August revivals: the rest of the month

Hey, Mike here with what to catch for the remainder of the month. I had originally planned to split this into 3 August posts, but some last minute schedule changes, plus the coming of the U.S. Open with its free practices and qualifiers, means this will probably be the last post this month. We'll see, but until then, here we go with the rest of August:




THE MAN WHO WASN'T THERE- Sat Aug 15 at Midnight- IFC Center- Part of the Coen Brothers retrospective. Not the first film, it's been playing for a few weekends now. But it's the first one I'm willing to post because I've never seen it. Most of their films I have caught. But this one? Nothing more than 30 seconds. I took heat from film buff friends that I missed it, and it didn't seem like I'd appreciate it as much on video or cable. But now, despite the late time, is a good chance to catch it.

This film noir homage stars Billy Bob Thornton in his most praised performance after Sling Blade and (maybe) Bad Santa. He plays a sad sack of a barber, who decides to blackmail the man who he thinks is sleeping with his wife, and use the money to start a dry cleaning business. This being a film noir, these things lead to murder, attempted cover-ups, and damage spread to all. James Gandolfini plays the blackmailed, and Frances McDormand (in what amounts to an extended cameo) plays the wife. But since the film's 2001 release, the supporting cast has become better known. Yes there are Coen veterans like Jon Polito (Miller's Crossing) and Michael Baldalucco (O Brother Where Art Thou). Since then, Tony Shaloub (Monk), Richard Jenkins (The Visitor) and Scarlett Johansson have become more prominent.

Roger Deakins' cinematography however, is mostly what was always singled out for praise. Shot in color, then developed in black and white. He had been working for decades at that point, on films like Sid and Nancy, Shawshank and Kundun, plus every Coen Bros. flick since Barton Fink. But despite multiple awards and nominations before this, his work on Man That Wasn't There was the one that seemed to have Deakins stand out more.

Like I said, it was a 2001 release. But such a depressing looking film, coming out about 2 months after 9/11, and having critics unanimously praising the look but not necessarily the film itself, this didn't have a shot. Ok, but not a great art house run. An Oscar nomination for Deakins' work (losing to the first Lord of the Rings film), then off to obscurity the film went. But I want to check it out, and if you can stay up until about 2AM, I hope you can too.


THE INGLORIOUS BASTARDS (1978)- Wed Aug 19 at 7 and 8:45 for 9 dollars (cheaper if you have a SAG card)- Huntington Arts Cinema- A new 35mm print of the original version, before Quentin Tarantino's remake or homage (whichever) comes out. I've never seen this either, but I'm curious. I also don't claim this to be high art either. This is the kind of Grindhouse film that inspired Quentin to get into film.

From 1978 (though not released in the U.S. until 1981), this is basically an Italian ripoff of The Dirty Dozen. 70s B movie stars Bo Svenson and Fred Williamson are in a platoon of mostly criminals, who are out killing Nazis, then facing the death penalty. But after escaping from a Nazi prison, they end up working with the French Resistance on a "suicide" mission. Nothing earth shattering here. Just expect a decent level of competent film making, naked Aryan looking women firing machine guns, and lots of Nazis dying. Shooting, stabbing and blowing up Nazis by the ton. Sounds like fun.

9 dollars is the regular admission, 6 dollars for members. However, if you have your SAG card, two of you can get in for the member price.

HAPPY-GO-LUCKY- Mon Aug 17 or Fri Aug 21 at 7- MOMA- Part of MOMA's recent Acquisition retrospective. I brought Mike Leigh's film up several times, reserving it a very high spot on my best of 2008 list. No amount of prying on my end got anyone that I know to see this, but I will try again here. Leigh's most accessible film, a serio-comic film that's more comic than serious didn't seem to draw anyone other than the director's die-hard fans. Even for an art house film, it drew disappointingly. I hope you give this a chance.

