July Revivals Part 2

Hey all. Mike here with what to catch over the next 8 days. First, it was brought to my attention that I screwed up in my description of The Lion In Winter. Specifically, I wrote that Timothy Dalton played King Louis II when actually, he played Louis's son, Philip. Oops, sorry about that. Note that I basically re posted what I wrote back in early 2007,and I wasn't caught then, but there you go.

Incidentally, I enjoyed Lion In Winter at MOMA. The acting and dialogue always played well on TV, but the first 30 plus minutes, when its mostly outdoors, has an epic feel that's awesome on the big screen. I question whether anybody's large screen tv can pull off the effect, combined with the necessary sound system to pull off John Barry's perfect score. I also understand now more than before, why there are relatively few remakes or stage revivals of The Lion In Winter. More than say Streetcar Named Desire, as friend Ed suggested, or say Glengarry Glenn Ross, where you can get away with macho posing at times, or even Shakespeare productions, where expectations may not be high. The type of audience that would see Lion In Winter on stage, knows the film, or would be curious enough to watch the film, and the comparisons would be brutal. This film was just too well done. And if say, Patrick Stewart and Glenn Close in the Showtime remake, or Stockard Channing and Laurence Fishburne in the last Broadway revival, have suffered in comparison, just imagine other productions' difficulties.

And no, I'm not trying to offend you by saying the play should never be attempted. Actually, I don't give a shit if you are offended, the movie is damn good, prove me wrong and on with the list. Here we go:



ALIEN- Thurs July 16 at 9:30- Film Forum- A new 35mm print. One more chance to catch this, and I can't praise one of the best horror films ever made high enough.


WATCHMEN: DIRECTOR'S CUT- starting Fri July 17: one week only, at 2:30, 6 and 9:30- Landmark Sunshine Cinema- Watchmen is a film that I don't know exactly why I liked it. Is it because I 'm such a fan of the original limited series comic (before it was published thereafter as a graphic novel), that any respectable big screen version would be great? The combination of honoring the original panels with the occasional cinematic touch (like the great opening credits sequence), was something I liked. But some fanatics complained it was a Cliff Notes version, or worse and left unmentioned, not the version of Watchmen from their heads. And those who were not fans going, opinions were sharply divided.

Maybe it's world (an alternate 1985) had me at hello, to the point that I can't look at its flaws without turning a blind eye to some of them. Just the idea of superheroes questioning what use are they in the world, or seeing them not as effective or as heroic as think they are, combined with the whole look and sound of the film, made this more ambitious than any studio project since the Lord of the Rings series. That some of it was pulled off was amazing. Jackie Earl Haley as the anti-hero Rorschach is the standout performance.

Now mind you, I wouldn't call this flawless. Malin Ackerman and Mathew Goode were major weak links in the cast. In fact, I wished Carla Gugino was cast over Ackerman, instead of being cast as Ackerman's mother. Carla's a better actress, she's about the right age for the character except for one flashback scene, but they could have done CGI for that scene. Hopefully, she would have looked better than what the makers of the recent Wolverine film did to Patrick Stewart, erasing his wrinkles to the point that he looks like E.T. But either Carla didn't have the time to spend more time on the film, or that's what she gets for having the audacity for being over 35.

But,as much as I liked what I saw, the narrative felt a little too rushed for my taste. Because a good portion was cut in an attempt to make a profit. That attempt failed, but only in part because of the different studios involved getting a cut. The film didn't have to cost the 150 million reported budget, to never see profit. So it's no surprise that a director's cut of Watchmen would be released. After all, it had been announced weeks before Watchmen's release. That it's getting a one week digital release in theaters before the Blu-ray DVD release, is a surprise. But we're getting it, but the only NYC screen it's playing at is Landmark Sunshine. It's 24-28 minutes longer than the original cut. A chunk of the added scenes are action (heavily violent) and at least one sex scene. So this will be interesting to see if it's even needed. If you never saw it, which if you weren't a fan is entirely possible, here's another chance.

IN A LONELY PLACE- Starting Fri July 17 at 7:40 and 9:50- Film Forum- A new 35mm print for this; the start of the Nicolas Ray retrospective. Not the biggest hit of the day, but has gotten respect over the years, to the point that it was picked for preservation two years ago by the National Film Registry. When putting the list together, I totally forgot this was coming up. Sorry to say, because of that, and the fact that I've only seen a few minutes of it and would like to catch it, I'm forced to copy and paste from the Forum site, and let their description try to be a draw:

(1950) Humphrey Bogart a vicious killer? Okay, he’s a hard-drinking, log-sized-chip-on-his-shoulder screenwriter with a sardonic cynicism so deep he enlists a hatcheck girl as overnight novel summarizer so he doesn’t actually have to read the trashy book he’s agreed to adapt, stopping to take a poke at an asking-for-it producer’s son-in-law along the way. Even when she winds up dead, and he’s being grilled by old army buddy Frank Lovejoy, it turns into an occasion for girl-across-the-courtyard (an exact reproduction of Ray’s first Hollywood pad) Gloria Grahame to give Bogie an alibi — and to get to know better an “interesting” face. But as their love affair progresses, Bogie breaks his fussbudget longtime agent’s glasses, creeps out Lovejoy and wife Jeff Donnell with his too-real “imaginative” reenactment of the murder, and is barely prevented from braining a motorist he’d already sideswiped and beaten senseless. An agonizingly inevitable — but still surprising — resolution looms. Ray boasted “I took the gun out of Bogie’s hands” in altering his screen image (“a radical demystification of the classic Bogart hero” – Robert Sklar); while his own marriage with Grahame ended during the filming — they kept it a secret, fearing Ray would be kicked off the production. "Bogart's performance shares most of the characteristics of his classic performances except that the tie between the killer and the lover is laid bare, without the romanticism, the genre conventions, or the political ideology which underlay it in previous films.... There are no moments for audiences to cheer as he pumps lead into a noxious villain - surely not when he extols the wonderful feeling of crushing a throat, or with his hands around one. The role of Dixon Steele is among the most interesting examples of a performer's critical reevaluation of his screen persona, and surely belongs on the list of Bogart's great performances." – Robert Sklar. Approx. 93 minutes

. Approx. 93 minutes
MACBETH (1948)- Sat July 18 at 7- Walter Reade at Lincoln Center- Part of the Shakespeare on screen retrospective. A restored director's cut. Orson Welles spent years raising money, shooting a little at a time, going out and doing another job, then going back to finish starring and directing his version of the Scottish play. While changes were made mainly in the condensing side to keep things moving, and under 1hr 50 minutes, and affording a cast including Roddy McDowell, Dan O' Herlihy, a young Keene Curtis (Cheers) and Alan Napier (Alfred from TV's Batman), and future TV veteran Jeanette Nolan making her screen debut as Lady MacBeth, Welles finally released his version in 1948. While it was popular in most foreign countries, it was ripped apart in the U.S. and Britain. The attacks were aimed not only at Nolan's performance, but also at the actors' "incomphrensible" Scottish dialects (though considered fairly to completely accurate, depending on the actor.).

Welles went back to the drawing board, raising more money for additional post-production, having the actors re-dub most of their dialogue, and cutting the film down to 89 minutes. Released in late 1950, it didn't make much of a dent, and respect was only given this decade, when it was restored to its original length and soundtrack. Now, its considered among the better Shakespeare screen adaptation. It had a healthy run at Film Forum earlier this decade, had a decent art house run, and plays in this retrospective. Try it.

ROMEO AND JULIET (1968)- Sun July 19 at 6:20- Walter Reade at Lincoln Center- Part of the Walter Reade's Shakespeare on screen series. I brought it up on the last list, and I bring up another chance to catch it.

TITUS- Thurs July 23 at 8 followed by a Q and A with director Julie Taymor- Walter Reade- The conclusion of the Walter Reade's Shakespeare on screen series. War, fascism, adultery, rape, bigotry, an orgy, and massive amounts of killing are in ready supply in director Julie Taymor's adaptation of Titus Andronicus. Hardly subtle, and engrossing, based on the parts I've seen anyway. I frankly didn't have time back in late 1999, early 2000. I've always liked the parts on cable I've seen, and now I'm finally ready to tackle it. Anthony Hopkins and Jessica Lange leads a cast that includes Alan Cummings, The Tudors' Jonathan Rhys Meyers, 24's Colm Feore, and Dollhouse's Harry Lennix (who I believe was the only actor from Taymor's off-Broadway production of Titus to repeat his role on screen, but I don't know for sure; take this as you will.). Hopkins got so stressed with both the language and working with Taymor, though probably more about dealing with the language, that he "retired" after finishing work here, until he supposedly received a huge chunk of change to star in Hannibal. Anyway, it'll be interesting to see how much of the stress is obvious, though there is obvious and fun in his final scene, but watch for yourself.

