July revivals: second half

Hey, Mike here with a list of revivals to catch from now through August 1st. I haven't caught The Circus at the Forum, which launched the Charlie Chaplin retrospective. Screening times listed from the last list haven't changed, so check there if you have interest. I'm surprised the Grease Sing-Along was pulled out of NYC after Sunday. I thought business for it was ok. I heard rumors that it will open at AMC's Roosevelt Field cinema, but there's nothing listed on the AMC website. I'll keep an eye out, but if it appears there or elsewhere, I'd go, but I won't do a special posting for it. We had our chance, and it might have to wait for the next list after August 1st, if it lasts that long. Anyway, on with the list:

THE GOOD THE BAD AND THE UGLY- Thurs July 22 at 12:30- Walter Reade at Lincoln Center- Part of the Clint Eastwood retro, and the best in the bunch. The epic of Leone's Man With No Name trilogy; you definitely go on a journey here, aided with Morricone's most famous score, especially the theme. Eastwood's not so nice Good, Lee Van Cleef's evil to the core Bad, and Eli Wallach's not much better Ugly, fight each other, and try to work their way around something called The Civil War, to get their hands on buried gold. Probably, the best of the Spaghetti Westerns, due in no small part to Wallach's great performance (note that I RARELY use that phrase), the cinematography and Morricone's score.

This is the Reconstructed Italian version (don't worry, the words are still spoken in English). 2 hrs. 55 min. long, including 15 restored min. that Eastwood and Wallach had to go back and re-dub a couple of years ago. The print has been cleaned up, and has a remixed 5.1 Digital Dolby sound. I've done this twice at the Forum in the past 4 years, but I need no excuse to go back, especially on the Walter Reade's larger screen. In my personal top 100.

MURDER BY DEATH for 7.50- Thurs July 22 at 7 and 9:30- Clearview Chelsea Cinema- A cheap screening of a 1976 comedy I enjoyed growing up. Just like Arsenic and Old Lace from the Memorial Day weekend list, Murder By Death was a film I watched quite a bit on CED disc. Look up CED disc on YouTube if you don't know what I'm talking about. Adding "RCA" and "Selectavision" in the search bar should help. Sorry for the digression. I'm not saying Murder By Death is a great film, but it is fun.

A spoof of famous detective books/films. Truman Capote invites a group of the most famous detectives in the world to his mansion, to solve a murder. It's a foggy, rainy journey, with traps along the way. But the detectives do arrive: a Charlie Chantype (Peter Sellers), a Sam Spade-type with his secretary (Peter Falk and Eileen Brennan), a Nick and Nora Charles-type (David Niven and Maggie Smith), a Hercule Poirot-type with his chauffeur (James Coco and James Crommwell in his film debut), and a Miss Marple-type (Elsa Lanchester). With Alec Guinness as the blind butler, and Nancy Walker as the deaf mute maid. Imagine when these two get into a discussion.

Written by Neil Simon, but don't go looking for a well mapped out mystery. That's not the goal. Simon stays loyal to the rhythm of each detective, and moves from one laugh to another. Give credit to director Robert Moore (best known as a stage director before his 1984 death), and the Art Direction people for their finely tuned indoor and outdoor sets. The cast is in tip-top shape. Amazing, considering how much time was wasted on set over who was top dog: Sellers (whose Return of the Pink Panther was an Austin Powers-sized hit) or Falk (whose Columbo was a hit as well). Throw in the rest of the cast apparently pissed at them, and the seeming stunt casting of Capote (who wasn't an actor and is only adequate at best), and I think it's a minor miracle the film came off at all.

No great piece of film work, just fun. Enjoyable enough that I can watch this either at 7 with an intro and commentary by Brini Maxwell, or the 9:30 without.

CITY LIGHTS- Fri July 23 at 8 and 9:45, Sat July 24 at 1,2:45 9:45 and Sun July 25 at 9:45- Film Forum- I had never seen more then a few clips of City Lights. Specifically, the scene where you find the Tramp sleeping in the Virgin Mary statue's arms, and the well choreographed boxing scene. I'd never seen City Lights from beginning to end, until I saw it double featured with Modern Times last May. Hearing and reading enough stuff about how great it was, and Woody Allen's fawning at how the last 30 seconds are the greatest ending ever in film (an ending Allen did an homage for his ending of Manhattan), piqued interest further. While I liked the film a lot, and laughed hard at some scenes, like his dealings with a drunken millionaire who was the Tramp's best friend (until the rich man sobered up), I came away with the feeling of eh. Good film, yes, great film, nah. Maybe the line from Pretty Woman is appropriate, that I'll like and even grow to appreciate it, but never love it. I enjoyed Monsieur Verdoux more, perhaps because I had no preconceptions going in, as opposed to City Lights. But I'm willing to try again.

STAYING ALIVE- Fri July 23 and Sat July 24 at sometime between Midnight and 12:10AM- IFC Center- The John Travolta retrospective had already begun, with Saturday Night Fever. It wasn't posted for two reasons. 1) IFC Center once again took too long to post their schedule (though kudos for already posting their other midnight movies for the next few weeks). 2) If I didn't go to Saturday Night Fever two Labor Day weekends ago where there were normal times, 12:05 AM this particular weekend wasn't going to cut it. But for something this craptastic, I have to post it.

Staying Alive, the sequel to Saturday Night Fever, might have been successful back in the summer of 1983, but bad enough to put John on the downward career spiral that only talking baby movies can save someone from. Travolta returns as Tony Manero, this time directed by Sly Stallone, who also co-wrote the screenplay. Tony tries to make it as a dancer. His Broadway debut could be marred by being torn between wanting to be either with his good girlfriend, or the bitchy leading lady who could make or break his career.

