever for some places to update, so now I have to go back and bring up a few more titles and/or extension. Here we go, as quick as I can:



ROSEMARY'S BABY- extended until Thurs Nov 13 at 7 and 9:35- Film Forum- Here's a stunner, people wanted to see Roman Polanski's horror film. So the Forum has extended it's run for another week. Another chance to catch this, people. A new 35mm print.


NOSFERATU THE VAMPIRE- extended at least thru Tues Nov 11 at 12:55 and 9:40, plus 11:55PM on Fri Nov 7 and Sat Nov 8- IFC Film Center- The Herzog-Kinski take on Dracula has been extended a few more days. It isn't scheduled to go beyond Veteran's Day, but you never know. I wouldn't tempt fate either, and wait. A new 35mm print.


COCKSUCKER BLUES- Sat Nov 9 at 7 and 9:30- Anthology Film Archives- 32 Second Avenue by E. 2nd Street- A rare screening of The Rolling Stones concert film, when they were touring in North America for the first time since the concert at Altamont (as depicted in Gimme Shelter). The film has a no-holds barred look at what the Stones did on tour, on and off stage. It was the off stage antics that led to a clash between the Stones and director Robert Frank over wether the film can be screened or not. It lead to an unusual court ruling, where it was decided that the film can only be screened if the director is physically present. So I suppose director Frank will be at both screenings on Saturday. As for more about the film itself, here's a description from the Anthology's website:



1972, 93 minutes, 35mm, b&w/color. With the Rolling Stones.
“With COCKSUCKER BLUES, Frank bids a final adieu to the utopia of the Beat generation. What did the Rolling Stones expect when they hired him to make a film about their 1972 North American tour? There are scenes of groupie sex in private jets, cocaine snorting, and even a masturbation scene in which Jagger reveals himself to be the cameraman in a reflected image. But ultimately Frank focuses on the lonely spaces that permeate the rock-and-roll machine. This is the ultimate direct cinema. The camera movement infects the images with an unbelievable filmic energy, and Frank ignores all orientation guidelines. Populated by the living dead, COCKSUCKER BLUES is a zombie film with no refuge.” –Tate ModernAll tickets $15 for these rare screenings.



Let me know if there's interest. Later all.

Nov. revivals: first half.

Hey. Mike here with what to catch for the first half of November. Sorry I'm late with this, but that couldn't be helped. I'll list what's good to catch, and I'll write as brief as possible. Here we go:

ROSEMARY'S BABY- Tues Nov 4 and Wed Nov 5 at 7 and 9:35- Film Forum- A 40th anniversary screening, with a new 35mm print. It opened on Halloween at the Forum, but these are doable dates. I've brought it up before, and I bring it up again. No new details, but according to someone who was highlighted as a "member of the week" on the Forum's web page, if you get too scared by this film, just look at Ruth Gordon, and it becomes a comedy automatically. I agree.

NOSFERATU THE VAMPIRE- Tues Nov 4 (and hopefully longer) at 7:55 and 10:10- IFC Film Center- A new 35mm print of the shorter American release, as opposed to the director's cut. Herzog and Kinski, in this adaptation of Bram Stoker's novel. Definitely runs through Tuesday. I think it runs through Thursday, and hopefully at least a week longer than that, but the website hasn't been updated, so I can't provide any new info.

HELL FIGHTERS with INFLATION- Wed Nov 5 at 8:15- MOMA- Easier to copy this from MOMA's website:

1957. Great Britain. Directed by Cy Endfield. With its dog-eat-dog politics and breakneck chase sequences, Hell Drivers stands alongside Raoul Walsh's They Drive By Night, Jules Dassin's Thieves' Highway, and Henri-Georges Clouzot's Wages of Fear as a gripping allegory of postwar capitalist exploitation and betrayal. The film's swaggering cast features the brooding, cocksure Welshman Stanley Baker and a then-unknown Sean Connery, along with Patrick McGoohan (The Prisoner, Secret Agent), William Hartnell (Dr. Who), and Herbert Lom (The Pink Panther sequels, The Ladykillers). Preserved by the bfi, London. 92 min. Inflation. 1942. USA. Directed by Cy Endfield. With Edward Arnold. This witty wartime propaganda short—a parable of greed & was commissioned by the Office of War Information but was then rejected by the U.S. Chamber of Commerce for its "anti-capitalist" message. 15 min.

YOUNG FRANKENSTEIN- Thurs Nov 6 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- The Mel Brooks comedy classic gets screened again, and at a convenient price. Many great scenes, but my favorite is easily Gene Hackman as the blind man/ the Host from Hell!. Skip the stage version and catch this. 2 Oscar nominations, for Sound, and for Gene Wilder and Brooks' Screenplay. Would you believe the script lost to Godfather Part 2? You do? Well never mind then. I hope those who introduce and occasionally speak during the film like MST3K, will not step on too many lines.

DINER- Fri Nov 7 at 1:30- MOMA- Another of the young male bonding/growing up type of film. Both Barry Levinson's first film as writer/director, as well Levinson's first film set in his native Baltimore. The sleeper hit of the summer of 1982. An Oscar nomination for the screenplay, and a major boost to the careers of Steve Guttenberg, Kevin Bacon, Daniel Stern, Mickey Rourke, Tim Daly, Paul Reiser and Ellen Barkin.

THE WILD CHILD- Fri Nov 7, Sat Nov 8 and Tues Nov 11- Thurs Nov 14 at 6:15, 8 and 9:45- Film Forum- A new 35mm print of Francois Truffaut's 1970 film. Shot in black and white, and in a style more akin to silent films, to try to match its 1798 setting. A nature versus nuture story, as Truffaut cast himself as a doctor, trying to both examine, study and raise a boy born in the wilderness, and also to "civilize" him. A performance from Truffaut that made Hitchcock ask him for "that actor who played the doctor's autograph", and made Spielberg cast Truffaut in Close Encounters. Yeah, I got that from the Forum's website. What a tool I am.

AN AMERICAN WEREWOLF IN LONDON- Fri Nov 7 and Sat Nov 8 at Midnight- IFC Film Center- Part of a retrospective of horror films from the 1980s. A sleeper hit from the summer of 1981. Funny and freaky. An Oscar for Makeup, highlighted by one of the great film transformation scenes ever.