After the screening, director Taymor is scheduled to have a Q and A about this. I pray to God that at least most of the people will stop foaming at the mouth in adoration, and have lucid questions, but I somehow doubt it. But do note that due to the film's length, the Q and A may not start until about 10:45PM, so be careful with liquids that day if you decide to come.


So there you go. I understand there are conflicts, but I'll just let life sort them out. Later all.



P.S.: The subway poster of Watchman does have an Obama sticker on it. The picture was taken in early March at the West 4th St. station, where somebody painted an Obama head sticker blue, and stuck on the godlike head of the mostly all-powerful Dr. Manhattan character. You decide the political content; I just liked it enough to take a cell phone picture of it. And I post it here.


P.P.S.: And yes, the above paragraphs are a challenge to some of you, to show me how good Lion In Winter would be on a large home screen with a good sound system. But since that requires you to see an Anthony Hopkins film where he ISN'T PLAYING HANNIBAL LECTER, I'm confident my challenge will go ignored. A little disappointed, and a little self satisfied, but more satisfied if I see it with you. Just not this month, I have recently seen it after all.

July revivals: a few days worth

Hey all. Mike here with what to catch over the next four days. I wanted to include more titles, but I just realized that if I did that, I'll never get anything out in time. So I'll post this for now, and hope I can spit out a few more titles later in the week. Here we go:

ALIEN- Mon July 13, Tues July 14 and Thurs July 16 at 2, 4:30, 7 and 9:30- Film Forum- Not sure which day and time I can do, but I have to post this anyway. A new 35mm print. I believe it's a new print of the original 1979 release, as opposed to the "director's cut" from about 6 years ago. My guess because the original trailer has been playing at the Forum for at least 5 weeks from this date. It means we don't get more establishment shots of the soon-to-be claustrophobic ship interiors, more signs of dislike and/or disrespect of Ripley, and the final fates of a few characters. All worked when restored to the film, but not essential to the film's enjoyment. Especially the extra interiors.

I've seen this with several of you before, but that doesn't stop me from posting this again. This film works, better than anything Ridley Scott as ever done. Excellent combo of look, pace and sound. In my personal top 100. C'mon, it's fun.

THE LION IN WINTER- Wed July 15 at 8- MOMA- Part of a series of films honored by some form of New York Film Critics award; a favorite of mine. A few years ago, the people who ran the Makor by the 67th st, did a poll about what they thought was the best performances that deserved to win an Oscar, but didn't. Peter O'Toole's performance in the Lion in Winter was one of them. He plays the same role he did in Becket, King Henry II of England, but as an older man despite only aging 4 or 5 years himself. Henry wants to name his successor, and his scheming sons and plotting wife at times back stab each other, just to have the chance to curry favor or back stab Henry. Hardly the happiest Christmas Day movie you'll ever see, but definitely the bitchiest.

I've told some of you about films I watched a lot at home, back when we had a CED disc collection (Google or Youtube what I mean). There were films I saw in heavy rotation, semi- heavy, and monthly. The Lion in Winter was one I tended to see seasonally; enough to enjoy without tiring of it.

Verbal fireworks from writer James Goldman (who adapted his play), played to terrific heights from O'Toole and Katharine Hepburn. Their scenes are the highlight of this film, spitting more acid at each other and others then the creature in Alien. Kate probably was given the best lines of her career in this film. One of her better ones:


. . .even made poor Louis take me on Crusade. How's that for blasphemy. I dressed my maids as Amazons and rode bare-breasted halfway to Damascus. Louis had a seizure and I damn near died of windburn... but the troops were dazzled.


Also featuring Anthony Hopkins and Timothy Dalton in their screen debuts, as Richard the Lion-Hearted and King Louis II of France, respectively. 7 Oscar nominations, including Picture, Director, and O'Toole. 3 Oscars; for the Screenplay, Hepburn for Actress (Hepburn became the third performer to win consecutive awards, the first to win three awards for lead roles and tied with Barbara Streisand for Funny Girl that year.), and John Barry's terrific score. A note about Barry. It was considered a bit of surprise that someone known for light scores like the James Bond theme would get the gig, but he was friends with director Anthony Harvey. Barry's score just feels like it belongs in the Middle Ages, and I mean that in a good way. If you've never seen it, go. Go now. Unless you prefer . . .

ROMEO AND JULIET (1968)- Wed July 15 at 9 and Sun July 19 at 6:20- Walter Reade at Lincoln Center- Part of the Walter Reade's Shakespeare on screen series. The best of the bunch of the retrospective. The Zeffirelli version, as opposed to the Baz Luhrmann version. Now some of you might feel the Leonardo version is better. For those of you still living off the mid/late 90s memories of Leomania. It will also be screened in this retrospective. I'm not a big fan of it, so I'm moving on.

This version struck a nerve with audiences back in 1968, with its mostly age appropriate leads (let's be glad Paul McCartney supposedly said no), as well as its heavy leaning toward the romantic, than most other stage and screen versions. Even the ABT version doesn't veer that much toward romance as this does. Which makes the rising emotion become all the more tragic, when it veers to violence. Despite the brief nudity, this is the version shown in high school more often than not. Leads Olivia Hussey and Leonard Whiting may have had little major success afterwards (especially Leonard whose career seemed to end in the mid 1970s), but they'll always have this. Also in the cast: Michael York as Tybalt, Milo O'Shea as the Friar, and Pat Heywood (Richard Attenborough's wife from the last post's 10 Rillington Place.). I also don't think Zeffirelli made a better film either, though the schlock value of Endless Love deserves another post.

Oscar nominations for Picture and Franco Z. for Director, Oscars for Cinematography and the Costumes. While my number one choice that Wed night is to see Lion, this would be a good backup or second choice, though there is a Sunday night screening.

That's my order of preference. Let me know. Later all

July revivals: musicals edition

Mike here, trying to quickly post something for the next week or so. Luckily, a limited schedule narrows stuff down for me. I'll try to keep things to a minimum. And to let you know, its musicals only for this post. Here we go:


SINGIN IN THE RAIN- Fri July 3 at 10:30AM- Walter Reade at Lincoln Center- This classic kicks off their weekend long series of musicals from across the decades. A studio print, though I don't think its the vivid 3 strip Technicolor print that impressed me when I first saw the picture. It took a long time to get me interested in this film. Aside from the classic title number and Donald O' Connor's "Make Them Laugh" number, I had trouble getting into this on tv. Then I saw this on the big screen some years ago at AMMI in Astoria, and it's become one of my all time favorites. When someone says they hate musicals, they obviously never saw this (and they still might not like it, so they can go fuck themselves). On every American best film list, whether its musicals, comedy, or just films in general.

The time is NOT a typo. If you've never seen it, and you can get up and go early on the Friday of the 4th of July weekend, let's go. Don't mind me if I'm rushing in with a giant coffee.

THE ROCKY HORROR PICTURE SHOW- Sat July 4th at Midnight- Walter Reade at Lincoln Center- Yes, there are always at least one midnight screening somewhere in NYC. But this is a new print, as opposed to some DVD projection or some old print that's been used twice a week for three or four years. I've gotten the idea that the Walter Reade is not encouraging anyone to perform a show in front of the screen, or to throw toast, toilet paper, etc. Costuming is one thing, but nothing that requires the limited staff to clean up. The idea this weekend is to celebrate different kinds of successful musicals, and if this transvestite musical comedy can't up hold to scrutiny by people watching without visual aids, then it sucks. But after three decades of being the most successful cult film ever, the last three words of the previous sentence doesn't hold water, now does it. Quick how many other films from 1975 do you remember? Jaws, Cuckoo's Nest, Dog Day Afternoon, maybe Tommy, Barry Lyndon or Return of the Pink Panther, then good luck after that. If you want to end the 4th of July in a fun way, but not the typical way you'd usually see Rocky Horror, then let's go for it. Buying tickets ahead of time, either online or even a few days or hours in person, might be advisable.