Now this film is fun. And I mean fun in terms of being god awful. Most of the connections between Tony and his family/friends in Brooklyn, the heart of Fever, were either cut out or dropped at the last minute. You mean to tell me if all his family and most of his friends are alive, well, and like Tony, that only Tony's mom would come to attend his Broadway debut? By herself, on a cold winter's night, from Brooklyn to mid town, while Times Square and the subways were still shit holes at night back then? Most of the acting is lousy, the dialogue is even worse most of the time. And the Broadway show, Satan's Alley, you will either laugh or pick your jaw off the floor. Either way, your mouth will be open. And as for the music, as much as I enjoy the cheesy 80s fun of "Far From Over", Frank Stallone's music (yes, brother of Sly), is a poor substitute for the Bee Gees. And when Staying Alive is used at the very end, just like it was at the start of Fever, you'll truly wish the Bee Gees were used throughout. If you're into bad films, bon apatit or however you spell it.

RAIDERS OF THE LOST ARK- Sat July 24 at 5 for 5 dollars- Any of you ever hear of Indiana Jones? Ever see Raiders of the Lost Ark on the big screen? If you did, it might have been at a revival screening, usually at midnight. But for some of you, wasn't it in 1981? Maybe 1982, when it received 8 Oscar nominations including Best Picture and Director and won 5? Maybe 1983 during it's spring re-release? If the answer was yes to any of these questions, then you probably paid only 5 dollars at most to see it. And that's how much you'll pay if you see it's only screening for a while: 5 dollars for adults and kids alike. It's not the Ziegfeld or even the Landmark Sunshine Cinema. But for this Spielberg-Ford-Lucas classic, the Leonard Nimoy Thalia will do. On both AFI Top 100 lists and in my personal top 35. If you're ambitious, we can do a double feature of this, followed by City Lights. It leaves little time for dinner, but think about it.

MONTY PYTHON AND THE HOLY GRAIL- for free- Bryant Park- Park opens at 5pm, film starts at sundown- Mon July 26- A film, unlike say, The China Syndrome playing this month, should play just fine with the Bryant Park crowd. A lot of fun on a warm summer night, without the pesky nudity and crucifixion that keeps Life of Brian off the Bryant Park crowd. And since it's Python, if you can't hear the film from one of the many speakers, you'll probably be sitting near a fanatic who says the line, like someone singing at a concert. Whether this sounds like a blast to be around fans, or it feels like the seventh level of Hell, is up to you. I understand either way, but post it anyway in case there's interest. I would be easy to spot; I'll be the one with the killer rabbit puppet. Wait, they'll probably be at least twenty guys doing that. Never mind about that . . . .

ANIMAL CRACKERS with or without SO'S YOUR OLD MAN- Tues July 27 at 1:20 (Animal), 3:15 (Man), 4:50 (Animal), 6:50 (Man) and 8:20 (Animal)- Film Forum- Part of a series of films shot in New York in the long defunct Paramount Studios in Astoria, Queens. Most were for Paramount Pictures, some were indies. Shorts, both live action and animated, were also done there as well. The two films here were for Paramount.

The main push here is for Animal Crackers. Let me sidetrack a little. One of my favorite websites to peruse is avclub.com. One of their interesting sets of articles are called Gateway To Geekery: for those pop culture things that might seem daunting to tackle, these articles give the (possibly uninitiated) reader a brief explanation of the subject, why its popular, what are the best things to start with, and the worst thing to start with. These Gateways articles tackled subjects as varied as French New Wave, Superhero comics, P.G. Wodehouse, Cinema verite, Monty Python and Douglas Sirk. The last Gateways article, written by Leonard Pierce earlier this month, tackled the Marx Bros., and the initial Gateway into their comedy was Animal Crackers.

I wrote in the past how Marx Bros. film plots are not that important, a fact emphasized when some peon tried to cock-block me years ago at the Forum (separate story). Just enough plot to give them a reason to be around so that anarchy can reign. Groucho plays Captain Spaulding, a famous explorer who's invited to a swanky Long Island mansion, accompanied by his stenographer, Zeppo. Chico and Harpo are uninvited guests. When a painting is stolen, the brothers try to find it. Actually they don't try very hard, not when there's mischief and chaos to create.

Successful in its initial release, Animal Crackers was out of sight for decades, due to copyright disputes between Paramount and Universal, until it's acclaimed 1974 re-release. It's never been talked about in classic terms, like Duck Soup, but all Marx Brothers films with all four brothers are worth catching, and Animal Crackers is no exception.

Double featured with So's Your Old Man, a W.C. Fields silent film that gets a rare screening. It would later be remade into a talkie, You're Telling Me. But So's Your Old Man is NOT available on DVD, so like me, you probably haven't seen this. Fields is drunk constantly, tries another of his get-rich quick schemes, and it doesn't work out so well. That's all I know. Preceding the W.C. Fields film, is the animated short, Koko's Earth Control, a 1928 animated short where a clown and his dog discovers levers that control the Earth, and things get a little out of control.

If I can only see one of these, it would be Animal Crackers. But since both are short, and So's Your Old Man is never screened, I wouldn't mind seeing both. One day/night only.

MONSIEUR VERDOUX- Wed July 28 at 7:45 and 10- Film Forum- Part of the Chaplin retro. I loved it when I saw it, and if anyone hasn't seen it yet, and that's probably most of you reading this, I'd love to bring you around. Mix of drama, dark comedy, broad comedy; not bad for a serial killer film, which it basically is. But no reason to be scared, the film is discreet. As for the rest, I'll re-post what I wrote about the film back in June 2008:

a long forgotten Charlie Chaplin comedy. The blackest he ever made. No Little Tramp business here, as he plays a dapper looking man who, after the stock market crash of '29, supports his family by marrying, then killing other women. Exactly the kind of film post WW 2 film audiences were demanding to see . . . Before the film came out, Charlie had the kind of negative publicity that Britney and Lindsey would think there but for the grace of God go us, or whatever their equivalent would be. But being an actual artist with a point of view (along with a strong sexual appetite that leaned toward much younger women to put it kind), seemed to make Chaplin more of a danger. Imagine the way critics have sharpened the knives, ready to rip into M. Night's films now. Then imagine some of these critics feeling they must defend the masses against whatever political statement Chaplin would make with this film. Then consider the only media around are in newspapers, magazines and radio, thus giving these critics some more sway. Throw in other reporters more interested in asking Chaplin about allegedly sleeping with underage girls or being condemned by members of Congress then the film's content.

