Wednesday, January 04, 2012

Jan revivals: first half









Hey all, Happy 2012. Mike here with a revival list for the first half of January. A little smaller than planned. In part because there are newer films to catch up with that might be Oscar nominated and/or might be a "best of 2011" candidate. In part because I don't feel like going out into the biter cold to see Frank Capra's Lost Horizon, for a minimum $7.00 bar tab, at the Rubin Museum of Art. I was interested in that earlier, but now it feels like exertion. And I've learned that if feels like a hassle to go to a revival, then there's no point in going out. You can go to the Rubin and catch it if you like, but no thanks for me. Here we go:



THE ROAD WARRIOR- Fri Jan 6 and (a maybe for me) Sat Jan 7 at 12:10AM- IFC Center- And with everything I wrote in the first paragraph, what's the first thing I do? Post a Midnight screening. In fact my first two postings are Midnight screenings. But if it feels like work, don't bother doing the screening. And this is fun.

Part of IFC's series of Car Chase movies at Midnight series. The first successful Mad Max film in the U.S. I mentioned a few months back how much of a mega hit the first Mad Max was in every country except this one. And Warner Bros must have figured this out when they changed the film's title from Mad Max 2 to this. This wasn't breaking box office records like E.T. was doing that same summer, but it found a big enough audience in theaters (and blew up big time on home video), that a third Mad Max film was eventually made.

Not only the best Mad Max film, but for me, one of the best action films ever made. Mel Gibson is in full anti-hero, as Max is in no mood to help one group that's low on brute strength, but high in both brain power and precious gas reserves. But another brutal group, full of men in masks and punk looks, is looking to pillage and do far worse, forcing Max to help. Some good action scenes, but the greatness comes in the final car chase lasting quite a while. Swarms of unrelenting evil, attacking Max in his tanker, at speeds that seemed at least 80mph. A car chase so good, they can even throw in character moments that enhance and further develop the story, without interfering with the fun.

A triumph of editing, cinematography and script writing. No, seriously. The stakes are raised by the time we get to this car chase, with an ending that we were not expecting. Yeah, you say that 25 yrs later, but when you first experience the scene? I don't think so. Have never seen this on the big screen and would really like to.



RAIDERS OF THE LOST ARK- Fri Jan 6 and (a maybe for me) Sat Jan 7 at 12:20AM- IFC Center- A 4k digital restoration of Raiders of the Lost Ark has apparently been so popular for IFC Center for the last 3 weekends of 2011, is back for this weekend. What can I say, I a sucker for one of my all time favorites:


Now for these films, I've posted the date Saturday, January 7th as a maybe. Because they can both serve as backups for a Midnight possibility I'd prefer to do on the 7th . . .


THE ROOM- Sat Jan 7 at Midnight- Landmark Sunshine Cinema- One of the best bad films of recent times, Tommy Wiseau's The Room continues playing at Landmark Sunshine Cinema at Midnight on the first Saturday of every month. This "Citizen Kane of bad movies" has to be seen to be believed. After reading Kate Ward's article for Entertainment Weekly, I'm expecting a Rocky Horror experience. At previous screenings elsewhere, you might expect Wiseau and at least 1 actor to come, say hi to as many fans as possible, and do an interesting Q and A, but who knows. I'm definitely expecting a Rocky Horror type atmosphere, with talking back to the screen, tossing of footballs, etc. I also expect this to sell out like it did at the Ziegfeld, like it did at the Village East Cinema where this used to screen. I expect people to line up early, but I'm not sure what to expect at this location.