WILD STYLE- Fri Nov 14, Mon Nov 17, Tues Nov 18 and Thurs Nov 20 at 10- Film Forum- A new 35mm print of a film screened only at 10pm at night. Was popular in 1983 and in its various re-releases in 84 and 85. Well, let me re-phrase, it was popular in places like Brooklyn and the Bronx. Outside, the rest of the country preferred films like Breakin and Beat Street. A quasi-musical/documentary, it followed various graffiti people (I'm not calling them artists), DJs and rappers, with concert performances of people like Grandmaster Flash and Fab Five Freddy.

Consider this a lesson in Hip Hop history, pre-MTV Raps. The film's director Charlie Ahearn will be at the Friday Nov 15 screening, with "surprise guests". If by surprise guests they mean surprise live musical performances, then you're guess is as good as mine.

VIDEODROME- Fri Nov 14 at Midnight- IFC Film Center- Part of a retrospective of horror films from the 1980s. One of the few studio films from director David Cronenberg. James Woods stars as a sleazy cable tv programmer, who gets hooked to Videodrome, an S and M, snuff-ish film show, that tends to distort things, physically and mentally, for the viewer. If you don't know this, I won't spoil it much more, except this is NOT for the physically or emotionally squeamish. Cronenberg's statement on overdosing on the varying visual media, and trashy TV (sounds timely, doesn't it?). Featuring a quite sensuous Debbie Harry.

Let me know if there's interest. Later all.

Godfather update

THE GODFATHER and THE GODFATHER PART 2- Fri Oct 17 and Sun Oct 19 at 2:35 (Part 2), 6:25 (Part 1) and 10 (Part 2)- and Tuesday Oct 21 and Thurs Oct 23 at 6:25 (Part 1) and 10 (Part 2)- The Ziegfeld theater- 141 West 54th St.- The two classic films finally left the Film Forum earlier this week. Now it will play for one week at the Ziegfeld. Every day and night (except for Wednesday), through Thursday the 23rd. On Friday the 24th, it will be replaced by High School Musical 3, something I guarantee you will never be on this list, unless i get paid to put it on.

The cleaned up print and sound version will be played on one of the largest screens and better sound systems this city has to offer. Don't think this will be digitally screened, I believe we'll be looking at film in this engagement. But think about it; this will be the last time it will look and sound this good on the big screen. The next time it looks and sounds this good again, most if not all of us looking at this will be dead. Gone. Think about it; two of the greatest films ever, and your last best chance to catch them. The choice is yours, you have been updated.


And to correct myself regarding The Witches of Eastwick,(which is still playing on the
23rd if you prefer this to a Godfather film), most of the info I had about it, came from Hit and Run by Nancy Griffin and Kim Masters. A good book, where they tell the story of how producers and former studio execs Jon Peters and Peter Guber tended to make a lot of money for themselves, but only occasionally for the studio they work for/with. Then they took over Columbia Pictures and Tri-Star for Sony, and though they didn't bankrupt Sony, they did major damage to their bottom line for quite a number of years.

Anyway, I should have look at the book a little more before I wrote. Specifically, it wasn't Cher who insisted on the role that director George Miller promised to Susan Sarandon, it was Warner Bros. execs who insisted. Though it was true that Sarandon didn't realize she had a different role until she arrived on location, the studio was fine letting Sarandon think it was all Cher's idea (page 137).

The other major tidbit I screwed up was that Miller did direct one film filled with humans, in between Witches and the two Babe films: Lorenzo's Oil. Yes, Miller was so burned out with the Hollywood style of filmmaking, that he didn't direct for years, but he did do one project he cared about. Not one of my favorites. It plays all the time on either one of the HBO channels, or one of the Cinemax channels, and I usually ignore it. There, I've corrected myself, and I move on. Later all.


P.S.: Yes, that's me in the reflection, taking a cell phone picture of The Godfather 2 poster at the Forum. Figured it would be easier than just getting it from another source.

October revivals: second half

Hey, Mike here with a list of what to catch for the remainder of October. Won't be a large list, but whatever.

Attended The Exorcist earlier this month. Damn does this film still work as a scary beast. Takes a while if you expect something slam bang, scare a minute, roller coaster action. But a classic of the genre nevertheless. I'd love to see it on the big screen without comment from time to time, because that's not what I got. I caught this at Chelsea Clearview with their Thursday night intros and part time commentary from Hedda Lettuce. Not that it wasn't funny at times, and I would go back. In fact, two of their October films are on this list, and two Mel Brooks films will be posted when November rolls around.

It's just that I would have liked to have seen this without any commentary, but oh well. Most of the film was played without it. Just a few moments, and that was fine. The most memorable line: when Max von Sydow, just before the exorcism began, warned Jason Miller that the Devil occasionally mixes in the truth in his lies, Hedda chimed in "Oh, just like Sarah Palin". Biggest laugh of the night, and that was saying something. Yeah, you get the idea that Hockey Moms don't play well in Chelsea, what a shock. Anyway, here we go:

PSYCHO (1960)- Thurs Oct 16- at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- A cheap screening of the Hitchcock classic. Familiar to many, but I'm telling you, it's a completely different beast on the big screen as opposed to TV. You're not spending time in your living room, check marking all the familiar aspects of the story. This story sucks you in, lulls you into thinking one way, and then turns it around. You know all this, you wouldn't be looking at this list if you've never heard of Psycho. But this tightly edited story draws you despite what you know. And if you've somehow NEVER seen it, oh boy I'd like to see this with you.

And despite being an unplanned landmark in the horror genre, slasher sub-section, I would argue that this plays more like a suspense thriller then a horror pic. So those that have problems with horror flicks, should be ok with this. Interesting to watch acting-wise, as well. John Gavin's boyfriend performance hasn't aged too well, and Vera Miles's isn't bad, but definitely more then a little annoying. Not as shrill as Julianne Moore's in the remake, but still. Martin Balsam continued his reliable character actor work here, as a more believable ex-cop then Bill Macy in the remake.

There is a reason why this is Janet Leigh's most memorable performance, and it's not because of the shower scene. Go ahead, name another memorable performance of hers. Oops, Touch of Evil, not quite. Being part of the memorable opening scene doesn't qualify as a performance. And Manchurian Candidate doesn't count either. Being the red herring of a story's plot, eh, whatever. Despite Hitchcock's feeling about actor being cattle, Leigh gets to play a truly conflicted person. Decent, wanting more out of life, caught up in temptation, then over her head looking for a way out, which is about when she pulls into the Bates Motel.