Monsieur Verdoux was DOA. A major financial flop that was pulled after a month or some. Not everyone hated it. The Times back then gave it a very good review. It was named Best Film by National Board of Review, and Chaplin himself received an Oscar nomination for the Screenplay. A 1964 re-release gave the film some much needed respectability and even an audience. I guess those dealing with the Cold War felt the film to be quite fresh. But except for the rare TV screen, it's been out of sight, out of mind. Now's the time for major re-evaluation.

THE GOLD RUSH and/or THE CHAPLIN REVUE- Thurs July 29 at 6:15 (Revue), 8:30 (Gold), and 10 (Revue)- Film Forum- Part of the Chaplin retro. A not so typical double feature. First, The Gold Rush, my favorite of the 20s Chaplin films. He had to bring back the Little Tramp, after his previous film, A Woman In Paris, flopped without the character. Here, the Tramp goes off to Alaska to find gold, though he might be more successful in finding love instead. That is, if the elements don't do him in, or doesn't get kicked off the boat on either end of the journey. Famous for the shoe eating scene, and the cabin teetering over the cliff sequence.

This turned out to be Chaplin's return to form, and his favorite of his films from the 20s. In 1942, Chaplin re-released the film, with newer music, added sound effects and Chaplin himself narrating, replacing title cards for audiences who no longer cared for silent films as they used to be. So you see, decades before Spielberg, Lucas, and Ridley Scott came up with director's cuts, Chaplin did it before them. This version of The Gold Rush received 2 Oscar nominations for Sound and for Score, and this is the version the Forum will screen.

Next, The Chaplin Revue. Chaplin found another way to repackage his shorts. He took three of his early silents, and wrapped them around narration, used not for the shorts, but for construction of his Studios, and rehearsals of him and his actors. The three comedies are: Shoulder Arms (1918), set a month before WW I's end where Chaplin is a Private who falls for a French nurse, A Dog's Life (1918), where the Little Tramp adopts a stray (get those tear ducts ready, but in a good way) and The Pilgrim (1923), where Chaplin is a an escaped con posing as a pastor in a Western town, with a plot not far off from the de Niro- Sean Penn remake of We're No Angels.

This would be a good double feature, though if one insists on catching only one of these, we'll see. Note that if you prefer the double feature starting at 8:30, the Chaplin Revue is almost two hours long, so we're talking until midnight on a work night. The timing I'll leave to you, unless you prefer a more modern film . . .

FOUL PLAY for 7.50- Thurs July 29 at 7 and 9:30- Chelsea Clearview Cinema- A cheap screening of a big hit from the summer of 1978. A romantic comedy with a mixture of a Hitchcock-esque thriller thrown in. Goldie Hawn accidentally receives something from a murdered man, people try to kill her, and she can only rely on police detective Chevy Chase. They of course, fall in love.

This might come off as a Hitchcock spoof, though if anything, it goofs on the idea of the swinging singles scene of the 70s. But it's really a sweet hearted romantic comedy, with enough effective thriller elements to pose a convincing threat to our leads. And while the supporting cast (including Burgess Meredith, Billy Barty, Brain Dennehy and a put-upon Dudley Moore) is fun, if there's no chemistry between Hawn and Chase, Foul Play would be doomed. And while it might feel dated (especially with the Oscar nominated song "Ready To Take a Chance Again", sung by Barry Manilow), Hawn and Chase, combined with some zippy pacing and some enjoyable uses of San Francisco location make this light-hearted fun.

Can be seen either at 7 with commentary by Brini Maxwell, or at 9:30 without commentary. Unlike Laura or Murder By Death, Foul Play isn't some kind of sacred cow to me, so I'm up for either screening. If you prefer this over Chaplin that is. And speaking of him . . .

MODERN TIMES with Sunnyside- Fri July 30 and Sat July 31 at 2, 4:30, 7 and 9:30- Film Forum- My favorite Chaplin plays yet again, by itself, for two days. For those of you out there who've never caught this before, now would be a great time. Don't think I need to go further, because if you even glance at these lists occasionally, you know Modern Times, and you're at least aware of how great it could be. In my personal top 100.

But unlike previous screenings, Modern Times will play with another Chaplin short, Sunnyside. Instead of playing the Tramp, Chaplin plays a farmhand who loves the farmer's daughter, even though the farmer hates him. With Chaplin's first film score, and an ending that's either a dream (his character dreams of nymphs earlier on) or reality.

CARRIE- Fri July 30 and Sat July 31 at Midnight(ish?)- IFC Center- Part of IFC's John Travolta retrospective. He's barely in this, but it's a key early appearance, and Carrie plays well late at night, so why not. The Brian De Palma classic where Sissy Spacek (Oscar nominated) plays the awkward girl who goes nuts, and wont be laughed at anymore. With Travolta, Amy Irving, William Katt and Nancy Allen when they were all quite young, and Piper Laurie (also Oscar nominated) as the mother of all demented mothers. It's Brian De Palma, so we not talking subtle here. But it is among his better films. Another film of theirs, Travolta and de Palma that is, plays later in the IFC retrospective, and I'll get to it next month.