BYE BYE BIRDIE- Sun July 5 at 5:30, 7:45 and 10, and (maybe) Tues July 7 and Thurs July 9 at 7:45 and 10- Film Forum- A new 35mm Scope Restoration. Ann-Margaret became a star, as the number one fan (in a non-Misery way), of the Elvis-like star, whom she gets to kiss on The Ed Sullivan Show, before he goes to the Army. I have no idea if this film holds up, or if it's creaky, with more ancient cracks in it than the Liberty Bell? Though goodness knows, women who were around when the film opens, or watched it on tv for about 15 years after its release, all wanted to be Ann-Margaret. An ex talked about how she could still play Ann-Margaret despite being over ten years and 25 pounds inappropriate for the role. My first response was a raised eyebrow and one word: "Really?". Boy did I find out how a size nine shoe could fit into my mouth . . .

Where was I? Oh yeah, the film. If interested, I'll go for it. If you can't do Sunday, then Tuesday or Thursday only, for those who know me. If its Tuesday, I must know by Monday night. If its Thursday, I must know by Wednesday night. Let me know.


HAIR- Sun July 5 at 7:15- The Walter Reade- An archive print. Milos Forman's 1979 attempt to depict the late 60s and what was going on in the country he had at that point, recently began to call home. So the combination of an outsider's perspective and the attempt to make the story as linear as the stage musical is not, makes this to me, a noble failure. I can't hate this film, unlike the musical's creators, who felt Forman "didn't get it". It took big chances, and has many good moments; thanks to choreography by Twyla Tharp, impressive cinematography (done by three different people) and a standout lead performance from Treat Williams as Berger. Good reviews didn't save it, and only movie musical fans give any respect. If you'd like to take a chance and prefer this over Bye Bye Birdie, let me know. Unless you prefer . . .


TOMMY- Sun July 5 at 9:45- The Walter Reade- That's right, you can't buy one and stay for another with this musical retrospective. You can buy one ticket for every film on ONE of the three days for one price, or you can buy one ticket for up to five films of the series, but no double features for you!

Ken Russell's version of the famous Who rock opera. Was successful at the box office, but had more of an impact as a midnight movie for years after its 1975 release. Basically, Tommy goes deaf dumb and blind after seeing his dad die accidentally because of his mother's lover. But after that, shit gets strange, including dealing with Tina Turner's Acid Queen and Elton John's Pinball Wizard. But because it's a Ken Russell film, things gets BAT SHIT CRAZY after that! You may never want to eat baked beans again after you see Tommy. Unless you can eat them off of Ann-Margaret. If you haven't seen this film and don't know what I'm talking about, see for yourself.

Not the best film of the bunch, but memorable to be sure. Oscar nominations for Ann-Margaret for Best Actress and Pete Townsend for the music. But I can see why Pete was jealous of Roger Daltrey here (and in general). If I create the bulk of the music, but I'm not hot enough to pull of the lead like Roger, I'd be jealous too.



That's all for now. Let me if there's interest this weekend, if any. Later all.

June revivals: last part

Mike here with what to catch revival-wise for the rest of June. I know I deal with trivial matters here, but sometimes I get annoyed when dealing with this. Tried to catch either 2001 or The Shining two weekends ago at IFC Center, but they were sold out. While it's great that the flicks draw, would it kill them to just write it on paper and tape it to the window, rather than let every chump walk up to the box office and ask? I'm not asking them to install a digital sign, but if the Film Forum can use a pen and paper, why can't they?!?!?!

And speaking of the Forum, I thought I had a chance to win free passes there when I gave the answer to their question of the only Richard Attenborough film shown there in 2008 as The Great Escape. I knew I wasn't the only one who gave that answer, but knew they would draw from all those who wrote The Great Escape. Or so I thought, until they gave the answer as From Which We Serve, from the David Lean retro they did last September. While I forgot that film played there (because I had no interest in it), I knew the the question was flawed. So I wrote and complained, giving them links to their own site from their United Artists retro (Richard Attenborough provides forceful leadership), as well as mine own when I wrote up briefly about the film (it's very good by the way; I'd see it again on the big screen in a heartbeat).

Well, a few days later I got a reply from Jeffrey Cranor, Database Coordinator of the Forum, saying they will apologize in their e-newsletter on Wednesday and have another drawing for those who "correctly answered" The Great Escape. That was a very nice surprise. Now I don't expect to win any Forum drawing, now or ever, but I still feel good about it. Now on with the list. Here we go:

ZULU and/or DR. STRANGELOVE- Wed June 24 at 4:30 (Zulu) and 8 (Strangelove)- MOMA- 2 movies that are part of MOMA's retrospective on British hits of the 60s. One admission for both flicks. The second is a stretch in qualifying, but I'll go into that in a bit.

First, Zulu, one of the best war films ever made. Consider this an early (slightly embellished) variation of Black Hawk Down. Both are true stories, both set up the conflict in the first half-hour or so, and the rest of the film is a brutal, well-edited battle between the sides. Stanley Baker and Michael Caine play the two officers in command of a small British outpost on Jan. 22 1879. Baker's character is an engineer, and not the upper class solider-gentleman Caine's character is. Neither has combat experience. But they must lead their 149 men (about a third were in the infirmary that day), against over 4000 Zulu warriors; who had just massacred over 1500 British soldiers earlier that morning, in the worst massacre the Army had ever suffered up to that point. The rest of the picture depicts the next 12 plus hours as the Zulus attack without relent, while the Brits desperately try to withstand the onslaught.

Despite the vast difference in accents and technology, both in the story and the storytelling, it compares quite favorably to the similar Black Hawk Down. Never are the Zulus depicted as evil savages. We don't get to know them as well as most of the British soldiers and the misguided missionaries, but they are people, and brutal adversaries. Good cast; Baker was the star and co-producer, but Michael Caine became a leading man forever because of this. Narration by Richard Burton. Also, take note of John Barry's very good score, who incorporated actual Zulu chants and songs into his music. Sorry for the awkward timing for this, but its the best I can do.

Next, Dr. Strangelove. Yes, this was directed by an American and it depicts the American military, but because it was filmed at famed Shepperton Studios, it qualifies for this retrospective. Yeah, whatever. Anything that gets one of the funniest films ever made, and one of my all time favorites screened, is fine by me. If you've never seen it on the big screen, now is the time.

10 RILLINGTON PLACE- Fri June 26- Mon June 29 at 7:40 and 9:50 and Tues June 30- Thurs July 2 at 9:50- Film Forum- A 35mm Restoration of a 1971 British film, based on a true story of serial killer John Christie. Stars Richard Attenborough and John Hurt. Never seen it, don't really know it and would really like to. Sorry to say I must be lazy again, and copy and paste from the Forum's website. Hate to do this, but if I knew the film, I'd write something up on my own. But since I want to see it and want others to catch it as well, I do what I must:

An ultra low-key — but all the more menacing — account of the notorious Christie serial murder case; in 1948, Welsh blue collar worker Timothy Evans (John Hurt) and wife Judy Geeson, lodgers upstairs from mousily mild-mannered John Reginald Christie (Attenborough) and wife, already have trouble making ends meet when Geeson discovers she’s in the family way — but ever helpful Attenborough offers a homemade do-it-yourself abortion. The chilling results not only confirmed Christie’s morbid reputation, but ultimately altered the U.K.’s stance on the death penalty.

Filmed in the actual Rillington Place (but at #6, at that time renamed Ruston Close because of the notoriety, and since demolished), Fleischer worked with legendary executioner Albert Pierrepoint as technical adviser. (Because of the Official Secrets Act, no details of the execution were formally known; this would be the first time U.K. audiences would ever have seen a British execution on screen.) 10 Rillington Place also features two tour de force performances; Attenborough, in bald pate make-up, affecting a supremely quiet, unobtrusive manner that renders the brewing of a pot of tea subtly chilling, while Hurt achieves a unique acting coup, making believable a man so gullible and stupid (the real Evans’ IQ was estimated to be 70) as to falsely confess to murdering his own family — without making him a figure of farce.

THE KILLING- Fri June 26 and Sat June 27 at Midnight- IFC Center- More classic Kubrick at midnight. Now, we have The Killing, the first Kubrick film of note. From 1956, Sterling Hayden stars as the leader of a criminal group, brought together to rob a race track. The classic film noir notes are touched on: the likable anti-hero leader, the dumb loser jerked around by the femme fetale, the eccentrics in the gang, the precision of the plan, and the twist of fate that causes things to fall apart. Cited by Premiere, the same website I brought up last week regarding Betty Blue, having one of the best endings in movie history. And for those who can't tolerate Kubrick or can't stand the time, it's only 85 minutes, so you'll get out at a decent time. C'mon, let's do this. Note: if there's no decision made before 10:30, then assume it's sold out. All the Kubricks have been very popular and the odds it will sell out are high.