But Anthony Perkins' performance feels modern today. Creepy, alive, desperate to open up, yet jittery within his own skin, and with just a little anger threatening to bubble up. Ole' Hitch may not have understood what Perkins was bringing to the table, but Alfred was patient enough to give him free rein. Thanks to the success of this, Tony could never be free of the typecasting.

Oscar nominations for Leigh (her only one), Hitch for Director (his last nomination),

Cinematography and Art Direction. On both AFI Top 100 lists and in my personal top 100. Catch this.

THE SHINING- Fri Oct 17 at midnight- IFC Film Center- This Kubrick film plays again. This time as the start of a series of horror films from the 1980s. More expensive and in a different neighborhood then Chelsea, but also a more comfortable theater. That is all.

THE WITCHES OF EASTWICK- Thurs Oct 23- at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- A cheap screening of one of the summer hits of 87. This film is here purely on affection, not because of highest quality. I've always had fun watching this film, but I won't pretend it was one of the best to come out that year. Supposedly one of the worst book to film adaptations ever; a passing resemblance to John Updike's novel at best. Strange that it seems to be the most successful of all attempts at adapting Updike's story. 2 TV pilot attempts and an award winning musical considered not something enough to bring from the West End to Broadway are the failures. Whether they tried to copy the film, or the book, or tried to do both, who knows. The two points are: you probably know this film and you probably have some kind of smile when you think about it, and you probably never heard of any other non-book version until now. Ok, maybe some of you have heard about The Witches of Breastwick 1 and 2, but enough about soft core films . . .

3 lonely women in a New England town try to conjure up the perfect man for each of them, and end up having the Devil trying to seduce them. Simple enough, and not a lot of need to go further.Cher, Susan Sarandon and Michelle Pfieiffer play the title roles. None of them were at career peaks at this point, but their leading role careers received a major bump here. A most difficult film to shoot. Warner Bros. executives and co-producer Jon Peters browbeat and/or fought director George Miller (in his first Hollywood film after years of Mad Max pictures), to the point that he hasn't worked with many actors ever since. Yes, he made films, but they were the Babe pictures, and Happy Feet; not a lot of Hollywood interference there. Peters was working on this with his partner Peter Guber, but was forced to work directly on Witches, because Spielberg supposedly had him banned from the set of Innerspace. See, they were shooting both films had the same time. Wait I've digressed . . .

One studio executive pushed Cher to the point that she would have punched the exec., if Sarandon hadn't restrained her. Susan had to tell Cher it wouldn't be good to punch out an eight months pregnant woman, no matter what she said! Cher I guess repaid Sarandon by wanting Susan's role, and eventually got it. Susan wasn't told that she was now playing Cher's old role, until they all arrived on location to begin shooting!!! Then Susan nearly gets killed on a stunt that went almost wrong. Not sure if it was near electrocution or falling on a wire gone wrong, but I'll look that up another day. The studio itself wasn't happy with the original ending, and forced shooting of several different endings, until they found one they could stomach.

Jack Nicholson nearly quit twice. Once, when Peters went too far with his rantings at the same meeting where Cher nearly punched out a pregnant Warners exec. A second time, when Peters tried to fire Miller. Jack was pretty much, if he goes, I go, similar to Brando in Superman 2. And it's a good thing for us he didn't. Jack makes this film. Now granted, if some of you feel that The Shining is an example of Jack overacting to the detriment to a film (I disagree), then Eastwick would be an example of barreling through a film, chewing up the scenery, the lights, the props and possibly an actor or two.

But then, how would you play a horny little devil? The film will probably be only a minor blip in a Jack retrospective, but a memorable comic villain he is here. Light, sensitive at some turns, mixing the truth into the lies, like in The Exorcist. It's possible to be truly caring, and not minding to cause pain and suffering at the same time. Mix in an underrated John Williams score (Oscar nominated), and it's fun. That's all, nothing more, and for a cheap price too.

CREEPSHOW- Fri Oct 24 at Midnight- Continuing the 1980s Horror Film retrospective. An anthology combining the talents of writer Stephen King and director George A. Romero. A mixture of original work of King, as well as Stephen adapting 2 of his short stories, almost in the style of an old E.C. horror comic. Mostly done tongue and cheek: like Hal Holbrook dreaming of killing shrill wife Adrienne Barbeau with the help of a monster in a box, or Leslie Nielsen's idea of water torture of a young Ted Danson, and Danson's payback. But this style doesn't undercut any possible creepiness or grossness: like when E.G. Marshall plays a clean freak with a roach problem, or when King himself plays a redneck type who suffers a brutal, personal greenhouse effect. A young Ed Harris, who got one of his early film leads from Romero in Knightriders, is also featured.

A surprise hit in the fall of 1982. No doubt aided in Forest Hills by the fact that someone at the Midway movie theater came up with the bright idea of showing the Creepshow trailer during screenings of E.T.!!! My mother was NOT amused, though my father was. A forgotten horror flick that deserves renewed attention.

LOLA MONTES- Fri Oct 24, Mon Oct 27 and Tues Oct 28- at 7:45 and 10- Film Forum- A new 35mm print. A restored version that was supposedly a hit that this year's Cannes Film Festival, and played at this year's New York Film Festival. Now is this film any good? I have no idea. Originally released in France in 1955, but butchered by producers and/or distributors to the point that you'd think they didn't want to make money off of Max Ophuls' last film. Restored in terms of picture back in 1969, and then restored even further in picture quality for release this year. The original sound mix was also finally restored, and cleaned up.

But again, is this film any good? I don't know. There's not a lot of call to screen Max Ophuls films on cable, so especially one that was the most expensive film in France at that time that flopped at the box office and had mixed reviews of its re-edited form. Ebert says to basically look at this as something shot in the story telling style of Citizen Kane, where in the circus, ringmaster Peter Ustinov tells her story in flashback. Each section of her life told in a different color scheme; from Lola as a girl/young woman in the circus, and affairs with men as varied as Franz Listz and the King of Bavaria. Stars Martine Carol in the title role. No, she hadn't done anything that made an impact on this side of the ocean, with the possible exception of this flick. She was a major sex symbol in France, but the combination of possibly lousy career choices/options, having the audacity to turn 35, an unhappy personal life, and the coming of Bardot, makes this Carol's last role of note. Is she any good? No idea.