THE GREAT DICTATOR- Sun Aug 1 at 1, 3:30, 6 and 8:30 and Mon Aug 2 at 1- Film Forum- Part of the Chaplin retro. A screening of Charlie Chaplin's first talking picture. And a politically bold one for its time; a satire on Fascism and full scale attack on Hitler. Chaplin wrote, directed and starred as both the renamed Hitler and the dictator's double, who happens to be a Jewish barber. Then one day, the two are mistaken as one another. . . let the hilarity ensue. 5 Oscar nominations, including Picture, Chaplin for Actor and for the Screenplay.

Praised more for its audacity and willingness to be confrontational, years before we knew what exactly was going on with the Nazis, and it's place in history as one of the only films willing to do this back in 1940. Praised for all of this, as opposed to the quality of the film itself. So here is a chance to decide if this still holds up as entertainment, or works more as an important piece of film history and nothing more. Or both, minus the nothing more part.

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

P.S.: Oops, I just noticed I used a picture from a stage production of Animal Crackers done by Parkside Players this past May. Too late to change that now. Photo credit to Deborah Erenberg.

P.P.S.: Here's the link to the avclub article about the Marx Brothers that I was referring to earlier:

http://www.avclub.com/articles/the-marx-brothers,42903/

July revivals: first half

Howdy, Mike here with what to catch for the first half of July. Hope you haven't melted from the 98-100 degree temperatures we've been dealing with. I'm posting this later than I wanted to, so let's get to it:

GREASE SING-A-LONG- Now until whenever- AMC Lowes Village 7 at 7 and 9:45- There have been unofficial Grease sing-alongs off and on. I think I posted one of them when they played the Ziegfeld some time back. This, and the minor popularity (based on Universal's promotion, anyway) of the Mamma Mia! seems to have convinced Paramount/Viacom to take the bulk of the money now, and sell their own official Grease Sing-A-Long. Whether this makes this fun musical the fun film of this summer for you, or painful to the point of running into traffic, is entirely up to you. Me, I can take it, or I would never post this.

Right now, AMC Lowes Village is the only theater showing it, though only at night. No idea how long and if it will play elsewhere. But Paramount has links on their Grease website, imdb and elsewhere, for people to click to "demand" that it plays near you. Similar method they used to slowly push out Paranormal Activity. To me, it will play elsewhere, it's just a matter of when, though it may not play for long. We'll see.

HIGH PLAINS DRIFTER- Mon July 12 at 4:20 and 9- Walter Reade at Lincoln Center- The first film of the Clint Eastwood retrospective that begins on July 9. Like I've said before with other retrospectives, if I can't make it in any way, I don't bother posting the film here. This Eastwood series is a unique case, where I've either paid to see the films first-run (Unforgiven plus everything from Space Cowboys through Invictus, except for Piano Blues), or I won't bother posting since it's inconvenient and I've caught it in another revival house (Unforgiven and A Fistful of Dollars). It should also be noted that you can either see these films either individually, or get a 5 film pass (worth it if you're a member, 50/50 if you're not). Prices are at filmlinc.com, where you can decide what works best for you.

This retro covers a few key films of Eastwood's career where a Leone or a Don Siegel (his main directorial influences), plus every film he's ever directed. Unless you're an Eastwood fan from his Rawhide/ film Westerns/ Dirty Harry days, or a fan during the first years of VHS or laser disc, there will be more than a few films you may not know. Like, for example, High Plains Drifter, Eastwood's first of 4 Westerns* that he directed. Unless you paid to see it back in 1973, or you watched it whenever it played on TBS' Saturday night Eastwood triple feature (his and the Duke's films alternated), or you watch everything that airs on TCM or Encore's Western channel, this is an Eastwood film you don't know.

High Plains Drifter is probably the darkest film Eastwood ever directed, and was only his second directorial effort. If you only go to chick flicks, or you heavily favor chick flicks, stay far away from this. Kind of a mixture of the classic Western Shane, with Camus' The Stranger. A mysterious gunslinger rides into a small but prosperous Arizona mining town. The townspeople, far from the cream of humanity and wondering why the stranger is kinda familiar, hires him to defend them from 3 evil men seeking revenge on them. The outlaws stole from the town and brutally killed the previous sheriff. So the gunslinger agrees, though the price is he gets anything he wants, and I do mean anything.

If you don't know the film, I won't go any further. But after while you wonder who's worse, the cruel outlaws or most of the slimy townspeople. And as far as Eastwood's Stranger is concerned, he plays out similar to Gary Oldman's line in The Dark Knight: is the Stranger the hero the town needs, or exactly what the town deserves?

Like I said, far from a chick flick, but recommended. Most though not all of the darkness here may seem tame, but it had to be shocking back in 73, especially if Dirty Harry/Man with No Name is doing some of it. But only Eastwood could get away with it, and he already feels self assured in his choices here. Filled with recognizable character actors, and great California Sierra mountains and Nevada visuals. I hope you're up to it.

LAURA for 7.50- Thurs July 15 at 9:30- Clearview Chelsea Cinema- A cheap screening of the classic film noir; one of my favorites of the genre. Detective Dana Andrews is obsessed with murder victim Laura, played by Gene Tierney. Among the suspects are outwardly suave Vincent Price and ultra prissy, ultra acidic critic Clifton Webb (Oscar nominated). We see flashbacks from Laura's life that fascinate the detective more. And then . . . . sorry, if you never saw it, I'm not spoiling it. Though do look for a young (ish, kinda) Judith Anderson.

Among the best of the noirs. Amazing how much sexual tension there were able to get past the Production Code. An Oscar for the Cinematography, additional nominations for director Otto Preminger (a replacement from Rouben Mamoulian; Otto chucked Rouben's old footage, reshot everything and changed the ending- WOW!), Art Direction and the Screenplay (3 writers were nominated, not Ring Lardner Jr., who did some script doctoring). What I'm surprised wasn't nominated was David Raskin's score, which includes "Laura's Theme", which is hard to forget if you like the film. I prefer to catch Laura without any jokes from Hedda Lettuce, which is why I'm only posting the 9:30 screening and not the 7. But if you prefer that one, go, as long as you treat yourself to Laura.