Sally Hawkins plays a single kindergarten teacher who absolutely refuses to be down or nasty. She will be cheerful and chipper to the point that some strangers and the viewer might think she's delusional and insane. Not that she's blissfully unaware of troubles in the world and in other people. She actively tries to help her students and friends. But she will not make the world worse by being intentionally cruel or mean herself, no matter what.

Leigh lets the viewer decide if she is silly, naive or is in a place in her life we should consider aspiring to. Many smiles and more then a few laughs abound. And Hawkins makes this special creature shine. And her scenes with Eddie Marsan, as her polar opposite driving instructor, are the highlight of the film.

BOB AND CAROL AND TED AND ALICE- Fri Aug 21 at 6:15 with Elliot Gould and Dyan Cannon either introducing or doing a Q and A- Walter Reade at Lincoln Center- Part of the Natalie Wood retrospective, and the only one I'll be able to catch. I've seen West Side Story enough times that I'm doing it again right now, no one is interested in Miracle on 34th Street (little known fact: Miracle was originally released in August, so it's not that big a stretch to see it now), Lincoln Center isn't into screening obviously fun bad films so no Meteor, if I couldn't get people to see a 7 dollar screening of Gypsy before then forget spending 11 dollars now, and everything I don't have time to catch. Except this one.

Now people familiar with films have probably heard of this film, but figures since it's just about married couples switching partners, that's all they need to know about it. And these people are probably over 50 and saw the film when it first came out, or on network TV/syndication. If you're under 50 the chances you haven't seen this film are high. Hell, even I haven't seen all of it. But I seen enough to know it's more than just sex for thrills.

Now whether it's more than just a Sixties time capsule is something I can't help you with. You'll have to decide for yourself. From director/co-writer Paul Mazursky, two married couples, Dyan Cannon & Elliot Gould, and Robert Culp & Wood, are best friends. Despite the sexual tension between them, nothing is done about it. Until the late 60s comes along. Therapy, special "Institutes", and the notion of free love, tests the ideas of love and friendship between the four of them. Praised for its insight and snappy dialogue, and oh yeah, the cast. Nominations for the Screenplay and Cinematography, as well as Supporting nods to Cannon and Gould. Both of them will be at the screening. I don't know if they'll be introducing the film, or doing a Q and A afterwards. My guess is, it will be the later. They'll be doing this on Sunday the 23rd as well, but I can only do the 21st. Hope you can too.


SPACEBALLS- Fri Aug 21 and Sat Aug 22 at Midnight for 9.99- Landmark Sunshine Cinema- A new 35mm print of the Mel Brooks Star Wars spoof. Ok, it hits a few more sci-fi stuff, but mainly Star Wars. Not on the level of Brooks' Blazing Saddles and Young Frankenstein. More on the level of stuff like History of the World Part 1 and Silent Movie, which is still respectable. More affection for this film than any actual love for it. Even when the jokes get corny, the fact that people like John Candy, Rick Moranis and Bill Pullman are pulling them off is more than good enough.


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

August revivals: first third

Hey all, Mike here with what to catch for the first third of August. A definite mix here. No time to waste, here we go:



EAT DRINK MAN WOMAN- Sat Aug 1 at 8:30- Walter Reade- Part of the Ang Lee retrospective. This type of retro is something I knew I would have to confront at some point. When a director whose work I've seen quite a bit of gets a retro, how interested can I get in all of them. In the end, I've narrowed it to 3. The Wedding Banquet I like, but paying to see it once was enough. Same with Brokeback Mountain, which I liked even more. Crouching Tiger is the best film of 2000, but no way I'm paying to see this for a third time. Sense and Sensibility is just fine on cable. There are parts of The Ice Storm that I like, but there are parts I don't give a crap about, so I'm in no mood to pay to see all of it. There is no way I'm paying 15 to see Ride With The Devil, even if Lee himself does a Q and A afterwards. Hulk, no way. Edward Norton still cracks me up when he wishes he could have made his Hulk film as more of a character study. HELLO, that was Ang Lee's film it and large chunks of it stink. But Eat Drink Man Woman is the first of three I'll post here from this series.