From what I read, and seeing the new trailer, every penny is up on that screen, and the restoration seems to have been done with great care. This picture seems built to test a film viewing belief, that if you give me enough interesting visuals and music, I can overlook a lot acting and/or script flaws. This feels like Lola Montes might replace, say, the first Star Trek film, as my go-to example of this.

Maybe being Andrew Sarris' favorite/greatest film of all time might be a good thing. Then again, maybe not. He took a reputation beating when he made that proclamation with Lola Montes. Years later, he changed his mind and gave that designation to The Earrings of Madame De . . . Now I liked The Earrings quite a bit, but best film of all time? Ahhhhhhh, no. So I'm a little leery, but game to try it.

NOSFERATU THE VAMPIRE- Wed Oct 29 and Thurs Oct 30- Times TBA- IFC Film Center- If it's autumn, it must be time for me to post a Werner Herzog-Klaus Kinski film. Here we have the highly atmospheric version of the Dracula story. Only here we have our wacky buddy Klaus, playing the Count more like the Max Shrek silent version (predatory, inhuman, unromantic). This sticks closer to the Bram Stoker original, like what was written above about the Count, as well as avoiding to make any attempt to make Van Helsing or Jonathan Harker (Bruno Ganz- Hitler from Downfall, 24 years earlier) heroic. Shot in Europe, unlike most big budget Dracula stories, include Dracula's castle shot in and around an actual German castle. With Isabelle Adjani as a gorgeous Lucy Harker.

Times have not been listed at this time on the IFC Film Center website. There might be some Midnight screenings listed, but there will be some regular day and evening screenings as well. Will either end its run on Tues Nov 4, Tues Nov 11, or Thurs Nov 13. Also have no idea if this is the 1 hr, 50+ min German version, or the 96 min English version. I'd like to catch this either way.

Whatever I can catch would be great. I don't have an order of preference. Let me know. Later all.

P.S.: No one pressured me to praise the screenings at Chelsea Clearview with Hedda Lettuce. When I became one of the winners of a drawing, they didn't and don't know I write about stuff like this. Then again, 99.9999% of New York, doesn't know about this, but anyway. The point is, a copy of Life and Style magazine, a pass for 2 for something called Peep Show Male ("To see how the other half lives" Hedda told me), and a DVD of Nim's Island, doesn't constitute a bribe.

P.P.S.: I forget where exactly I go the info about the lousy meeting regarding Witches of Eastwick. Either I got it from the book The Devil's Candy by Julie Salmon (my favorite Hollywood book, about the disastrous making of Bonfire of the Vanities), or from Hit & Run by Nancy Griffin & Kim Masters (about producers Jon Peters and Peter Guber), or from both. I don't remember where exactly, so I'll credit both just in case.

October first half revival update

THE GODFATHER PART 2- Sat Oct 4 at 1 and 8:30, Wed Oct 8 and Mon Oct 13 at 8:30- Film Forum- Here's a shock. The Godfather films are really popular at the Film Forum. People actually want to see them, especially with cleaned up look and sound. Whoda thunk it? Their run, playing together with separate admission, has been extended through Tuesday, Oct 14. I'm just listing the dates and times I can make Godfather 2, which I haven't caught in this restored condition. Wish this was announced 2 days ago, but here we are. Later all.

Oct. revivals: first half

Mike here, with what to catch in the first half of October. Life's a little easier now, so I don't have to spilt the month up into thirds, like September. It's also easier that I don't have to bother to post anything playing at IFC Film Center, since they refuse to update their calendar beyond either last weekend or August, depending on the page you hit. There is also a larger number of films I haven't seen, or haven't seen in so long I can't give a thumbs up or down. So this month can be more adventurous. Here we go:

THE SHINING- Thursday Oct 2 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- The start of a month long series of horror flicks at an affordable price. Do I really need to go into the film's story, people? You either know it, or you're a 20 year old who accidentally clicked on this, instead of one of the 1500 Project Runway blogs. Stephen King was not thrilled with the way Stanley Kubrick adapted his novel. And while I don't recall this film being wrecked by critics back in 1980, there was no outpour to proclaim this a classic then, as opposed to now. Nicholson's already mildly eccentric performance at the start before he goes into complete psychosis, was quite different from the book, and in most forms of reality. But I'll stop comparing the book with the film now. Especially when Stephen King got to make his own version of The Shining; that 1997 mini-series was borderline unwatchable. I saw most of it, scattered over 8 years, out of curiosity. Don't do the same. Watch this film instead.

The film has its own creepy build up that pays off well. Jack does psychosis better then most actors around. You may not believe Shelley Duvall could have ever been married to Jack, but you buy her as a mother isolated and at her wits end, only to find inner strength. The best performance in the film was pulled out of child actor Danny Lloyd, protected from knowing this was a scary movie until it was released. Not the best film of that year, or even among horror flicks, but still pretty good.

Will be screened at two different times on Oct 2, with 2 different pre-shows. The only way the 9:30 screening goes off on time, is if it's played in a different screening room. Which is possible, but if the 7pm can be done, great.

IN THE REALM OF THE SENSES- Fri Oct 3 at 10- The Walter Reade at Lincoln Center- Part of the Nagisa Oshima retrospective. His films are being played as a sort of side venue of the New York Film Festival. While the main flicks are playing at the Ziegfeld, films from retrospectives such as these play at the smaller Walter Reade at Lincoln Center. These kinds of tickets need to purchased way in advance, or possibly bought one hour before the screening, when cancellations open up. That said, this is really the type of film that needs the tix to be bought ahead of time. I brought it up last time, and I'll bring it up again now.

Look back at the last post, where I cut and pasted the filmlinc.com description. Or go to imdb or Wiki and look it up further. It's not whether you know what happens, it's the journey, so to speak. Good luck finding this on DVD. It's not the type of film to be sold at Best Buy, or the type available at Blockbuster stores or online. Netflix may or may not be helpful either. This is as good a chance as you may ever have to seeing this. But for mature filmgoers only. The sexuality is quite frank, and the emotions are not child's play. If you don't think you can handle this once you've finished researching this, then move on to the next film option.