PALE RIDER- Fri July 16 at 6:30- Walter Reade at Lincoln Center- Part of the Eastwood retro. This is the third Western Eastwood directed. Came out in the summer of 85, around the time of another Western, Silverado. Pale Rider was successful at the box office, while Silverado, not so much. But over the years, Silverado became a well-liked Western, and Pale Rider was slowly being pushed to the shadows, so to speak. Then Eastwood came out with Unforgiven, making most old fashioned-ish Westerns seem obsolete, Silverado and Pale Rider included. At this point, Pale Rider seems to be sold only on some slapped together DVD, maybe with some other Eastwood film that didn't do well, like Blood Work or White Hunter, Black Heart. But if you like watching a regular Western done well, go for this.

Pale Rider is basically another remake of Shane. Not nearly as dark as High Plains Drifter, with enough realistic dialogue to distinguish between the not so educated prospectors trying to survive, the well educated Bad Guys trying to get them out, and the speak softly and carry a big stick and lots of gunfire Preacher, played by Eastwood. Michael Moriarty plays the leader of the miners, L.A. Law's Richard Dysart as the rich heavy, with Chris Penn and Richard Kiel among the goons.

Now if you're ambitious, you can do an unofficial double feature with a film that's playing down in the Forum, though it's playing for a week so Friday is not necessarily a priority . . .

THE CIRCUS with The Idle Class- Fri July 16- Tues July 20 at 3:20 (Sat only for me), 5:30 (Sat. only for me), 7:40 and 9:50- Film Forum- The start of a Charlie Chaplin retrospective. The only one to get a week long run, and the only one I'll post on this particular list. I'll post more on a late July list, as well as an early August list. This retrospective includes all his feature length pictures, including all his sound films, plus quite a number of Chaplin's shorts.

Simple film where the Lil Tramp joins a circus to elude the police. He becomes a clown and discovers a horrible truth: he can't get laughs on purpose, only when he's his normal, bumbling self. Chaplin won his first Oscar, an Honorary one encompassing his acting, writing and direction. He wouldn't win another one until another Honorary Oscar was given to him 43 years later. This was officially his last silent film. City Lights and Modern Times were both mostly silent, though each had its own nods and changes to accommodate the Sound Era, but I'm not breaking this down now. But also included in this print is music Chaplin added to the beginning (including his own singing!), for The Circus's 1969 re-release.

Also playing with The Circus is the 1921 short, The Idle Class, where the Tramp sneaks onto a ritzy golf resort, and a drunken woman mistakes him with her husband. Chaplin plays both the Tramp and her husband. Haven't seen either film, but I really want to.

Now on Saturday, you can use The Circus as part of an unofficial double feature with one of the three Eastwood films below. Whether you want to do The Circus first or second is up to you . . .

FIREFOX- Sat July 17 at 3:20- Walter Reade at Lincoln Center- A simple action/espionage tale. A forgotten hit from the summer of 1982. During the time when E.T. and Poltergeist (ok, fine, Rocky III) dominated. Leading men like Harrison Ford (Blade Runner), Al PAcino (Author! Author!), Jeff Bridges (Tron), Kurt Russell (The Thing), Steve Martin (Dead Men Don't Wear Plaid) and Robin Williams (Garp) couldn't draw an audience, yet Clint did with Firefox. But if you don't know this film, don't feel bad. History kind of made Firefox's story obsolete or unnecessary or dated or whatever term(s) you think fits. Maybe it needed a hot chick spy with dyed red hair, now THAT'S relevant . . .

Clint plays a Vietnam vet fighter pilot, brought back by the government to get into the U.S.S.R. and steal the Commies new secret super weapon, the Firefox. A fighter jet faster than any other, where you only need to think to activate the weapons. I'm sure there's more, but who cares. Clint's never been a spy before, so he needs plenty of help from the inside people. And because he's a Vietnam vet in a movie, he must be suffering from some sort of trauma. He has flashbacks (depicted on screen), and said flashbacks always seem to happen at an inconvenient time for those trying to help Clint steal the plane.

Sorry about that, I'm just trying to get the weak or dated aspects out of the way. Director Clint runs a tight ship here. The plot moves at a respectable pace. Actor Clint, as a fish out of water, taking on them evil Ruskies, is always fun. And for a pre-Top Gun film, the aerial scenes and fight sequences work well, though they too might come off dated.

Not one of the great works of Clint's career. Just an adult spy/action film done well. With a decent supporting cast, filling the types of upbeat Americans, clueless Americans (how dare you doubt Clint?!?!?!), eccentric Brit, salt of the earth Russian, and Commie Bastard. A good film, but the weakest of the three I'm posting for Saturday. You can see this first, then go downtown to see The Circus. Unless you prefer . . .

BIRD- Sat July 17 at 6 and Mon July 19 at 1- Walter Reade at Lincoln Center- Might be considered the best Jazz film ever made. A definite change of pace in Clint's career, where he gets to share his love of jazz, depicting the short life of Charlie "Bird" Parker. A radical change of pace for American film goers, when it came to Eastwood directed pictures. For the few who saw it in this country that is. In Europe, Bird placed Eastwood among the leading directors in film, as Bird won at Cannes. It took Unforgiven for the U.S. to feel the same way about him.

Bird was going to be a tough sell. A two hour, forty-one minute film about one of the greatest jazz musicians, depicting his slide into alcohol and drug addiction, despite a wife who refused to leave his side no matter what, until his death at 35. This was before the Behind The Music style bio pics were in vogue, good luck selling this in 1988. Combined with the best known person involved with the film isn't on screen, and the lead wasn't box office, gulp. Clint made the film because he believed in the story, Warner Bros seems to have made the film to stay in the Clint Eastwood business. Maybe a few Oscar nominations might have helped, but only winning for Best Sound wasn't the plan I'm sure.