BIRTH OF A NATION with piano accompaniment- Sat June 27 at 1:15- MOMA-Yeah, you're either going to want to see this or not. The film that D.W. Griffith is best known for. For better (creation of what we think of as film today) or worse (anything involving black people) that is. Two brothers are torn apart, as they join opposite sides of the Civil War. The first half is considered the better part, with battle scenes and mostly successful though melodramatic romance with Lillian Gish. It's the second half, where you have blacks (white actors in black face) either drunkenly running the state legislature, or terrorizing the poor white folk until they have to be saved by the Ku Klux Klan on horseback, that's the tough part to take. Actually, any part where blacks are depicted are not fun to watch; I mean a white guy in blackface playing a Mammy-type? Oy vey.

Yet it was a hit in its day, despite being banned for years in L.A. and Chicago (it didn't play there until 1940). But the label of racist stuck to Griffith. Despite making his next film Intolerance as a response, and re-releasing Birth for decades in slightly edited, shorter versions. But what do you expect when you adapt the book The Clansman, and audiences (even in 1915) take this as though you believe in its story and message, because you gave it life and a metaphorical voice on screen. Griffith as well as Gish, went to their deathbeds denying the film is racist.

Now, if I'm reacting badly to this, why post this as an option to see? Not just the importance of the film, but I figure for myself: if I can handle The Passion of the Christ, Realm of the Senses and Inland Empire, I can handle this. For the record, this print is one minute shorter than the original release, and two minutes longer than the DVD version. But it won't break my heart if I don't catch this Saturday.


THE SECRET POLICEMAN'S BALL and THE SECRET POLICEMAN'S OTHER BALL- Both films for one admission- Sat June 27 starting at 8pm- Walter Reade at Lincoln Center- A retrospective of comedy/concert benefit documentaries, all to raise money for Amnesty International. This is the only double feature that I have an interest in catching. And unlike most screenings at the Walter Reade, this one is an actual 2 film/ 1 admission deal.

2 docs, that mix British comedy sketches and British music bands. The first one, The Secret Policeman's Ball from 1979, featured performers such as Pythoners John Cleese (who co-created the benefits) Terry Jones and Michael Palin, and comedian Billy Connolly. But the show is best known in Britain for the work of Peter Cook (at one point doing the impossible, causing Cleese to break up out of character), the mass introduction of Britain to Rowan Atkinson, and the acoustic work of Pete Townsend which supposedly introduced the idea of Unplugged.

This has not been released in theaters, as opposed to The Secret Policeman's Other Ball from 1982. Though this is the original British version, which is 8 minutes longer than the U.S. theatrical release. It has the same comics from the first film, plus Graham Chapman and more Python skits. For musical guests, there was Donovan. And oh yeah, a few rising British performers, like Sting, Phil Collins and Bob Geldof. Supposedly, this gave the future Sir Bob the idea for Live Aid. No great films here, just some fun.

In order of preference, I'd like to catch The Killing, the Wednesday MOMA films, 10 Rillington and the Python docs. Let me know. Later all.

June revivals: middle of the month

Mike here with what to catch in the middle of June. Some stuff coming that I can't wait for the very last minute for a response, so I have to post now. They'll be a few repeats but they're more reminders than anything else. Here we go:

LE COMBAT DANS L'ILE- Fri June 12- Tues June 17 at 7:40 and 9:50- Film Forum- A new 35mm print of a 1962 French film that gets a New York release for the first time. I brought it up last time, so check the last list for a refresher.

BETTY BLUE: THE DIRECTOR'S CUT- Fri June 12 at 8:10 for at least a week run- Cinema Village- 22 E. 12th St.- From director Jean-Jacques Beinex, whose film Diva, I posted and saw a couple of years ago. When released in the U.S. in 1986, an hour of the film was cut. Cut in part to remove some of the full frontal nudity and semi graphic sex scenes, and cut in part because of Alive Films (the defunct 80s company that backed Kiss of the Spider Woman and Baghdad Cafe) didn't think the three hour version would draw an American audience. While the art house audience did come, and that cut received a Foreign Language Oscar Nomination, the original version was never released here until now. Before the version gets its DVD release, it gets shown starting on Friday.

A romantic drama. A man and woman fall in love. She is a manic depressive who touches the heart of a lonely handyman. She's the most exciting thing to ever happen to him. But as the relationship progresses, her already shaky grasp on reality falls further apart. Beatrice Dalle made her screen debut in the lead role, and became a leading lady in France from that point forward, though her supposed drug problems have hampered her from being bigger. Have only seen parts of the U.S. cut, and would really like to catch this full version.

The film's opening scene also made Premiere.com's list of hottest sex scenes. Here's what I cut and pasted from last year's article from Glenn Kelly:

Even the most hot-to-trot movies generally make the viewer wait before unveiling any erotic action, but not this crazily emotional romance, whose opening shot tracks in on title character Betty (a near-feral Béatrice Dalle) and her amiable paramour Zorg (Jean-Hugues Anglade) whiling away a summer afternoon, rutting like maniacs. Their fierce bond is immediately established... and to this day, even the most disinterested of viewers may wonder whether the two performers were at it for real, such is the verisimilitude of their thrusts and cries.

THE SHINING- Fri June 12 and Sat June 13 at 11:10PM- IFC Center- I guess this was very popular last weekend when it played at midnight last weekend at IFC Center. So it gets a repeat screening, this time at slightly easier hour. If you haven't seen it on the big screen, now is the time.

2001: A SPACE ODYSSEY- Fri June 12 and Sat June 13 at Midnight- IFC Film Center- I've brought up one of my all time favorites before, I brought it up last time, I bring it up again, and will keep bringing it up whenever it plays in a theater I like. If you've never seen it on the big screen ever, go this weekend.

THE STING- Mon June 15 at dusk for free at Bryant Park- Park opens at 5PM- The classic con film, where Paul Newman and Robert Redford try to outfox evil Robert Shaw, kicks off the free Bryant Park film series. I wonder how well the films with heavy dialogue do there. Very mixed at best. But Newman, Redford, and Scott Joplin's music should make it worthwhile. The outings are usually fun, and unless you cover yourself in chicken blood or something sweet, NO MOSQUITOES!

GONE WITH THE WIND for 5 dollars, with an intro from Robert Osbourne, an episode of a Buck Rogers serial and an animated short- Sat June 20 at Noon- Academy Theater at Lighthouse International- 111 E. 59th St. bet. Park and Lex Ave.- A cleaned up print of all I just brought up here. Part of the Best Picture nominees of 1939 retrospective. For 5 dollars, we start out with a chapter of the old Buck Rogers serial starring Buster Crabbe. Then an animated short, presumably from that year. At some point we have our host, TCM's Robert Osbourne, doing an intro, though I don't know when he does it exactly. Then the film, at 12:30. In this case the big hit, the big Oscar winner, the classic, Gone With The Wind.

I've brought it up before, so I won't go into a repeat. But this might be the best chance to see this, if you've never seen it before, or seen it before on the big screen. But for only 5 dollars, if you think you can handle being there from about 11:30- 11:40AM until about 4:30PM, this would be worth it. Crank up the caffeine and let's do it. Call 212 821-9251 or go to http://www.oscars.org/events-exhibitions/venues-ticketing/index.html.

That's all for now. Not sure if they'll be a list for the end of June, otherwise, I'll jump to July when needed. Later all.

June revivals: first half

Mike here with what to catch for the first half of June. Some big films in the history of movies, plus a kid's film and a film I never heard of before. Here we go:



RASHOMON- Thurs June 4, Fri June 5, Sun June 7 and Tues June 9- Thurs June 11 at 6:30, 8:20 and 10:10- Film Forum- A 35mm restored print. The classic Oscar-winning Kurosawa film that many tv shows and a few films like Memento owe a debt toward gets its own run. For the rest, I'll copy and paste what was written by Chris Hicks in his article, the 67 Most Influential Films Ever Made, about this. I used it before last month for Easy Rider, and it speaks better than I:

RASHOMON
Influential, how? East comes west.
The West finally woke up to Japanese film when Rashomon won Venice’s Golden Lion (and went on to win an Oscar).
The idea - a rape and murder related through conflicting flashbacks - has been repeatedly ribbed but never bettered.
Money shot: The second flashback, when we realise the camera does lie

WOODSTOCK: THE DIRECTOR'S CUT- Wed June 3 at 7 for 25 dollars with an intro from director Michael Wadleigh and concert producer Michael Lang, with free popcorn and soda, with other guests TBA- the Walter Reade at Lincoln Center- A rare screening of the Oscar winning documentary, just before the famed concert's 40th anniversary. One of the best films of 1970 and if it's not placed among the best docs ever made, it's probably because it's not just a job, it's an adventure for current audiences who are probably intimidated by its running time and own ideas and interpretations as to what Woodstock the concert was. We'll be seeing the 3 hr 48 min director's cut (plus an intermission) that has been around since 1994, as opposed to the 3 hr theatrical release; a cut that Warner Bros. had no faith in. The executive who apparently thought they could always use the prints from this probable flop and use the strips for bookmarks, was probably stunned at its success. This lack of faith from the higher-ups, gave rise to the idea of 2 and 3 panels at varying times (showing different angles or different scenes simultaneously), conceived by the filmmakers, including co-cameraman/co-editor Martin Scorsese. This is practically a clinic in film editing.