I VITELLONI and (maybe) THE WHITE SHEIK- Sat Oct 4 at 6:20 (Vitelloni), 8:20 (Sheik) and 10 (Vitelloni)- Film Forum- The start of the Alberto Sordi retrospective. For those who've told me that I should include more revivals I've never seen, well here we go. I wouldn't know Alberto Sordi to save my life. Never seen any of his films. So I'm relying on more then just memory to pitch here. Consider one of the best Italian film actors, equally adept at comedy and drama. I've pick the ones I have any interest in. I pick two early Fellini films, though I only have major interest in the first one.

I Vitelloni is considered the inspiration for films like American Graffiti, Diner and even Mean Streets. 5 male friends in Italy get together, but only one leaves their small town and start to live a real life. Sordi appears to play the comic relief friend. That this film was one of the all time favorites of Pauline Kael worries me. That's one of the all time favorites of both Scorsese and Kubrick lessens the worry. Oscar nominated for its screenplay.

The second film, The White Sheik, I can take or leave. An early Fellini comedy, where a young honeymooning couple experience early problems. When the wife already has trouble standing her husband, she goes off looking for her crush; the title character who's the star of her favorite soap opera. So she ends up tempted by her idol, while the husband is all distraught, surrounded by prostitutes. Sordi is in the title role, with questionable romantic skills and even questionable intelligence. Wouldn't mind seeing it, and it is only 86 minutes.

LA GRANDE GUERRA- Tues Oct 7 at 6:30 and 9:15- Film Forum- Part of the Alberto Sordi retrospective. A dark war comedy that seems to have been ripped off, in part, by the fourth edition of the BBC series, Black Adder. 2 young Italian men (Vittorio Gassman and Sordi) try to get out of serving in WW I, then try to stay as far from the front as possible. But the front easily can come to them . . . Mixture of comedy and war drama. Just as likely to do a comedic scene as it is to have a battle scene. Oscar nominated for Best Foreign Film. Never saw it, but would like to try it. If this is the only Sordi film I get to see, I would be fine with that.

THE EXORCIST- Thursday Oct 9 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- I've been looking forward to this film playing at non-Midnight screening time for quite a while now. And now it's at an affordable price as well. The director's cut from 2000, of one of the best modern horror films ever made. Thankfully not as graphic as the popular novel, where one got to imagine every orifice that stuff came out of little Regan. But in terms of atmosphere, it rivals Texas Chainsaw Massacre as among the creepiest films. And do note, these are just regular people, dealing with a horrifying problem the best way normal people, i.e. most of us, try. Helps give the film that little extra kick into our stomach when needed. One of the few horror films to pack a punch on the small screen, so you can only imagine on the big screen.

Oscars for Sound and for William Peter Blatty for adapting his own novel. Funny, Blatty wrote this in part because he could only get hired to write light comedies like A Shot In The Dark. After The Exorcist came out, studios were only interested in hiring Blatty for horror flicks. Oscar nominations for Picture, Director William Friedkin, Actor Jason Miller, Actress Ellen Burstyn (apparently she still suffers from back problems sustained while shooting this), Supporting Actress Linda Blair (though most of the credit for this performance is given to then-uncredited Mercedes McCambridge, as her possessed voice), Cinematography, Art Direction, and Editing. With Max Von Sydow and Lee J. Cobb.

I just noticed I used both the kick and the punch metaphor in the same paragraph (the first one). Wow, I need to find better writers for this . . .

ANIMAL CRACKERS- for free (subject to availability) Fri Oct 10 at 6:15- MOMA- This Marx Bros. film gets a screening. I posted it back in July. I could have gone to it then, but when it came to doing a triple feature along with Fantasia and Monkey Business, I preferred to substitute Wall-E over this. But now there's a second chance to catch this, one that I didn't think would come this soon. Caused more excitement back in 1974, when it screened for the first time since 1957.

Some complain this is only a filmed play, and it's probably a fair complaint. But 4 Marx Brothers with Margaret Dumont is good enough for me. Where the line "One morning I shot an elephant in my pajamas. How he got in my pajamas, I don't know." came from. Because this is being screened on a Friday night, admission is free, subject to availability. But if you don't get to MOMA by 5:15 to 5:45, or have someone get the tickets for you by then, then forget it.

THE DARK CRYSTAL- Fri Oct 10 at Midnight- Landmark Sunshine Cinema- This film gets a midnight screening every so often. I guess this will be the only time this year it will play. I succeeded last summer in getting a few people to go. I hope this time, I actually get to go. If you're a fan of Lord of the Rings kind of fantasy, or a fan of 80's films, here's this effort from Jim Henson. Jim and co-director Frank Oz's (with an uncredited assist from Star Wars producer Gary Kurtz) attempt to do a Lord of The Rings-style film with the latest in animatronics technology, received only minor acclaim and decent U.S. business in the Christmas of 1982, but became one of the biggest films to ever hit Japan and France up to that point. It still has a fervent cult here. Puppetry effects at their height, with the Muppet-esque cuteness cut down very low. A children's film that, despite some lulls, keeps the adults entertained, without being cheesy or insulting to the kids. Though if I see any kids at this screening, the temptation to call Child Protection Services will be high.

MERRY CHRISTMAS, MR. LAWRENCE- Sat Oct 11 at 9- The Walter Reade at Lincoln Center- Part of the Nagisa Oshima retrospective. A new 35mm print. I would almost consider this 1983 picture a forgotten film, if most people in this country had ever heard of this to begin with. Sorry that back in Sept. 1983, it wasn't as cool as say, Jaws 3-D. See, that's a film Universal Pictures knew how to promote, not this.

The arrival of a British officer introduces us to a Japanese prison camp in Java, 1942. The man who runs the camp will seem very familiar to those who have seen Letters From Iwo Jima. Because these Allied prisoners have accepted surrender over suicide, they deserve more punishment for this, then for being the enemy. It tells more of a story of East/West differences, and how power and absolute belief can shift during war, then telling a straightforward war story. Expect more atrocities depicted then war action. Also expect a lot more character development as well.