The Wedding Banquet brought Lee to prominence in America, became a major arthouse hit, and gave Lee his first Oscar nomination for Foreign Film. This one wasn't quite as successful, but it drew an audience, gave Lee another nomination for Foreign Film and I think is a better film than Wedding Banquet. A quiet film, set in Tawain, that starts where 3 adult daughters who live at home with their father. And we follow what happens to them after their father has a heart attack, and has to retire from being a top chef. Quite a number of quiet moments strung out over the course of a long film to the point where you think nothing happens for long stretches. But be patient and pay attention; the well written script from Lee, James Schamus, and Hui-Ling Wang yields rewards. Should note the photography of the many meals depicted in the film. May make you hungry and make you NOT want to settle for McDonalds afterwards.


PUSHING HANDS- Mon Aug 3 at 8:45- Walter Reade- Part of the Ang Lee retro. Lee's first film. I've never seen it, and I don't think it even had a full American release until the successes of Wedding Banquet and Eat Drink Man Woman. Story of an old Chinese man who moves from China to New York to live with his son and very American wife. Culture clash, and difficulty accepting American ways, his son's supposed putting aside of some Chinese ways for those more of the wife's, and getting older in general, are among the problems for the main character. Now supposedly, this isn't nearly as morbid as I'm making it sound, but I've never seen it, and I'd like to.


BATTLESTAR GALACTICA (original)- Wed Aug 5 at 6:55 and 8:55- Huntington Cinema Arts Centre- 423 Park Avenue, Huntington, NY- at the intersection of Park Avenue and Main Street (25A)- I go away from the city and go deep into Nassau County for this bit of summer fun. The original Battlestar gets a screening, but at reasonable times as opposed to a midnight screening. The first episode gets screened. Note that its not the actual ABC edit from Sept. 1978, but the 1979 Sensurround edit Universal released in theaters. It should include the actual Sensurround intro that came up before even the Universal logo. Don't know if it's on Youtube, but it has to be seen to be believed. Anyway, this cut is barely two hours long, cutting a few subplots, and a lot of the bad acting (though not all).

This is strictly childhood for me, though the memories for me are strongest in terms of remembering this show on syndication, as opposed to it's original run on ABC. The recently ended remake is a very good show, and if you haven't seen it, get to Netflix already. It used the feelings and emotions of dread from post 9/11 and spread on a multi-global level, mixed some 24-esque tension, hired some good (mostly Canadian) actors, took some story chances, and have come up with a superior series than the original. For the record, I'm dreading Caprica and any more spinoffs, one shot TV films and anything else that's coming soon, but that's for another time.

The 1978-79 edition of Battlestar didn't have that kind of emotional heft around. Okay, there was the Holocaust, but that was too far away and too long ago I guess. This is big space opera, with explosions, space battles, acting that verges from the ok, to campy to amateurish. For this last part, ABC had the tendency to cast hot chicks who were models or college students with little skill, whose career would either end within 5 years, or finish in infomercial or direct to video hell. Not every actress hired could be Jane Seymour, who is in this. One of my early crushes, an ideal for beauty that has screwed me up to no end, but that's for another blog. Though she didn't seem to be allowed to wear a bra on Galactica, but anyway . . .

I also have quite a lot of affection for the main villains, the Cylons. Over 6 ft tall, all chrome except for the ruby quartz eye that moved across the head with a swerving hum. And that low electronic monotone voice. The most original aspect that I still have a fondness for, despite the massive improvements done to them in the remake series. Plus decent to good visual effects, though because of the budget restrictions, the same battles were repeated throughout the series' run, and even to an extant, in this.

I can't say this would be the best flick you'll ever see. There are some aspects that will just seem laughable now. And as much as I like this, I would probably laugh at those absurd or lousy moments with the rest of you. But dammit, not everything can be The Rules of the Game, or Annie Hall, or Lawrence of Arabia. This is silly campy fun, that manages to capture a bit of the dread and tension that the remake series thrived on, and I'm not ashamed of having fun with it. And I hope you will as well.