As for The Room itself, the best I can say is, there is nothing quite like it. That's the best you're getting out of me. What? I didn't go into what it's about? Does it truly matter? Won't make it any better. Decide fast if you want to, because tickets will go fast:



BEAUTY AND THE BEAST (1991) in 3-D- Starts Fri Jan 13 for 2 or 3 weeks (maybe more but don't plan for that)- Theaters and times TBA- Based on the success of the re-release of the first two Toy Story films, and on the heels of the bigger success of The Lion King re-release, Disney's Beauty and The Beast, from 1991, gets a re-release for at least 2-3 weeks, maybe more. And like the aforementioned animated films, Beauty and the Beast is also getting the 3-D treatment. Not sure how much 3-D will enhance the film beyond the memorable ballroom dance scene. But a film this good getting a re-release deserves attention. I'm happy to post this, as opposed to the upcoming 3-D re-releases of Star Wars Episode One and Titanic. Excuse me, or not, if I ignore those two.

Getting a little personal for the moment. At the time of Beauty and the Beast's original release, I had no interest in catching animated films in general. The releases of Oliver and Company, The Little Mermaid and The Rescuers Down Under did nothing for me, Who Framed Roger Rabbit was a live action-animated hybrid, and my going to the re-releases of Fantasia and 101 Dalmatians were more a case of convenient re-embracing of childhood memories. So yeah, I was more hyped up for The Addams Family and Star Trek VI than for Beauty and the Beast. Yeah, the Disney flick had some surprisingly great reviews, but I still wasn't going. Then, Beauty and the Beast gets 6 Oscar nominations. Notably, a Best Picture nomination, the first ever for an animated film. I figure "Aw hell, now I'll have to go". Then life interfered, and the chances to see films on the big screen dropped dramatically. And as Beauty when on to win 2 Oscars, for Score and for the title song, life didn't let up. Never got to see it on the big screen, I had to wait for its VHS release. And of course after seeing it, I think both "Yeah, that was pretty good." and "I missed it on the big screen, DOH!".

Still haven't seen it on the big screen, but my chance is coming now, and unless you saw it sometime between November 1991 to May 1992, or saw its IMAX re-release in early 2002, this will be your chance to. Theaters haven't been announced as of this writing except for a few AMC theaters throughout the country, but since this is getting a nationwide release, finding a theater to watch it shouldn't be a problem.


ALI: FEAR EATS THE SOUL- Fri Jan 13 at 6:15- Walter Reade at Lincoln Center- Part of Lincoln Center's series of films that made a big impact in the New York Film Festival. A Rainer Werner Fassbinder film that looks like "What if Fassbender made a Douglas Sirk-esque film, but shot at times almost like a faux-documentary?". From 1974, 2 lonely people meet by chance, and quickly get married. Perhaps too quickly, and in other films, that in itself would be the whole story. But since the couple in question is a 60 year old West German woman and a much younger Moroccan immigrant, we'll dealing with racism, ageism, hatred of immigrants and general feelings of betrayal from family, friends and co-workers, yeah, things won't go so well for the couple. The film is more complex than I'm making it sound. But since explaining it more requires me to go into spoilers, and most of the people who'll ever look at this list has seen maybe one Fassbender film (if that many), I'd prefer you go. Multiple Cannes Film Festival award winner for Fassbender, the first awards for Rainer outside West Germany. This may not be the best gateway intro to Rainer's work; for me, it would be either Marriage of Maria Braun or Lola. But it's still very good:



THE UNKNOWN- Mon Jan 16 at 8- Film Forum- Part of the MGM Silent Film series. Haven't seen it, but the description of it got me interested. Lon Chaney is an armless trick shot performer in a circus. Actually, he isn't armless, but he preforms his tricks that way. Not everyone knows he's armless, including the woman he loves, fellow circus performer Joan Crawford. She would only love a man who didn't have arms. Once Chaney's character hears this, what's a guy to do but . . . I won't spoil it for you, but believe it or not, the film gets much weirder from there. From director Tod Browning, of Dracula and Freaks fame. Absolutely curious, and willing to try this weird film:




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

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Wednesday, December 14, 2011