The biggest issue Western critics had was the casting of David Bowie as a British commando. Too strange and spacey for his own good. But considering he was playing a burnout who couldn't function, his performance has aged well over the years. Only available in this country through the Criterion Collection. Take a chance and catch it.

Too many choices. Definitely yes to the horror films, and one of the Sordi flicks. Maybe Animal Crackers, because it's free. Anything else is a bonus. Later all.

Sept. revivals: the rest of them

Mike here with the remainder of the September revival list. I couldn't believe I had the chance to catch every film on the last list. That's never happened to me before. Not that I did, mind you. Oliver was so unexpectedly fantastic, it was best to leave after that, then sit through the decent, but as far as I'm concerned, lesser Dickens adaptation in Great Expectations. The Godfather I'll go into later. And then the double feature of Blithe Spirit and Brief Encounters was good. Blithe Spirit was better then I remembered, while Brief Encounter was a little too soap opera for my taste, but still good. While Trevor Howard did a respectable job, he came off a little too earnest. Not as natural as he would be in say, The Third Man, Von Ryan's Express or Father Goose. But at least better then his work in 1981's Windwalker, where he played an Indian chief (Yeah, when I think Indian chief I think TREVOR HOWARD?!?!?!).

Anyway, no trace of soap opera in Celia Johnson's performance. We would probably think of her in the same breath as Streep in this country, if she didn't hate making films and preferred the stage. But at least we have her performance in Brief Encounter. Anyway, here we go:

LAWRENCE OF ARABIA- Sat Sept 20 at 7- Film Forum- Part of the David Lean retrospective. I've seen this before on the Ziegfeld's screen, and the Forum obviously can't compare, screen-wise. But this is one of top 5 all time favorite films. That is TOP 5 all time. Whenever one of my top 5 is available to see, I must post it, no matter if I own it, or how many times I've seen it on screen. The best film on the list; maybe by a little, maybe by a lot, but noticeably better. The intimate moments are treated with as much care and respect as the epic scenes, the script deserves just as much respect as the visuals, and has there been a better leading debut for a star than Peter O'Toole in the title role? Ok, Chaplin and Brando, but I can't think of any better lead debuts in color films.

On both AFI Top 100 lists. 10 Nominations, including Actor for O'Toole, the Screenplay, and Supporting Actor for Omar Sharif (don't get me started on his entrance!). 7 Oscars, including Picture, Score (maybe the best film score ever; not sure, but if you have better choices, let me know), and Director for Lean. If you haven't seen it, the big screen is THE way, there isn't a TV screen big enough to pull this entirely off.

THE GODFATHER PART 2- Sat Sept 20, Sun Sept 21, Thurs Sept 24, and Sat Sept 27 at 8:35- Film Forum- I caught Godfather this past weekend, and the restoration looked, and especially sounded, great. Throw out or ignore the DVDs from early this decade, and go get the new ones that come out in Oct. If you go for this on Netflix, make sure you're renting the 2008 edition, otherwise you'll probably be a little disappointed. The same restoration process has been done to The Godfather Part 2. I remember seeing an old 3 strip Technicolor print at AMMI a few years back. A scratchy print, but the color hues in the Vito Corleone scenes from Ellis Island through Robert de Niro's shooting scene blew me away. Totally different from every other time I've seen it on video or cable. If the quality of that is captured in this restoration, it should rock. It will anyway, but still.

On both AFI Top 100 lists, and in my personal top 35. 11 Oscar nominations, including Actor for Pacino and Supporting Actress for Talia Shire. 6 Oscars, including Picture, Director and Screenplay for Coppola. A Supporting Actor Oscar for De Niro in a career making turn, beating fellow nominated co-stars Lee Strasberg and Michael V. Gazzo. If the above dates don't work, there will be more chances in early October.

THE BRIDGE ON THE RIVER KWAI- Mon Sept 22 at 1:30 and 4:30- Film Forum- Part of the David Lean retro. The first of the Lean epics. A new 35mm print. Doesn't exactly jive with the real life history in World War 2, but more of a study of madness. The Japanese needs a bridge built. British colonel Nicholson is tortured to force him eventually to lead the prisoners into building the bridge. He agrees to, but is broken down to the point that building the bridge becomes a matter of British pride and strength. Refusing to surrender emotionally, while pushing his own men to the brink to finish construction. Meantime, a burned out American who escaped the POW camp is forced by the Allies into a suicide mission: to go back into the jungle and blow up the bridge.

William Holden was already a name around the world before he turned in a good performance, as a bitter man forced to fulfill his duty. But Alec Guinness became about as big a name, playing the epitome of obsession and madness. 8 Oscar nominations. 7 Oscars, including Picture, Screenplay, Guinness for Actor, Lean for Director, his first. I'm sorry I wasn't able to make it this summer, back when it played at the Holden retro at Lincoln Center. But better late than never.

RYAN'S DAUGHTER- Mon Sept 22 at 7:30- Film Forum- Part of the David Lean retro. A rare screening of a rare Lean flop. Its reputation differs from different people, assuming you know anyone other than me who's even heard of this. Set in World War 1, a bored married Irish woman has an affair with a young English officer. This type of adulterous affair with revolution about to begin, you know something bad will go down. With Sarah Miles in the title role, and actors like Trevor Howard and Leo McKern (Rumpole himself) also in the cast.

Released in 1970, this was not embraced in the era of MASH and Easy Rider. It seemed as though critics like Pauline Kael made it their mission in life to destroy the film and Lean as well. They succeeded in the former and might have succeeded in the later, since Lean worked on very little after that, only completing A Passage To India (which I like, but not enough to put on this list.). I tried to get into on TV, but like Dr. Zhivago, it was difficult to get through on the small screen. I didn't feel Robert Mitchum was miscast as the uptight, quiet husband. He was stretching himself and he did fine.

But I can't help you with the bigger question. Is this too damn slow and old-fashioned? Is this an undiscovered gem, unjustly attacked? A noble failure that is not as bad as 1970 critics said, but not deserving of higher praise? We will have to see for ourselves. A 1980 re-release didn't change matters. Miscasting of the young British officer doesn't help- he had to be dubbed. Recently it's received a reappraisal in Australia, playing in one of its larger houses for 2 years. But that's the only country where this film's fortunes have changed.