Speaking of sound, you get some lengthy scenes of Bird's music performed, restored back in 88 so they could sound great in Dolby Stereo. And years before Last King of Scotland earned him an Oscar, Forest Whitaker earned praise from critics for his performance in the title role. Pulling him up from a career of supporting roles (Good Morning Vietnam, Platoon, The Color of Money) to show he could carry a film in the lead, artistically at least. Forest even learned the proper breath control and finger playing to duplicate Parker's style, and the recordings did the rest. The love Bird had for his wife, family and friends are also shown , and how none of it was enough to stop him from sliding further into heroin addiction and an early grave.

So in Bird, I'm recommending a good film. Not a happy film, but a good one. If Saturday isn't doable, it plays the following Monday as well, but only in the early afternoon. On the Saturday, you can start with The Circus and then go uptown for Bird. It can also be done the other way around, though that doesn't leave a lot of time for traffic or mass transit problems. Unless you prefer to catch a different Eastwood picture . . .

HEARTBREAK RIDGE- Sat July 17 at 9- Walter Reade at Lincoln Center- From 1986, the last hit Clint would have until Unforgiven. Long enough to make some Hollywood types wonder if audiences were done with going to Eastwood films.

Set in 1983, Eastwood plays a Marine. A Gunnery Sergeant, Korean and Vietnam War survivor and Congressional Medal of Honor winner. He's burned many bridges with his hard drinking, take no lip from dumb superiors, ways. He's almost at retirement age, with no prospects on the horizons, and an ex-wife who doesn't want him back no matter how hard he tries. So Gunny will end his military career his way: by taking a recon platoon of the biggest screw-ups around, and mold them into hard core Marines. Now Gunny might seem a little too humane and therefore weak, when compared with Full Metal Jacket's Sgt. Hartman. But maybe that's why one character is alive in 1983 and one isn't.

Cliches are abound at times. It seems the platoon is only missing a guy named Brooklyn. The jerk of a Major has no combat experience, and wants Gunny out. His only friends seem to be his old war buddy on base, and the widow of another buddy. But Gunny has subtle shadings, and Eastwood mines them and plays them for all they're worth. The supporting cast (Marsha Mason as the ex, Mario Van Peebles, Everett McGill, Eileen Heckart) keeps things flowing, the film is quite funny at times, and the combat scenes in the film's later portion are done well. Yes, there was combat for U.S. troops back in 1983, look it up. Overall, the most fun of the 3 Eastwood films I've listed, playing on Saturday the 17th. You can do The Circus first, then go uptown for Heartbreak Ridge, unless you prefer to see The Circus on a different day altogether. It is playing for a week after all.

Let me know what you want to do, people. Later all.

* P.S., the other Western of the 4 Eastwood directed Westerns written above, The Outlaw Josey Wales, will not be on this list this month, because of bad timing for me. It kills me that I'll miss out on it, especially on the Walter Reade screen. Also, I don't consider Bronco Billy a Western. If you do, you're wrong. I was considering putting that one on the list as well, but it doesn't look likely. Go to filmlinc.com for yourself to see when they play and see if you can catch them on your own, if you like.

Revivals: Late June & July 4th weekend

Hey all. Mike here with a revival list. Normally, I would just post something for June, and save the July 4th weekend for another list. But thanks to the helpfulness of both IFC Center's (for once) and Clearview Cinemas' website, I can actually post something from the first couple of days of July as well. Here we go:

MOMMIE DEAREST- Thurs June 24 at 8 and Sat June 26 at 10- Chelsea Clearview Cinema- A special screening of the cult classic from 1981. This film has been given the MST3K treatment every so often, and June 26 will be the 9th anniversary (so it's being billed; I'm not about to start fact checking this now), so fun will be had I'm sure.

Adapted from the payback novel by Joan Crawford's adopted daughter, this is how Crawford will be thought of forever more. Even though the accuracy of the tale gets questioned more and more as the years pass. That doesn't make this a good film. But it also doesn't mean it's not fun to watch. I don't know if this was supposed to be serious or camp, and I'm not sure if everyone else involved knew what tone to take either. It seems Paramount advertised it as a serious film, though it was released in September so that it couldn't be confused as an Oscar contender (totally a guess on my part). But back in Sept-Oct 1981, when the wire hanger scene came up, a pop culture moment was born. And you can watch Faye Dunaway's A list film career end, though who thought it was a good idea to have Diana Scarwid start playing adult Christina Crawford at age 13?!?!? No wonder she went from an Oscar nominee to a Razzie award winner. If you want to enjoy yourself, catch this campy crappy fun film. And don't forget the wire hangers.

Now this is playing Thursday through Saturday night, but I've purposely left Friday night off the list, because I have a few films below that I have a lot more interest in catching . . .

THE NAKED SPUR and/or WINCHESTER '73- Fri June 25 at 6:15 (Winchester), 8 (Naked Spur), and 9:45 (Winchester) or Sat June 26 at 9:45 (Winchester)- Film Forum- The start of an Anthony Mann retrospective; a director best known for psychodramas that just happened to take place Out West, as well as the Charlton Heston epic El Cid. But I'm most interested in this double feature, both starring Jimmy Stewart.

First, The Naked Spur, from 1953. For those who only think of Stewart from say, Mr. Smith or Harvey, he entered dark territory here. As close to an anti-hero as he would ever come, Stewart plays a bounty hunter, hell bent on capturing his target, holed up in the Rockies. Only 5 characters in this film. Stewart's, Janet Leigh as a tomboy-type who insists on coming along, two unreliable men Stewart must rely on to capture his bounty, and Robert Ryan as the target; a psycho killer who won't be easy to take down. You could count Nature as a sixth character, since the 5 are outside for most of the film, and the elements promise to be as harsh or harsher than any of these men. An Oscar nomination for the Screenplay.