And, oh yeah, a clinic in the music of the day. Hendrix, Joplin, The Who, Jefferson Airplane, Joan Baez, Richie Havens, Joe Cocker, CSN, Santana, among others. On the Walter Reade's speakers, this should be NICE.

The film cost 25 dollars to see, though free popcorn and soda are included. So yeah, it's priced more like a free concert than a typical film. There will be an intro from the film's director and one of the concert producer's, and something happening after the film. What exactly has not been announced. A Q and A? Acoustic concert? Your guess is as good as mine. But if you have 4-5 hours to spare, this should be fun.

THE GREAT MUPPET CAPER- Fri June 5 at Midnight- Landmark Sunshine Cinema- Muppet fans, unite! The second of the original Muppet trilogy, the only one that Jim Henson directed, gets a midnight screening. Which usually means, this sells out fast with Muppet fanatics. Not as big a hit as The Muppet Movie, but successful enough for the summer of 1981. See intrepid reporters Kermit Fozzie and Gonzo go to London on a story. See them ignore the advice of John Cleese and stay at the Happiness Hotel with others made of felt and acting like they've got a hand stuck up their asses. See Miss Piggy work for the even haughtier Diana Rigg, and get seduced by Charles Grodin . With cameos from Peter Ustinov, Peter Falk, Jack Warden and Robert Morely


LE COMBAT DANS L'ILE- Fri June 12- Wed June 18 at 7:40 and 9:50- Film Forum- A new 35mm print of a 1962 French film that gets a New York release for the first time. Don't know if it played elsewhere in this country. Therefore, I practically know nothing about. I'm interested, therefore, I'll have to cut and paste from the Forum's website. Sometimes I hate being a hack, but here it is:

(1962) Sure her marriage to rich factory owner’s son Jean-Louis Trintignant has its rough side for Romy Schneider: his frequent absences for unexplained reasons, his frightening outbursts of insane jealousy, and that very creepy friend of his. And what’s that carefully wrapped anti-tank bazooka doing in the hall closet? But there’s that other friend, that warm and friendly, but comfortably virile, artisanal printer Henri Serre (Jim of Jules and Jim). All too little known today, Le combat dans l’île subtly evokes a divided marriage — not unusual in French films — and a divided nation — but not divided as seen in the then-dominant Nouvelle Vague. Political assassinations (the attempts on DeGaulle reached double figures), underground extreme right-wing groups, even international, right-wing fugitives — producer Louis Malle was clearly making a political statement distinct from that of his New Wave confrères. Cavalier’s first major film — he’d been a Malle assistant — exhibits an assurance of tone and pacing that make this a uniquely gripping, where is this going? triangle-drama/thriller, as the camera of Pierre Lhomme (DP of Melville’s Army of Shadows, not to mention the cult classic King of Hearts, among many others — he personally supervised this new print) illuminates striking locations from industrial parks to road diners to Serre’s rural island refuge (you can almost smell the crisp winter air), while providing a surprisingly fresh look at that most-filmed of subjects — particularly during this period — Paris itself, both inside and out. First starring part in French, the language and cinema she would make her own, for Schneider (“the best actress of her generation” – Visconti): this breakthrough performance would be a major leap from the saccharine biopics of her Austrian youth. Trintignant, already a mid-range star at home, would break out internationally later the same year in Dino Risi’s Il Sorpasso, and become world-famous a few years later with A Man and a Woman and Z. Approx. 104 minutes


2001: A SPACE ODYSSEY- Fri June 12 and Sat June 13 at Midnight- IFC Film Center- One of my all time favorites, and my favorite Kubrick is on the big screen again. This time in the very comfortable IFC Center. Some of you have done this before with me, and some of you, more then once. But in a place like this, a smaller screen then the late Lowes Astor Plaza, the Ziegfeld or the Paris, but bigger than the Forum plus a quality sound system, this is too good to ignore. And if you're one of those who have never seen it on the big screen as opposed to watching it on TV, to paraphrase from comedian Larry Miller, "It's the difference between shooting a bullet and throwing it.". Who knows when it will play next at the Ziegfeld, go now.



I like the ones I've heard of. I'll catch the one I've never heard of. Let me know if there's interest, later all

May revivals: second half

Hey all. Mike here with what to see for the rest of May. No time to waste so here we go (don't mind the conflicts, things will sort themselves out):

THE WAGES OF FEAR- Sat May 23 and Sun May 24 at 11am- IFC Film Center- 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, thus forgotten). Would love to catch this, even if I'd need a coffee IV to help me. 11AM and not noon? Cruel, but I'm willing to deal with it with this flick.

PAPILLON- Sat May 23 at 5:45 (Papillon)- the Walter Reade at Lincoln Center- Part of the Steve McQueen retrospective. I like that this McQueen retrospective is happening, it's long overdue. But for me personally, the timing stinks. I've see most of the films don't fit time-wise for me. I don't think I can get people to come see The Towering Inferno on the Sunday afternoon before Memorial Day (if by some miracle I can let me know ASAP), I caught The Great Escape and The Thomas Crown Affair fairly recently so it's too soon, I'm not willing to put my name on catching An Enemy of the People (Yes, McQueen did Ibsen in 1977. Consider this a noble failure.), and not one film here can be seen for 2 for the price of 1. And when I do find that The Magnificent Seven is doable on Saturday afternoon, I find out that it will be shown later that night on PBS' Channel 13. DOH!

Therefore, Papillon is the only film I can catch. A studio print. McQueen's last hit film. Years before The Shawshank Redemption, here was a prison survival film, with escape attempts here. Unlike Shawshank, this did not have universal critical appeal; just look up Ebert's review, though I don't know if he's since revised it. Unlike Shawshank, this actually drew an audience in theaters. Unlike Shawshank, this has since been ignored and is not considered a classic. I'm not saying Papillon is better, but I'm saying this should stop being ignored, and May 23rd is a good time to start.

Based on a true story, though its historical accuracy has been considered dubious. McQueen plays a man wrongly convicted and sentenced to a brutal penal colony. Along with the less macho more 'delicate' man played by Dustin Hoffman, years of abuse, survival and escape attempts are depicted. With McQueen never giving up. Good leads with great chemistry, despite McQueen supposedly annoyed by the existence of Hoffman. Strong film from director Franklin J. Schaffner (Patton, Planet of the Apes) and screenwriters Dalton Trumbo and Lorenzo Semple Jr. Oscar nominated only for Jerry Goldsmith's score. Not as happy as The Sting or American Graffiti, nor did it strike as dark a chord as The Exorcist. But still, give it a shot. Not sure if we're getting the 2 hr 12 minute version, or the 2 hr 30 minute version originally released in theaters. We'll see.


DR. STRANGELOVE- Sat May 23, Sun May 24 and Tues May 26- Thurs May 28 at 3:20, 5:30, 7:40 and 9:50- Film Forum- A new 35 mm restored print playing for a one week run. If you ever bother to put your eyes on this list more than two or three times a year then you know what this film is, and you don't need me to describe this to you. Several of you have seen this in theaters with me before. Some of you have even seen it twice with me before. One of the few dark satires to get it exactly right. Considered one of the best anti-war films ever made. But for those who hate that term (seriously, are you that dumb to refuse to put this into historical context), then consider this an anti-rigidity and anti-stupidity film instead, OK? An excellent mixture of farce and action. And accurate enough in terms of military capability and military speak, that the Air Force demanded answers and questioned Stanley Kubrick.

If you've never seen it with an audience, make time for it. On as many AFI Top 100 lists that it could qualify for. One of the prime examples of Oscar screwing up, when it comes to not giving a film Best Picture. Strangelove is usually Exhibit A, while something like Goodfellas and Raging Bull would be considered Exhibits B and C, respectively. One of my top 5 favorite films ever, and my second favorite Kubrick film, after 2001. And as good a cast as this has, 3 top performances from Peter Sellers . . . , the range this man had is stunning. I dare any of you to find the seams where his performances don't work.