THE LORD OF THE RINGS: THE TWO TOWERS for free- Fri Aug 7 at 7- MOMA- Part of the new acquisitions series.These are films that MOMA has just received as part of their library, and now they get to show it every so often. All three Lord of the Rings films are being shown; once each day from Aug 6- Aug 8. But The Two Towers is the only one being shown for free. All films after 4pm at MOMA are free, no special reason. And since I still know a few people who have seen only Fellowship, you can't beat free. Note that all three Rings films being shown are the original theatrical cuts, not the extended director cuts.


RED DAWN- Fri Aug 7 and Sat Aug 8 at Midnight for 9.99- Landmark Sunshine Cinema- Some people had problems in Superman Returns when Frank Langella, as Perry White , said Truth Justice all that stuff, while ignoring The American Way. There was also a major complaint why not enough people weren't complaining about it. Here's one way out theory: maybe some of those people grew with the ridiculously awful Red Dawn and have rebelled against anyone pushing rah-rah stuff ever since.

For me, Red Dawn is, let me be clear, FUCKING AWFUL, but GLORIOUSLY FUCKING AWFUL. Kind of gives a barometer as to what the feeling was in this country during the Cold War, that this was actually considered possible. It might have even considered believable, if Red Dawn wasn't over the top.

From 1984, World War 3 begins, as Soviet paratroopers land in a small Colorado town. But they are held at bay as high schoolers Patrick Swayze, C. Thomas Howell and Charlie Sheen (in his screen debut) do something about it. With the aid of Lea Thompson, Jennifer Grey (years before the nose job, Ferris Bueller and Dirty Dancing), plus help from veterans Ben Johnson and Powers Boothe (pre 24), they form the Wolverines, and go guerilla warfare on them Commie bastards. WOLVERINES! Or as they tend to say it, WWOOOOOLLLLVERIIIIIINNES!

Directed and co-written from very macho John Millus (Conan The Barbarian and Dillinger, the less artful but less full of shit version of Public Enemies). Over the top, from the start of Harry Dean Stanton's monologue (ending with AVENGE ME! AVEEEENNNGE ME!), to the final battle. As subtle as a brick, or the giant Soviet armored helicopter that goes after them. And though it was nice to see the late Ron O'Neal get a job, I can only think "Holy Shit! They got Superfly leading the Commies!". Millus actually does do a good job with the action scenes. So good, that you wish he hadn't approved some of the other bullshit that follows.

If you want a cheesy example of Reagan era action movies: Rambo division, this is it. Hard to believe this was actually PG-13, the first PG-13 film ever. Before the remake comes out next September (when the Chinese become the invaders), here 's the original, at a slightly cheaper price then regular films in Manhattan.


LUST, CAUTION- Fri Aug 7 at 6:15 and Sat Aug 8 at 8:30- Walter Reade- Part of the Ang Lee retro. The third film I'm posting here. In my Best of 2007 list, this was one of those I regretted missing. In 1942 Shanghai, a young woman poses as someone else, to seduce then kill a Japanese collaborator. But the young woman is an actress, whose not necessarily trained to keep the new identity from overwhelming the main one. Especially when she falls in love with the target. Tony Leung Chiu Wai (Infernal Affairs, Hard-Boiled) plays the target, with Joan Chen in the cast as well. There's more, but I'm not familiar enough to go further. The film got ok to good reviews, but business was pretty weak. Maybe the 2 hr 37 min running time didn't help, but the NC-17 rating for its sex scenes was probably what did it. After all, chains like AMC and Regal won't touch a film with that rating, and the only way some of you probably saw this was on Blockbuster, where the R-rated version was the only one allowed. The NC-17 version is what will be screened.