December revivals: holidays edition










Hey all, Mike here with a revival list for the rest of 2011, and a few days into 2012. Some repeats, especially 3 from the last list, but plenty of choices for the holiday season. Not quite as complete a list as I'd like. I've been waiting for Lincoln Center to provide their revival list for the dates Dec. 23rd- Dec. 30. But I can't wait for them any longer, so forget it. On with the list, here we go:

NASHVILLE- Fri Dec 16 at 7- Museum of the Moving Image in Astoria- Part of the Museum's See It Big series. Robert Altman's other masterpiece, from 1975, gets a big screen showing. Country music types were not thrilled with Altman's attack of their world, but they weren't a target. This was Altman's cinematic State of the Union address; while hope is expressed for some of the Individuals, the country was rotting and it would only get worse. Bad enough that it kinda predicts the coming of both Mark David Chapman and John Hinckley. So let's sort of frame it as a musical!

We're following 23 characters, who'll all eventually come together for the Parthenon concert in Nashville's Bicentennial Park. Lily Tomlin is a married gospel singer who ends up becoming one of the many conquests of rock star Keith Carradine. Ned Beatty is Tomlin's husband, who has his own wandering eye, is a local organizer for an unseen Presidential candidate, and his tying in a campaign rally with the concert. Henry Gibson is Country Music Royalty, with an ego, an eye for political office, and a loud, drunk girlfriend who worships the late Kennedy boys, JFK and RFK, a bit much. Ronee Blakley is the most popular female country singer, whose constantly on the verge of a nervous breakdown and whose husband is struggling to keep her sane. Scott Glenn is a Vietnam vet, walking around in uniform and gets maybe a little too close to Blakley's character. Karen Black is another popular country singer, though more ruthless off-stage and mediocre on-stage than Blakley's character. Michael Murphy is the two-faced campaign manager. Shelley Duvall is a man-chasing groupie, chased by uncle Keenan Wynn, whose wife is dying. Barbara Harris and Gwen Welles are two aspiring singers trying to get into the concert; the former is not conventionally pretty and has been struggling for a while, the later is lovely, and is forced to move up through her body than through her voice. Geraldine Chaplin as a reporter (or is she?), who seems a lot closer to starfucker than serious journalist. With Elliot Gould, Julie Christie (as themselves), and Jeff Goldblum in an early role.

A film that Altman had difficulty finding financing for years. All the major studios didn't want to touch the heavy political aspects of Nashville, no matter what possible actors and big time soundtrack would come along with it. It wasn't until Jerry Weintraub came along, became producer of the project and got creative with the financing before Nashville could get made (at least according to Weintraub's interesting autobiography). The last Altman film that both drew an audience and had critics (lead by Pauline Kael) praising it to the hilt.

Oscar nominations for Picture, Altman for Director, and both Tomlin and Blakley for Supporting Actress. An Oscar for Carradine, who wrote the song, I'm Easy. On the second AFI Top 100 list. The main reason it's not on mine is because it's been a long while since I've seen this on cable, and I've never seen this on the big screen before. Now is a great chance to change that. And if you get there early, you could check out the Jim Henson exhibit if you haven't already:



THE BLUES BROTHERS- Fri Dec 16 and Sat Dec 17 at Midnight- IFC Center- Part of IFC Center's retrospective of films with notable car chases. From 1980, though it has much more of a 70s vibe. The story is basic. Jake and Elwood Blues is on a Mission From God, to raise money to keep their childhood Catholic orphanage from going under due to taxes. Of course there is no respect for property, so the law is after them. It just gets worse as the boys try to get the band together, and get harassed by cops, rednecks, neo-Nazis, and Carrie Fisher as one crazed, trigger-happy, explosives-happy, flame thrower-happy, ex-fiance.

Dan Aykroyd never wrote a screenplay before, and it shows. He turned in a 324 page screenplay, and left it to director John Landis to make a film out of this mess. So there is a reason for the film being a bulky, excessive mess at times. Never mind that there's no such thing as an organized religion in this country whose school, church, ANYTHING, going into tax default. There isn't a lot for John Belushi and Aykroyd to do in terms of comedy. I think I like them here more for the good feelings going in than what they do at times. Car chases feel like a crutch at times, but luckily, some of it is really good. Especially the scene involving the drive through a crowded mall, at top speed.