Next, Winchester '73, made 3 years earlier, and the only black and white film Mann and Stewart made together. It seems simple. Stewart wins the title gun in a contest. The runner-up steals the gun, and Stewart hunts him. But as it turns out, the runner-up being hunted is Stewart's brother, and said brother killed their father. Not so simple. Wait till during the hunt, and a stop in town leads to a meeting with a psycho gunslinger . . . Note the supporting cast. Mixed among Western stalwarts like Dan Dureya, Stephen McNally and Will Geer, we have Shelley Winters, young Rock Hudson (as an Indian chief, yeah I'm nervous about that), and a blink and you'll miss him Tony Curtis.

THE GENERAL with a STEAMBOAT BILL JR. excerpt- Fri June 25 at 8 for free (subject to availability)- MOMA- A Buster Keaton comedy classic, though I would argue that it's more an action film classic. He plays a train engineer who is better at showing affection to his locomotive, The General, than to his girlfriend. But the Civil War breaks out, and all the men in her family enlist and are accepted as soldiers in the Confederacy. Keaton tries, but his engineer job makes him more valuable there than as a solider. But the girlfriend thinks he skipped out on enlisting and brands him a coward.

Some time later, they meet again. Somehow, she ends up on his train when it's hijacked by Union spies. Keaton must now to go to great lengths to save his train (and oh yeah, his ex) from the North, then get back to the nearest Confederate general with his train (and oh yeah, his ex) to warn him of a surprise Union attack. Rooting for the Confederates is not as hard as you might think, this isn't Birth of a Nation folks. It's an action comedy. And there are some good comedy set pieces, such as Keaton in the enlistment office. But it works best as an action film. Wonderful scenes shot in the Northwest; the only place where Civil War style trains and tracks were still in use. Wonderful stunt work from co-director/lead Keaton. Chaplin's films may be best remembered, but he couldn't do that kind of stunt work on a moving train. Deservedly a classic. Playing before it is a short segment of the film Steamboat Bill Jr., featuring Keaton. MOMA will be giving away free tickets for this, first come, first served. So we would need to plan this a bit if this is a go for us.

If you prefer this double feature over The General, fine. It plays for two days/nights. But if you wish to do Saturday, I can only catch the late evening screening of Winchester '73. Unless you prefer Mommie Dearest and it wasn't done on Thursday night. Plenty of potential conflicts, but I'll let you all sort them out for me.

HOW TO STEAL A MILLION for 7.50- Thurs July 1 at 9:30- Chelesa Clearview Cinema- A cheap screening of a fun romantic comedy/ caper flick from 1966. Directed by William Wyler (Ben-Hur, Funny Girl). Set in Paris, Audrey Hepburn's father is about to be revealed to be a forger, as his sculpture is about to be submitted for testing for insurance purposes. She turns to the only criminal she "knows", a roguish Peter O'Toole, to steal the sculpture from the museum it's located on display.

Originally conceived out of Wyler's love of art, and originally to have been made after Roman Holiday in a darker form with help from young Stanley Kubrick, this was made after some of Wyler's heavier films (The Collector, The Children's Hour). To give himself a break, the tone was changed and made a lot more fun. Hepburn might be getting a little long in the tooth for this kind of role (Daddy's little girl, borderline helpless while having all her senses unlike Wait Until Dark), but she and O'Toole have great chemistry together. The aspects of the attempted theft may not hold up, but it's fun enough that logic doesn't interfere with your enjoyment or give a sour aftertaste afterwards. The shtick with the museum guards, especially involving comedian Moustache (his actual stage name), is a bit much. But the rest of the supporting cast (Hugh Griffith, Eli Wallach, Charles Boyer), the snappy dialogue, and the fun jazz-like score from John Williams make this film a ball. Williams' score from Catch Me If You Can will sound even more familiar after you hear the Million score.

I'm only listing the second screening on Thursday July 1. I don't feel the film needs the MST3K treatment from Hedda Lettuce, but thanks to Hedda I guess (and those who program the Chelsea Classics series), a fun film that rarely gets a revival screening will be shown. Let's catch this.

WILD AT HEART- Fri July 2 at Midnight- IFC Center- Part of the Nicolas Cage retrospective IFC has been having for over a month now. And the only one I have both the time and desire to watch. I wanted to catch Raising Arizona and even The Rock, but had no time. And as for films I like (Leaving Las Vegas) or don't care about (Bringing Out The Dead), seriously IFC Center, you expected us to come in large numbers?

A road film/ romance with a few touches of Wizard of Oz, all through the filter of director David Lynch. Cage and Laura Dern are screw-ups hot and heavy in love, who go on the road, much to the anger of Dern's mother, played by Dern's real life mother, Diane Ladd. Mom is more like the Wicked Witch, unleashing a gangster to use his methods to bring back her little girl, and kill the bastard who took her (and ignored Mom's drunken gropes years before. Oh yeah, that).

An arthouse hit from 1990, but I feel it took unnecessary hits when it was compared to Lynch's TV series Twin Peaks (a brief cultural phenomenon that year), as well Lynch's previous picture, Blue Velvet. Yes, not a lot of things matched the quality of the first six episodes of Twin Peaks, but why should it. Blue Velvet is closer to Twin Peaks then Wild At Heart, but even there, the comparisons of heavies is unfair. Yes, Willem Dafoe's repulsive villain, with the slicked hair, pencil thin mustache and nearly black teeth, doesn't match with Dennis Hopper's fully committed and committable psycho. But it works in Wild At Heart, with Dafoe's attempted seduction scene with Dern a standout.