THE MAGNIFICENT SEVEN- Mon Aug 10 for free- Bryant Park- The classic Western remake of The 7 Samurai. Yul Brynner leads the gang of hired guns, protecting the poor Mexican peasants from Eli Wallach and his band of brutal henchmen. Served as a kind of template for future spaghetti westerns. Also served as a launching pad for several of the 7: James Coburn, Robert Vaughn, Charles Bronsan . . . . and oh yeah, Steve McQueen. Also featuring one of the best film scores ever from Elmer Burnstein, no exaggeration.


Different types of flicks, at different places. Let me know if there's interest. Later all.

July revivals: rerun edition

Mike here with what revivals to catch for the rest of the month, with a caveat. If I posted it on at least one previous list, it goes on this one. If I didn't, it doesn't get a mention. And with some exception and/or update, I'm reposting what I wrote before. I can't spend forever on these lists, so consider this the equivalent of a summer rerun. So here we go:



BIGGER THAN LIFE- Fri July 24 (maybe) and Sat July 25 (more likely, but who knows) at 7:50 and 9:50- Film Forum- Part of the Nicolas Ray retrospective. I hope I can catch this, but I have no damn clue. Social stuff holds up whether I can commit to doing this, but I'm posting this anyway so that it can at least get noticed.

A film I've surprisingly never heard of before its first Film Forum run during the first week of this year. I mean, I know the film's lead James Mason, his co-star Walter Matthau, and the film's director Ray (Rebel Without A Cause). And according to imdb, the average shot length is eleven seconds. But aside from being an inspiration to Godard, I know nothing else. Haven't seen a frame of it. But I'm very curious to try it. The first attempt to catch this didn't work out, so here's another chance for me, and us. NOT available on DVD in this country, and 4 minutes longer then the version occasionally shown on Fox Movie Channel. So this is the only way to see this as originally intended. Okay, because it was shot in Cinemascope, the screen would usually be bigger than any of the Forum's screen, but still. as for anything else, I cut and paste the following from what the Forum website had back in January:


(1956) “God was wrong!” proclaims James Mason — but then he’s in the grip of all-out 50s mediocrity: a too-intellectual, bow-tied grade school teacher, his house festooned with travel posters for places he’s never been to; forced to spend odd afternoons as a cab dispatcher to make ends meet; his job, friends, family, and even himself, self-described as dull. But then there’s bad news and good news: he’s got a rare arterial disease that will probably finish him within a year. The good news? There’s this miracle drug (cortisone) that might just save his life. But there could be some little side effects… Time capsule of the 50s: the décor, the blocky suits and omnipresent hats for the men, the gowns that wife Barbara Rush tries on during the new Mason’s ill-advised splurge fest, the hat she wears on Sunday, the conformity (everyone in town seems to attend the same church) — an unexpected setting for Mason’s tour de force performance, as he moves from frumpy nice guy to full-blown, drug-induced megalomaniac. Color; Approx. 95 minutes.


JOHNNY GUITAR- Sun July 26 at 1 and 3:20 (maybe), and Mon July 27 at 10- Film Forum- Part of the Nicholas Ray retro. A simple Western, starring Sterling Hayden, Joan Crawford, Ernest Borgnine and Mercedes McCambridge, and directed by Ray, that was successful back in 1954, then went away. Until Francois Truffaut and some gay film buffs got ahold of it. They're the ones reminding us about the hidden lesbian story, the links to the HUAC hearings, and the irony of casting HUAC namer of names Hayden as the possible hero (though we didn't know until recently that he was an actually secret agent of some sort who actually knew at least a little something about Communists). Though no male hero would DARE upstage Joan Crawford by this time!