A note that I copy and paste from the Forum's website about the actual restored print that will be shown:

This 35mm print is from a new 4K digitally-created negative (the original neg was destroyed over 40 years ago), made by New York-based restoration specialists Cineric using the best surviving film elements — the result is the sharpest Strangelove you’ve ever seen.

THE FRIENDS OF EDDIE COYLE- Tues May 26 at 6:30- the Walter Reade at Lincoln Center- One night only screening of another film from 1973. This one, little seen, rarely shown on cable, and only coming out on DVD for the first time this week, through the Criterion Collection. Which means you can't see it through Blockbuster, only through Netflix. Very similar to The Departed, but without the histrionics or the fake sense of justice. A little slow for that time period I suppose, but in the era of The Sopranos, I guess we can embrace a moody, character-driven crime drama.

Set and shot in and around the South Boston area, depicting what it was at the time, based on the novel by George V. Higgins. Essentially mob-controlled, with police and assigned FBI getting payoffs, while politicians and journalists look the other way. Robert Mitchum plays a low level criminal who's best days are behind him (and everyone knows it, even him?), and who's looking at a third jail sentence that might as well be a life sentence. Trying to avoid prison and feed his family, he decides to try to snitch and make a big score at the same time. Referring to the people around as his Friends is like calling a big guy Tiny, if you remember the second sentence in this paragraph.

Peter Boyle and Richard Jordan lead the cast of character actors that fill out this flick. Never seen all of it, but have liked the parts I have seen. Wouldn't mind catching this at all.



That's all for now. Also included here are a few pics of the post film Q and A with Jonathan Demme at IFC Film Center last week for Swimming To Cambodia. The film was as wonderful as I remembered it, the Q and A was nice, and Demme has the energy and enthusiasm of a man half his age. Not really a cinematic piece, so there was little technical stuff that could actually be brought up. More of a relaxed celebration of Spaulding Gray himself. Later all.

May revivals: first half

Hey, all. Mike here with a list of what to catch for about half of May. I had a much larger list in mind, most of which at the Forum's Con film festival. GET IT, GET IT! CON! NO, NOT KHAN! CON! Like in CANNES FILM FESTIVAL, but because these are prison films it's CON Film Festival! HA! . . . . HA . . . . ha . . . . . ow, this hurts . . .

Anyway, finally I had to narrow it down to what I'm pretty sure I can catch so stuff like White Heat and Angels with Dirty Faces on Mother's day, and Birdman of Alcatraz in a few weeks? Well, have fun, but I doubt I'll make it, so I'll skip writing about it here. In the meantime, here we go:

EASY RIDER- Thurs May 7 at 7:50 and 9:50- Film Forum- A new 35mm restored print. I brought it up last time, so I won't go much more into it. Last day at the Forum.

SWIMMING TO CAMBODIA- Tues May 12 at 8 with a post film Q & A with director Jonathan Demme- IFC Film Center- Spaulding Gray's concert film gets a rare screening. You have less then two days from your probable reading of this, go to ifccenter.com to get your tix, because you WON'T be able to get them on Tuesday the 12th. The film's director Jonathan Demme (Silence of the Lambs, Rachel Getting Married), does a post film Q and A afterwards.

Grey tells the story of how he was cast in a small role in The Killing Fields, the research and history he learned in preparing, his experiences while shooting, plus a few New York stories, usually involving his long suffering then-girlfriend, Renee. Released in April 1987, it (aided by some appearances on David Letterman's show) became a surprise art-house hit. Director Jonathan Demme seemed to simply place a few cameras around the stage, aimed for key close-ups while relying on a master shot for the most part, editing in a few shots from The Killing Fields, and expanding the lens a bit to show the maps of Vietnam and Cambodia when those slides come up.

Now this might not have been the case. Demme will surely explain how this was shot and edited in the Q and A. But Demme got what Steven Soderburgh didn't get in Gray's third concert film, Gray's Anatomy. That you don't have to do cinematic tricks to damage, er, enhance the story. Sometimes, it's about THE WORDS, STUPID (And I mean that with love, Steven). When you have a masterful storyteller like Gray, running at peak performance, you don't fuck it up. You can see, whether on Tuesday the 12th or on Netflix, how in 85 quick minutes, Gray and Demme had a film that deserved to stand along with other popular films that year, like The Untouchables, Moonstruck, Au Revoir Les Enfants, and Full Metal Jacket.

I WANT TO LIVE!- Fri May 15 at 7:25- Part of the Forum's Con film festival. From director Robert Wise, Susan Hayward won the Best Actress Oscar for the only performance she's truly remembered for. She's a woman of, let's say, ill repute, who may have been set up for a murder she didn't commit. This gets her the Death Penalty. Now the overall film will probably be liked more by those who support Dead Man Walking. It goes on the idea that she's completely innocent of murder, though the actual facts of the case aren't clear. How it got this far then is an argument for someplace else, and a criticism that can be aimed more to Wise and the screenwriters than to me.

But Wise shot and edited this black and white film like a noir, and let us know exactly how it feels to set up the gas chamber, and give the audience a clear idea of what will feel like in there. Combined with Hayward's heart-breaking performance, this was gut wrenching stuff for 1958. Now? Judge for yourself.

Nominations also for Wise for Director, the Screenplay, Editing, Cinematography and Sound.

SULLIVAN'S TRAVELS and O BROTHER, WHERE ART THOU?- Sun May 17 at 5:20 (Sullivan's), 7:05 (O Brother), 9:10 (Sullivan's) and Mon May 18 at 1 (Sullivan's), 2:45 (Brother) and 4:50 (Sullivan's)- Part of the Forum's Con film festival. An interesting double feature. First, Sullivan's Travels, from writer-director Preston Sturges. Playing in the Forum for the second time this year. Consider Sturges to be the Sandy Koufax of film directors. A few years where he was one of the very best, then gone. Sullivan's is considered (arguably) the best in his career. Joel McCrea plays the director of simple entertaining films, who dreams of making an Important Film, "O Brother Where Art Thou". He goes out on the road, posing as a hobo, to learn about the common man, and gets a rude awakening. He also gets Veronica Lake, nice if you can get it. A classic in the comedy genre, though it works more than as just a comedy.

Next, O Brother Where Art Thou, from the Coen Brothers. Gee, where did they get this idea I wonder? Actually, I don't have too. A very generalized version of The Odyssey that's inspired by parts of Sullivan's Travels. George Clooney, John Turturro and Tim Blake Nelson are escaped cons during the Depression-era South in this comic-adventure with bluegrass music. They're looking for bank money while pursued by the law. More of a road movie then an actual prison flick. Fargo might be the best and the most praised, and The Big Lebowski may have the most reverent cult. But this was the Coen brothers' most popular film, before No Country For Old Men. Holly Hunter, John Goodman and Charles Durning are among the supporting cast. Oscar nominations for the Screenplay and the Cinematography. An interesting double feature.

COOL HAND LUKE and THE DEFIANT ONES- Wed May 20 at 7:10 (Luke) and 9:30 (Defiant)- Film Forum- Part of the Forum's Con film festival. A double feature I really want to catch. First, Cool Hand Luke. The classic prison film that turned Paul Newman from American big time leading man to American Icon. Paul plays the title role, the anti hero who goes against authority. But some of that authority, are those in charge of the chain gang/ prison he's in. He may be right in going against the authority that applies "justice" with contempt and stupidity, and he may even inspire the fellow prisoners into cheering him. But they don't or won't help Luke, and he has to bear the punishments or the "bad hands" on his own.

This film is best known for the line "What we have here is a failure to communicate.", but it caught the cultural zeitgeist more for it's depiction of a man who refuses to conform. In 1967, that was big stuff. Also noted on the first episode of Cheers for being one of the sweatiest films ever made. Lots of men, working, fighting, running, all under the heat. Tons of character actors throughout. Among them, George Kennedy in his Oscar winning role, Strother Martin as the sadistic Captain, Dennis Hopper, Harry Dean Stanton, Wayne Rogers, Ralph Waite, Anthony Zerbe, Joe Don Baker and James Gannon. Oscar nominations for Newman for Actor, Screenplay Adaptation and Score.

Next, The Defiant Ones. Dated, and maybe a little preachy for today. but still good. Important film during the civil rights movement. I don't get to post many Sidney Poitier films, so to catch a 2 for 1 with this, is good enough for me. I couldn't get anyone interested a couple of years ago with In The Heat of the Night, I drew the preachy line with Guess Who's Coming To Dinner, and most of the others just don't get a screening around here. Come to think of it, Tony Curtis films have been more available to me over the past 7-8 years then any of Poitier's. Well, I should say, Spartacus and Sweet Smell of Success have been available, plus The Boston Strangler as well. Nothing else, and that's not a bad thing to me. Though some of you would argue Boeing-Boeing deserves a second chance, but anyway . . .