Since 1990, the film has received more respect, though why some people love Mulholland Dr. than this is beyond me. Yes, the film can feel excessive, but it works, mainly because you want to see this pairing of Cage (in gentlemanly Elvis mode a good deal of the time) and Dern (who just seems ready to quiver whenever Cage is ready to touch her and when he does . . . . ) work and stay together. If you don't care about them, forget it. But luckily, you do. Besides, you would be watching this as a midnight movie. It's ok to watch something a little strange at that point. A supporting cast including Harry Dean Stanton, Isabella Rossellini, and several Twin Peaks alumni help. Oscar noms for Dern and Ladd for Actress and Supporting Actress, respectively. It's playing throughout the July 4th weekend, including the Fourth itself, but the Friday night screening is the only one I can do.

Let me know if there's interest. July will be very interesting, with a Charlie Chaplin retrospective, an Eastwood retro, the Marx Brothers in Animal Crackers, an official Grease Sing-A-Long, some interesting films in the Chelsea Classics series (including Laura), and that's just what's been posted. Later all.

Hey, Mike here with a list of revivals for the first half of June. Short list, and I'm trying to keep the descriptions as brief as possible. Here we go:

BREATHLESS (1960)- Now thru Thurs June 10 at 4:40, 6:30, 8:20 and 10- Film Forum- A restored print of Jean-Luc Goddard's classic 1960 film (released in 61 in America). A restoration supervised by the film's cinematographer Raoul Cotard, since Goddard himself has apparently disowned this picture. Something about being a better director, an amateur then, silly film, I don't know and I don't care. The next time I care about a Goddard film not named Breathless will be the first, especially after sitting through Contempt. I wasn't even planning on posting this, since I caught it for free two summers ago at MOMA (free Friday screenings). But since someone told me they wanted to catch this, and it is a restored print with supposedly more accurate subtitles (so it is different than any other version out there on home video), post this film I will.

Wonderfully decadent film about two selfish lovers; Jean-Paul Belmondo as a thief/ killer with a Bogie fixation, and Jean Seberg as an American willing to go along for the ride. Some cool shots, a jump cut style of editing used not really from scene to scene but inside the scenes themselves, really keeps it going at a good clip. Until we get to a long scene where Belmondo is in Seberg's apartment, trying to re-seduce her. Doesn't work at first (maybe?), but the banal conversation that seems to an elaborate (mutual?) seduction pays off nicely.

I didn't pick any particular day or days to see this. I just posted how long it's scheduled to run, and I'll work from there. Based on previous films at the Forum has lasted longer then it's previous published engagement dates (Metropolis, Downfall, Valentino:The Last Emperor among others), so we'll see which path Breathless will follow. Too soon to tell which.

PRIVATE BENJAMIN- Thurs June 3 at 9:30 for 7.50- Chelsea Clearview Cinema- A cheap screening of the 1980 hit. Important in both comedy and hitting the zeitgeist, along with 9 to 5, around the time of the ERA movement. Though Goldie Hawn's performance elevates this picture quite a bit. Hawn's character, a sheltered JAP in mourning after her nebbishy husband dies on their wedding night, signs up for the Army and immediately regrets it. Until she slowly discovers her own self worth and becomes a stronger person, rising above the sexism in and out of the military. Oscar nominations for Hawn for Best Actress, Eileen Brennan for Supporting Actress as Hawn's punishing Captain, and Nancy Meyers Charles Shyer and Harvey Miller for Original Screenplay. So yes, there is proof that there are good films out there made by Meyers. This is probably because she didn't direct it. Yes, Baby Boom is good too, but I give even more credit there to Diane Keaton. Moving on . . .

ADAM'S RIB and/or KEY LARGO for free (subject to availability)- Fri June 4 at 4:30 (Adam's) and 8 (Largo)- MOMA- . Both for one admission. First, Adam's Rib, my favorite of the two. Hepburn plays a defense attorney, who turns her loser of a case (a wife shoots her husband when he catches him cheating) into a rallying cause for women's rights and anything else she can think of. Much to the chagrin of her husband Tracy, the prosecuting attorney. The marriage takes a beating, but will it hold up? Gee, what do you think?

My favorite of all the Hepburn Tracy team ups. Some hilarious set pieces, some involving David Wayne as the comic relief neighbor with a longing for Hepburn. Judy Holliday steals scenes as the wife on trial. An Oscar nomination for screenwriters Ruth Gordon and Garrison Kanin.

Next, Key Largo, from director John Huston. Bogie's engaged in a battle of wills with gangster Edward G. Robinson inside an old friend's hotel, while Lauren Bacall, Lionel Barrymore and Claire Trevor (who won an Oscar for her role) look on, with a hurricane that threatens them all. An adaptation of Maxwell Anderson's play, written by Huston and future director Richard Brooks (In Cold Blood).

XANADU- Thurs June 10 at 7 and 9:30 for 7.50- Chelsea Clearview Cinema- The Broadway version was a hit, but this one, the 1980 summer flop, is a fun bad movie. There's a plot in Xanadu, but since the filmakers and Universal Studios didn't seem to give a crap about it back then, I won't pretend I do now. Olivia Newton John is probably at her most beautiful, and I suppose she turned in a performance of some kind, and this was Gene Kelly's last dancing role. But his reputation couldn't be damaged, especially when he turns in the only credible acting performance. However, all the momentum Michael Beck's career had after appearing in The Warriors, grounded to a halt from which he never truly recovered. Mostly the same story with director Robert Greenwald, forced to do mostly TV (The only notable standout- "The Burning Bed"), and documentaries such as "Outfoxed" and "Walmart: The High Cost of Living".

Not a great film, not a good film. But a craptastic film. One that is crap and fantastic to watch in that respect. Now throw in the visual stimulus of Olivia Newton John, what is there to lose? A choice of two screenings. One at 7, hosted by Hedda Lettuce, who'll give Xanadu the old MST3K treatment. And one at 9:30, where it's just the film, and I suppose it's up to you/us to provide the MST3K comments to the screen.

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