So is it a simple, entertaining Western? Is it an allegory of the Blacklist and the McCarthy witch hunts? It was written unofficially by black-listed screenwriter Ben Maddow. Is there high entertainment value from the over-the-top perfs of both Crawford (is it me, or does she play most scenes like she were the Queen of England or Cleopatra?) and McCambridge? Both ladies hated each other. They fought constantly, and according to IMDB, Crawford was so mad (and drunk), that once she flung McCambridge's costumes along a stretch of Arizona highway. And is it true that the real story of the film, is that McCambridge's character is actually a closeted lesbian, spurned by Crawford, and now seeking revenge? I would say, yes to all of the above. It works as a Western, the allegory is right there, the lead female perfs have high camp value, and you could say no about the lesbian overtones, but there's enough there to read that into it. But whether the film is actually any good is not something I can help you with. But it sure as shit ain't dull. Worth catching in any case.


GOMMORAH- Tues July 28 at 6:15 and Wed July 29 at 8:20- Walter Reade at Lincoln Center- Part of their Toni Servillo: Fire and Ice retrospective. He has a role in the ensemble of this film, which was in my top 10 of 2008 list. Yes, it didn't play here until Feb 2009, but it opened in L.A. in 08 to qualify for the Oscars, which I'm stunned it didn't even get a whiff of. It didn't even come close to getting a Foreign Language nod. Here's another chance to see it, and here's what I wrote on that list:


If you know some that says that mob movies are waste and that nothing more can be said in the genre, Gamorrah is the proof that this person is an idiot. Or Mobbed up. This just recently opened in New York, but since it received a one week release in L.A. to qualify for the Oscars, it counts toward this list and not next year. Dark Italian film based on the book that exposed the dealings of the Camorra crime empire, based around Naples. All elements of honor or coolness from previous mob films, comes off as bullshit next to what's depicted here, an area that God seems to have forgotten. Similar to both Traffic and Traffik (Google it people), in its multi-arcs and semi realist style of telling the story. It's almost as though director Matteo Garrone decided: I can have the speed and style of say, City Of God, but you can't have the editing jump cuts. You must let the camera roll and let the story be told that way. Very Visconti or very Kubrick in its overall final state.

We see different aspects of the organization, but never in any exotic locales. The daily dealing rub outs in what is essentially a ghetto. The payments made to people with jailed gang members. It's different business holdings are brought up; from couture (Scarlett Johansson in a Italian dress is featured: now you know who will profit from this exposure), to profiting off dumping toxic waste (tough if you happened to live near there), to their investment in the re-building at Ground Zero, to the everyday practice of killing an average of one person who steps out of line every three days. We meet individuals, like the 12 year old boy, ignoring his mom to become a new recruit. The dapper man who runs the waste management company, without a care about where he dumps. The older man who gives payments, and thinks he's special because he doesn't kill anyone. The two teenagers who literally don't know what to do with a woman (as we see in a scene in a strip club), but whose idolization of Scarface makes them think they can be just like him. Hey kiddies, Al Pacino isn't a mobster, he's paid to play make-believe. The sweaty gangsters you're trying to rip off don't play at all. And don't bother looking for the police. They're only good for taking dead bodies away.

A few professional actors mixed in with mostly non-actors, kind of like with Gran Torino. You should walk away from this film a little sickened by what you experience. Especially since it's been happening, it's going on while you read this, and nothing will happen to change this, probably in our lifetime. But the mastery of the film making should make you feel this is time well spent. Slowly expanding over the next few weeks as of this writing, so do go.


WHAT'S UP DOC- Thurs July 31 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- A cheap screening of a somewhat forgotten screwball comedy. The names Barbara Striesand and Ryan O'Neal may annoy the hell out of you, but they are a terrific couple in this 1972 film. Peter Bogdanovich's homage to the screwball comedies of the 30s and 40s fits right along with them. Most of you don't know this film, but this is a good time to start. Complications upon complications upon misunderstandings upon strange accents upon a car chase upon a hysterical courtroom scene. Screenplay by Buck Henry, Robert Benton and David Newman. Great supporting cast includes Madeline Kahn, Austin Pendelton, Kenneth Mars, Michael Murphy, John Hillerman and Randy Quaid. Pre film show by Brini Maxwell.



Let me know. Later all.

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