Curtis and Poitier plays convicts chained together, who gets an unexpected chance to escape. They hate both each other and the color of the other's skin, but they must work together to stay out of the chain gang. Oscars for the Cinematography and for the Screenplay (one of the writers was blacklisted; Nedrick Young's credit wasn't restored until after his death and I think his widow ended up with his Oscar). Nominations for Picture, Director Stanley Kramer, Curtis and Poitier for Actor. Theodore Bickel for Supporting Actor, Cara Williams for Supporting Actress, and Editing. Curtis was the one who insisted that Poitier receive equal billing. When they lost the Oscar to David Niven, Curtis apparently to this day complained that Niven won "his" Oscar. Whatever.

I don't want to do just one or the other, I want to catch both.


LOVE WITH THE PROPER STRANGER- Thurs May 21 at 9:15- the Walter Reade at Lincoln Center- Part of the Steve McQueen retrospective, called Yesterday's Loner: Steven McQueen. A studio print. Director Robert Mulligan's attempt to do a screwball-style comedy, but with some serious social stuff floating around. Good Italian Catholic girl discovers she's pregnant and seeks an abortion. The one night stand guy tries to help, and also tries to help show her he loves her. Or is he just trying to do the right thing without knowing the girl at all?

Imagine Knocked Up, except with more serious elements, and with a cast and director who are actually capable of handling dramatic situations. Now throw in the idea that all this abortion stuff (bad phrasing, sorry), occurs about 10 years before Roe vs. Wade. Now throw in some screwball/romance elements, and you get the idea of how this film stuck out from among the rest during Christmas of 1963. McQueen is the one night stand guy, and he's playing against type. Stiffly on occasion, but effectively. Natalie Wood is the "good" girl, who's more struggling and emotional, who could be easily dismissed as bitchy. In other words' human. Has a nice feel for New York as well, she works in Macy's, after all. Nominations for Wood for Best Actress, the Screenplay, Cinematography, Art Direction and for Edith Head's Costume Design. Worth catching.



That's all for now. Next time, among the options, a few more McQueen films,and the return of Dr. Strangelove. Later all.

Revivals: the next few weeks.

Mike here, with posting number 100! Wow, didn't think I'd stick with it this long. I'm back with a revival list of what to see over the next two plus weeks. Instead of the usual longish list, I've narrowed it down to what I truly want to catch. And I think catching 3 out of these 4 films is entirely doable. And if we can get to all four? Well, let me list them first. Here we go:

LEON MORIN, PRIEST- Thurs Apr 23 at 7:45 and 10- Film Forum- A new 35mm print. A reminder to catch Melville's WW 2 drama. Go back to what I posted last time, such as it was, because I'm not writing any further. Moving on.

CATCH-22- Mon April 27 and Thurs April 30 at 8- MOMA- Part of the Mike Nichols retrospective. This is what director Nichols and screenwriter Buck Henry cashed their "golden ticket" on, after the mega-success of The Graduate: a big screen studio adaptation of Joseph Heller's classic book.

Beset with production problems (problems with the script, artistic differences that forced recasting, the film going over-budget due to the cost of building a realistic base with mostly working flying bombers) and inevitable comparisons with the book, you might think this was doomed to failure. Despite changes from stage to screen, Heller gave the film thumbs up. And it did find approval from the New York Times type of critics (intellectual types?). But among war films, it was neither as funny nor as successful in capturing the cultural zeitgeist as MASH, nor as embraceable as Patton, and even failed as far as most audiences were concerned in comparison to the Clint Eastwood WW2 action comedy Kelly's Heroes. It wasn't even as popular at that time as The Out-Of-Towners starring Jack Lemmon, who desperately wanted to star in Catch-22 (just not Nichols and Henry's vision of it). That Catch-22 didn't try to be any of these things was apparently irrelevant. It wasn't a financial disaster like say Ishtar, but it was a financial flop and has been mostly dismissed. Maybe the Watchmen of its day, perhaps.

Captain Yossarian is trying to get out of flying more bombing missions during the later half of World War 2. But his superiors just keep raising the number of missions he has to fly before he can be discharged. Figuring he'll never live to see the end of the war, he tries to get out through insanity. But he can't because of Catch-22: basically, if one realizes it's crazy to fly suicide missions and you ask to get out of them, that means you're sane, therefore, you will fly any and all suicide missions. That doesn't stop Yossarian from trying to get out via feigning insanity. He finds Catch-22 doesn't officially exist, but the more people invoke it, the more power it has on all aspects of his life, therefore it exists. Or in simpler terms, Yossarian fights the power, but the power seems stronger than him, and us.

Sounds like fun, doesn't it? Then throw in following a similar non-linear structure as the book, of going back and forth in time, and oh boy. We're ok with that now, with films like Pulp Fiction, Memento and Watchmen, and shows like Lost and Heroes. But back then, apparently not. Tackling what makes a hero, what makes one truly sane, while attacking corrupt power, the idea that everyone dies, among other ideas: oh joy. Throw in the idea that our young Americans in the WW 2 setting should worry more about their own superiors then the enemy, not cool (but we're ok with that today in 24). Now throw into the mix that the audience should think of the still-raging Vietnam War while watching this, no wonder most audiences rejected this.

Strong cast, and I mean strong. Alan Arkin as Yossarian; some fans of the book felt a younger actor should have been cast, but Arkin works the struggle to maintain sanity in an insane environment well. Anthony Perkins as the chaplin. Jon Voight as Milo Mindbender, who will have the Americans make a profit on this war no matter what. Martin Balsam and Buck Henry himself as the COs. Bob Newhart as Major Major. Orson Welles as the insane general. Orson tried to direct this himself, but no go. Plus Martin Sheen, Art Garfunkle, Jack Gilford, Richard Benjamin, Paula Prentiss, Charles Grodin, Norman Fell, Austin Pendleton and Bob Balaban.

Catch-22 is something you might think of afterwards either as an unknown success, or as a noble failure. I can't help you decide which; I can only recommend you to try to catch it yourself.

Y TU MAMA TAMBIEN- Thurs April 30 at 9:30 for 7.50- Chelsea Clearview Cinema- A cheap screening of this art house hit from 2002. From director Alfonso Curaon. Sort of a career reboot for himself, after the English language films A Little Princess and Great Expectations drew no audiences, and before he directed the third Harry Potter film and Children of Men. Co-written with his brother Carols, this is kind of like Summer of 1942, where two young men experience a life and sexual awakening with an older woman. Combined with aspects of the road film, but less fairy tale-like than Summer of 1942. Those who don't follow Spanish-speaking cinema may not know Maribel Verdu except for Pan's Labyrinth, but this combined with Amores Perros served as a good introduction for us to Gael Garcia Bernal. Also, a good introduction for us to Diego Luna, in one of his earliest adult roles, years before Milk. Both Cuaron brothers received an Oscar nomination for their Screenplay.Unless I watch Catch-22 that night instead, I'd be glad to watch this at a cheap price.

EASY RIDER- Fri May 1, Sat May 2, Wed May 6 and Thurs May 7 at 5:40, 7:50 and 9:50- Film Forum- A new 35mm restored print of the Dennis Hopper- Peter Fonda classic. Oscar nominations to the screenplay for Hopper, Fonda & Terry Southern, and to Jack Nicholson for Supporting Actor. In fact, this film took Jack out of Roger Corman films and guest appearances on The Andy Griffith Show, and put him on the A list forever. Now as for anything else about Easy Rider, I'll keep myself from screwing up now. Instead, thanks to imdb, I'll quote from a recent film article from Britain's Total Film magazine and website. Written last month by Chris Hicks, he listed Easy Rider as one of the most influential films ever made. I've cut and pasted the highlights. It may not be the best, but it's simple and that's all I'm asking right now:

Influential, how? The movie brats come of age.

Hippies, LSD, motorbikes: Easy Rider is a cultural landmark. The defining movie of the ’60s. Connecting with the long-haired kids (and earning millions for its trouble), Hopper and Fonda's crotch rocket-fetishing classic ushered in New Hollywood by breathing hip life into the square studio system.“You guys are finished,” Hopper ranted at Oscar-winner George Cukor. “We are in now... It’s our time.”

Money shot: Fonda and Hopper dropping acid in a New Orleans cemetery.