4 Oscar nominations, including Sarah Miles for Actress. I'm sorry we don't see much from her on these shores anymore. 2 Oscars, for Cinematography and Supporting Actor for John Mills, who played the village idiot. He's usually sighted as one of the first bits of proof, that the best way to at least get an Oscar nomination, is to play some of retardation. Not entirely accurate, but it's hard to fight a growing myth.

This is the only night and time this plays. Over three hours, plus an overture, intermission, and exit music, so plan ahead before you say yes.

SUMMERTIME- Tues Sept 23 at 7:30 and 9:30- Film Forum- Part of the David Lean retro, and his favorite to shoot. The first film David shot out side the auspices of some British film company, and outside of Britain as well. Adapted from an Arthur Laurents play, and starring the biggest name Lean would ever work with, Katharine Hepburn. She plays a spinster-ish American woman, who's given up on love and tries to have a good time in Venice. She unexpectedly discovers love and becomes a whole new woman, but it isn't to last . . .

Never mind the gorgeous Venice visuals. Lean gets us to feel the love and empathize the way it feels for the first time. And how it feels when it doesn't go right. Oscar nominations for Hepburn for Actress and Lean for Director. I can't believe it's considered a forgotten Lean classic. I mean seriously, most of his black and whites are better remembered than this one? Really? Make up for that and go.

IN THE REALM OF THE SENSES- Sat Sept 27 at Midnight- The Walter Reade at Lincoln Center- Part of the Nagisha Oshima retrospective. A new 35mm print. The kind of film you need to build yourself up for. The kind that one might have to buy tickets for online to insure admittance. If this night and time isn't possible, it will play again in early October. Google and Wicki this for more info, but in the meanwhile, I'll cut and paste what's on the filmlinc website:

The only film invited to the New York Film Festival ever to have been censored (it was stopped by U.S. customs officials but later released and shown after the festival), In the Realm of the Senses has proved so controversial that it’s still effectively banned in Japan. Unhappily, the controversy has made it difficult for people to appreciate what an enormously powerful work of cinema it truly is.

Based on a real incident, the film is set in 1936, when militarism is increasingly taking over every aspect of Japanese life. A hotel maid, Sada Abe, carries on an affair with her employer, Kichizo Ishida. One day, the lovers lock themselves in one of the rooms and push their lovemaking to some new, unknown limit. Oshima captures the startling intensity of the physical contact between his actors, as, gradually, the rest of the world disappears and is replaced by an overwhelming sense of passion.

Oshima had always explored the revolutionary potential of sexuality. Here that theme receives its most sustained, and profound, treatment. Bold, challenging, unforgettable—In the Realm of the Senses is not for the faint-hearted, but not to be missed.

Let me know if there's any interest. Later all.

Sept revivals: second third

Hey all. Mike here with the next batch of September revivals. I noticed something recently. I've been recommending films at the Forum now to the point where I'm starting to come off as a paid spokesman. First of all, I'm not. Second, it's getting harder to find more places. MOMA and Walter Reade are the only reliable places to go at this point. Anthology Film Archives is either too inconvenient, and most of their films that I might be interested in conflicts too much with others. I'm in no mood for Bergman or psychedelic 60s flicks, so IFC Film Center has been out for a while. There's nothing at Landmark Sunshine Cinema I want to get to until November, if I'm lucky. Two Boots Pioneer seems to have stopped with revivals altogether. AMMI in Astoria has been closed since late February and it will be quite a while before it reopens. Symphony Space seems to only screen films on Sundays now. BAM is out of my jurisdiction, and out of the jurisdiction of anyone that might catch something with me.

So it's frustrating that the films I can put on this list are playing in the Forum. But with all this said, I'm real happy with what's playing. Here we go:

THE GODFATHER- Sat Sept 12- Thurs Sept 17 at 8- Both this and Godfather 2 are being released on blu-ray fairly soon (exact date unknown and since I don't own a blu-ray player, I don't care). Much like the restoration for Apocalypse Now Redux, these Francis Ford Coppola films received a major cleanup and improvement of sight and sound. If these restored discs, overseen by Coppola, cinematographer Gordon Willis and Robert A Harris, are as good as the restored DVDs of both versions of Apocalypse Now, then the home viewer should be in for a treat.

Like previous DVD releases, such as Scarface, Blade Runner and THX-1138, both films will get a brief theatrical re-release. And it will only play at the Forum. Due to self imposed calendar restrictions, only the first Godfather film will be listed here. Godfather 2 will be on the next September list.

Now that I've said all that, do I really need to pitch this? Brando comeback, blah blah blah, rise of Pacino, blah blah blah, great cast that I'm not in the mood to breakdown, blah blah blah, on all great films lists worth a damn and most that are not, blah blah blah . . .

10 Oscar nominations, 11 if you include the one for Nino Rota's score that was later ruled ineligible because he supposedly reused his score from the film Fortunella. Among the nominations it lost was Supporting Actor for Pacino, James Caan and Robert Duvall, Coppola for Director, Editing and Sound. It lost all those noms to Cabaret. If this shocks you, it's because you're not into musicals or you have no idea how good and how influential Cabaret director Bob Fosse was/is. What shocked the hell out of me was that The Godfather WASN'T nominated for Cinematography. No Art Direction nod, I could understand that; look it up and you'll know what I mean. But you mean to tell me 1776, Butterflies Are Free, Cabaret (the eventual winner), The Poseidon Adventure and Travels With My Aunt ALL deserved votes more than Godfather? I'm not saying it should have won. I had no problem if they thought Cabaret, the eventual winner, was better. But that's because I have a soft spot for the work of cinematographer Geoffrey Unsworth (2001, Murder on the Orient Express, Becket, Superman: The Movie, among other credits). But Gordon Willis not even being nominated for his work is Bullshit.

But it did win 3 key Oscars: Picture, Screenplay Adaptation for Coppola and Mario Puzo and Brando for Actor. No need to mention the Oscar controversy in this list about Brando that night. No need to mention its high place on both AFI lists. No need to mention its place in my personal top 35 (pretty high, yet not as high as Godfather 2). Just need to say; unless you're over the age of 46, you saw its brief re-release in 1997 or saw a crappy print when it's played at Midnight at Landmark Sunshine Cinema, you're just like me. You've only seen this on tv. And you've never seen it look as great or as intended. Now is a great time to correct this.

If you can't make it in the days listed, it will play again later this month. It will be part of a separate admission double feature with Godfather 2, and I'll mention it again with the next list. Tix for The Godfather are already available online, so it might not be easy to get, especially within a half hour of its performance. A social backup plan might be in order. Here are two sets of possibilities . . .


GREAT EXPECTATIONS and/or OLIVER TWIST- Sat Sept 13 at 5:25 (Expectations), 7:40 (Twist), and 9:50 (Expectations)- Film Forum- The beginning of the David Lean retrospective. 35mm restorations for both. Not the biggest fan of Great Expectations, but it's one of the better versions of the Dickens story out there. A classic compared to say, the Gwyneth Paltrow version from the late 90s. Oh, you forgot that version? Lucky you . . .

Consider this a cliffs note version of the story, with as many story lines jammed in as possible. Try to ignore the very end of this if you can. But also the note the highly stylized attempts Lean made to make this cinematically interesting, though he would be involved in much better adaptations as his career went on. Very interesting cast, including John Mills as a young Pip, Jean Simmons as a very young Estella, and Martita Hunt as the quintessential Miss Havisham. Also notable for having Alec Guinness as Herbert Pocket. This was the first of his six collaborations with Lean.

Oscar nominated for Picture, Director and Screenplay. Won for its Black and White Cinematography and Art Direction. I wouldn't mind seeing this, but I can survive with just catching Oliver Twist.

A much better adaptation of a Dickens story done by Lean, than Great Expectations. Made in 1947-8, though not released here until 1951, for reasons I'll go into later. Doesn't go for more sunnier aspects that the musical Oliver! goes for, as poor orphaned Ollie runs away from a workhouse and is on the streets. Notable for Alec Guinness's performance as Fagin; he must have been very comfortable working with a lot of makeup on. In fact, it was controversial in it's day precisely because of Fagin. In Israel and in the U.S., Fagin's depiction was considered anti-Semitic, which caused it to be briefly banned in Israel, and delayed for years here. In Egypt, it was briefly banned for making Fagin appear too sympathetic. Decide for yourself. With Anthony Newley as Artful Dodger.


BRIEF ENCOUNTER and BLITHE SPIRIT- Sun Sept 14 and Mon Sept 15 at 6:20 (Encounter), 8 (Spirit), and 9:50 (Encounter)- Part of the David Lean retro. 35mm restorations for both. Lean's first international successes, both from 1945, and paired together. Both films are under 96 minutes, so consider them as mini masterpieces by Lean.

First, the original Brief Encounter. 2 married people meet by accident, fall in love, but the stars just aren't aligned for them to have a future. One of the better love stories made, in part because of the obviously short life their romance will have. Not for lack of love for each other, but they can't destroy their home lives for this. You know this story because in part, many films and tv shows have followed the setup or the pathos of this film, which is an expanded adaptation of Noel Coward's one act play. This came before most. If you know Lawrence and Dr. Zhivago as outwardly expansive, then consider this as Lean at his most intimate best. 3 Oscar noms; Celia Johnson for Actress, and Lean for both Director and Screenplay.

Next, Blithe Spirit, another adaptation of a Noel Coward play. Only this time, unlike Brief Encounter's alternating middle class and romantic black and white, Blithe Spirit was shot in an early form of Technicolor. Thanks to the wacko medium who performs a seance, the ghost of Rex Harrison's first wife returns and won't leave. The second wife, very much living, is not happy to say the least.

One of only 3 comedies directed by Lean, but he has a light touch that makes you wish he made more. Not at the expense of him not making Lawrence or Bridge Over The River Kwai for example, but still. Having superior material like Coward's play certainly helps. Also helping is having several actors (Margaret Rutherford as the wacky medium, Kay Hammond and Jacqueline Clarke as both wives) who played their respective roles on stage for years, so it became second nature on screen. An Oscar for the early visual effects. The Forum claims this was the only time Lean used special effects for one of his films. Whatever.

So that's it. I narrowed it down to what I really want to see, with not an ounce of junk among the options. Let me know, later all.

Sept revivals: first third.

Mike here. Sorry for the lateness and the soon-to-be-apparent laziness. But I've just completed my time attending the U.S. Open. Had my usual fun out there. But it kept me from going behind the computer to write up a list. And as I started to put the first half of this month together, I started getting nervous about tackling a lot of titles at once. My only solution: to split up this month into thirds. Not my first choice, but the best I can do. Which means a real small list. Here we go:

THE WAGES OF FEAR- Thurs Sept 4 at 7 and 9:40- Film Forum- Part of the French Crime Film retrospective. From the director of Diabolique. 4 desperate macho men will get the reward of a ticket out of the hellhole, piss-poor little South American village they're all stuck in. That is, if they're willing to drive trucks filled with nitroglycerin over mountain sides and through jungles, in order to put out a fire at an oil refinery. They also battle each other, with macho posturing just as threatening as the elements. Starring Yves Montand.

Perennially in imdb's annoying top 250. Winner of the Grand Prize at Cannes. Diabolique is director's Henri-Georges Clouzet's best known film, but this is considered his best. I've never seen it, but I've seen the American remake from 1977, Sorcerer, which is underrated (released the same weekend that Star Wars went into wide release, therefore forgotten). Would love to catch this. According to the Forum's website, the version being screened is about 9 minutes longer then the cut version released in 1955, but 8 minutes shorter than the director's cut.

SHOOT THE PIANO PLAYER- Tues Sept 9 and Wed Sept 10 at 7:45 and 9:30- A new 35mm print of this, the last of the French Crime Film retrospective. Francois Truffaut's version of a gangster film, where thriller and comedy aspects are thrown into the genre in uneven amounts. A concert pianist, burned out and widowed, works in a dive. Has 2 hot chicks who want him, but he's closer to Spock then to an emotionally expressive person, except when he plays the piano. But now that his brothers are in trouble with (amateur) criminals, things can't stay good forever. Never seen this, but the mixture of comedy, drama, thriller aspects, homages to Warner Bros B crime flicks, and a passing resemblance to Vertigo (more than just passing?!?!?), it's sounds very interesting.

That's it. Yep, only 2, and both French. Hey, that's how the calender fell into place. Let me know if there's interest. Among the titles in the next batch are a bunch of early-ish David Lean, and the return of The Godfather. Later all.