The other part about Easy Rider I will cut and paste is from the Forum's website about the restoration:

According to Grover Crisp (Senior Vice President, Film Restoration) Sony Pictures initially restored Easy Rider in 1999 through a complicated mixture of photochemical techniques and old digital technologies; however, there were many other issues that couldn’t be fully addressed at the time. For this new restoration, Sony began with a 4K scan of the best surviving 35mm film elements; following an extensive digital restoration, with the repair of all torn frames and scratches and the removal of all dirt from the image, a brand new 35mm negative was created, from which new 35mm prints have been struck.

This particular list, I want to catch as much as possible. Let me know ASAP. Later all.

P.S.: Here's a link to the film article from Chris Hicks that I mentioned before. Some films I never heard of, some I've never seen, and more then a few I've posted on lists in the past, as well as future postings, like Dr. Strangelove and Rashomon. Here it is:

http://www.totalfilm.com/features/the-67-most-influential-films-ever-made

More April revivals

Mike here with more April revivals. Can't list the entire month due to time constraints, but I'll post a few right now. Here we go:

LEON MORIN, PRIEST- Fri Apr 17- Thurs Apr 23 at 7:45 and 10- Film Forum- A new 35mm print. I've written in the past how new I am to the works of French director Jean-Pierre Melville. But after my introduction to Army of Shadows, I've tried to go see more on the big screen whenever I could. So far, it's resulted in my enjoying Le Doulos and Le Cercle Rouge. Now, here's another one. I know nothing about, but it's Melville, so I'm going. Don't know when, which is why I list 7 days and late afternoon and evening times. For the rest, I'll have to cut and paste from the Forum's website:

(1961) “Religion is the opiate of the people,” begins the confession of Communist widow Emmanuelle Riva (Hiroshima, mon amour), provocative just to get some fun in the drab little village where she‘s been relocated during the Occupation. But when her confessor dryly replies “Pas exactement,” she begins a seemingly inexorable turn towards God — or is towards her handsome confessor, Père Jean-Paul Belmondo (in “an erotically charged performance” – BFI)? Fed up with being “an auteur maudit known only to a handful of crazy film buffs,” Jewish atheist Jean-Pierre Melville accepted an offer of real stars and an actual budget to adapt Beatrix Beck’s autobiographical novel, a book he already considered “the most accurate picture I have read of life under the Occupation,” then had to talk an initially reluctant Belmondo — hot from his star-making role in Breathless (in which Melville cameoed) — into taking the title role. Melville created a kind of fresco of the Occupation — play-it-safe baptisms of Communist and Jewish children; awakenings in the night by the sounds of shooting; parades of Alpine-hatted Italian Bersaglieri and marching band Nazis; arguments with pro-Petain and anti-Semitic co-workers; a Jewish colleague getting a shave, name change, and a ticket out; platonic same-sex crushes in a man-less world — but its center is Riva’s confusing, fascinating, tantalizing encounter with God and his servant Belmondo (successfully intellectual, sincere, and ultimately enigmatic in a definitely change-of-pace role), their mutual underplaying making even theological discussions subtly throbbing with emotional undertones. Shot by the great Henri Decaë (The 400 Blows, Elevator to the Gallows, Bob Le Flambeur). b&w; Approx. 115 minutes

WHO'S AFRAID OF VIRGINIA WOOLF- Sat April 18 at 2 and Sun April 19 at 5:30- MOMA- Part of the Mike Nichols retrospective. Among the best of the stage-to-screen transfers ever. I've been waiting a long time for this to play in a revival house. Hell of a first film for director Nichols. Richard Burton and Elizabeth Taylor (heavier and made up to look far older and tired in a successful attempt to de-glamorize) are George and Martha; bitter middle-aged alcoholics, who in order to keep any semblance of interest in their marriage, tear into each other and the young couple (George Segal, Sandy Dennis) who come to their little party. As the film goes on, the head games get more cruel and vindictive.

Not necessarily a happy film, but with Albee's words, a joy to behold. No matter the attempts to open up the film, the house still feels like a steel cage. Now the attempts to open the film, in particular the diner, doesn't hold as well, but everything else does. Some modern audiences might consider the acting as over the top at times, but I would disagree. I have a weakness/high tolerance to some excess, but it fits the piece.

13 Oscar nominations. Oscars for Taylor for Actress, Dennis for Supporting, Art Direction Costume and Cinematography for a black and white film. Nominations include for Picture, Burton for Actor, Segal for Supporting Actor, Nichols for Director, Editing, and Alex North's very good score. I hope the overture and closing music are played here. Also nominated was Ernest Lehman for his screenplay, despite the fact that the actors hated his version so much, they and Nichols went behind his back and replaced all but 2 lines back to Albee's original.

For me, best film of 1966. Excuse me if I'm not agreeing with the Academy with their choice of A Man For All Seasons. I want to go. let me repeat. I. Want. To. Go.

WORKING GIRL and/or WIT- Sat April 25 at 2 (Girl) and 5 (Wit)- MOMA- Part of the Mike Nichols retro . A pair of "chick" flicks. I put that in quotes because both, if you don't pay attention, fit the label. But the stories and the storytelling rises above the typical cliches.

First, Working Girl. I mean, yeah, the same story was told about a year earlier in the Michael J. Fox film, The Secret of My Success, but this has better dialogue, is more savvier politically, has better direction, a stronger cast, and had Fox pushing it as Oscar bait. Important in terms of inspirational women flicks without having the lead portrayed as either saint, know-it-all, or impervious to pain and heartache.

Melanie Griffith plays a woman either only looked at for sex by men, or as less intelligent based on her unprofessional hair and clothes (this late 80s NOO-YAWK look should get big laughs in the theater at some point.). She goes for a change after being cheated on by slime ball Alec Baldwin, and having her ideas stolen by wolf-in-sheep's-clothing boss Sigourney Weaver. Now not every woman who makes this change ends up with better prospects and Harrison Ford (in a great change of pace, especially in the 80s) for a boyfriend. But it struck enough of a social chord to go from a sleeper to one of the major hits of 1988.

That Griffin was and the crew was able to get through this film is a minor miracle. At the start of shooting, Griffin was still an active alcoholic, according to Julie Salmon's The Devil's Candy, and was almost fired by Nichols. When she gave up drinking, I don't if what she had was the DTs, but she was in jittery shape. Of course her first scene in that state was when she nervously tries to deal with Ford's character the first day they meet in the office building. Yes, I know it wasn't their first scene, shut up. She would also bloat up as well. Cinematographer Vilmos Zsigmond, looking for Griffin shot here, for the-then upcoming Bonfire of the Vanities, felt long lenses were used to keep Griffin's bloat from too obvious. So in a way, Melanie, like her character, always had problems and dickheads to deal with. Now her career wouldn't last too much longer, thanks to mostly bad career choices, including the aforementioned Bonfire, and mostly bad plastic surgery. But she, and we, will always have her performance in Working Girl.

Oscar nominations for Picture, Griffin for Actress, Weaver and Joan Cusack for Supporting Actress, and Nichols for Director. The omission for Screenplay is something you might consider a surprise, but I wouldn't have nominated over the scripts for Big, Fish Called Wanda, Bull Durham, Running On Empty or the winner, Rain Man. When Weaver lost to Geena Davis in The Accidental Tourist, it was and is considered one of Oscar's biggest upsets. I'm indifferent, it's not like I bet on it. An Oscar for Carly Simon's song "Let The River Run".

Also, a cast that includes Olympia Dukakis, Oliver Platt, Philip Bosco, Nora Dunn, Rikki Lake, David Duchovny, and Kevin Spacey, who had to learn his part on the car ride over when the previous actor quit without notice. A note if you go and if you haven't seen this for a while, the film starts with a tremendous helicopter shot of the Twin Towers, so know that so you're not taken by surprise.

Next, Wit. An adaptation of Margaret Edson's award winning play that first aired on HBO in 2001. Emma Thompson (who adapted the play with Nichols) plays an English professor, forced to deal mostly alone with terminal ovarian cancer, and the lack of care and respect from most of her health care providers. This film has been/probably still is used, to show students of whatever health care career they're studying, NOT to behave. Though based on a number of imdb posts, that may not be working. In some cases, Thompson's death scene is a great time to start texting! Boy does it suck to get sick in this country . . . Heartbreaking film with a strong performance from Thompson.

If I had the time, I would post one of my favorites, The Graduate. But I can't go out of my way to make special time for this, so I won't. Go to the MOMA website for details.

Will try to post the first few days in May along with the remainder of the month. Let me know about what's up here now. Later all.