But this film succeeds with its musical numbers. Dan and John get a few numbers at the end, but they/Landis/the script generously let others get their moment in the sun. James Brown with the Rev. James Cleveland Choir is the standout for me, with The Old Landmark. Aretha Franklin performing Think, Ray Charles performing Shake A Tail Feather, Cab Calloway performing Minnie The Moocher and John Lee Booker performing Boom Boom also stand out for me.

The Blues Brothers was successful at the box office, but with it's budget overruns and having to compete with The Empire Strikes Back and hits with smaller budgets (Friday the 13th, The Blue Lagoon, Airplane), the veneer of smash hit was not on this film. Plus, the critics took a giant crap on it, especially some of the New York reviewers like Janet Maslin, Rex Reed and Kathleen Carroll. Reviewers since then have become much kinder to The Blues Brothers, and the audience for has made this a cult film of sorts, thanks to massive success on cable and home video. Therefore, I expect a crowd for this:



RAIDERS OF THE LOST ARK- Fri Dec 16 & Sat Dec 17 at 12:10AM, Fri Dec 30, Sat Dec 31 and Sun Jan 1 at Midnight- IFC Center- If you don't know the first Indiana Jones film, then what the hell are you doing looking at this? In my personal top 35, on both AFI Top 100 lists, won multiple Oscars, and oh yeah, one of the most fun films ever made. A new 4k digital restoration for the film's 30th anniversary, will be screened at IFC Center on two weekends: the weekend of December 16, and New Years Weekend. So yes, you could hide and watch this film to ring in the New Year. Or, if you must have a hangover of some sort, a Midnight screening on Sunday, New Years Day. Why not, since Jan 2nd seems to be an unofficial holiday. That's what we get when a full slate of NFL games interfere with major college football bowl games. Anyway, I digress, the classic Spielberg-Ford-Lucas film is back for you to enjoy:



WILLY WONKA AND THE CHOCOLATE FACTORY for 6 dollars- The Amphitheater at Lincoln Center-165 West 65 Street, 4th Floor- Sat Dec 18 at 4- Part of Lincoln Center's series of Family Films that get screening times that families can reasonably do. The Gene Wilder cult classic gets a screening that for once, isn't at Midnight. It may not be as loyal to the original Roald Dahl book as Charlie and the Chocolate Factory, but it's a better film. Dahl wrote the original adaptation, but a massive re-write caused Dahl to badmouth the film every chance he got. And while there was better usage of the Oompa Loompas by Tim Burton for the remake, and the budget to go hog wild on the look, the family/daddy issues, especially in the last half-hour, drags the film down when compared to Willy Wonka. Maybe I like this film so much strictly for Wilder's performance. I'm ok with that.

Now considering this was not a hit back in 1971 but only became a cult classic thanks largely to NBC broadcasts from the late 70s into the 1980s, most people have no idea what this film looks like on the big screen. I include myself in that statement, but I would like to change that. And for one day, it's at the relatively dirt cheap price of 6 dollars. It will play in the Amphitheater in Lincoln Center. The film will play on a 152" Panasonic Plasma screen, in the newly opened Elinor Bunin Monroe section of Lincoln Center. I believe it houses the fewest seats of all the Lincoln Center film screens, so a yes on this would need to immediate:



THE TREE OF LIFE- either at the Francesca Beale theater at Lincoln Center- Sat Dec 17 or Tues Dec 20 at 6:30- 165 West 65 Street4th Floor- or at the Museum of the Moving Image in Astoria with Douglas Trumbull in person- 36-01 35th Ave- Thurs Dec 22 at 7- If you missed Terrence Malick's film this summer (like me), now is the time to make up for it, and you have two places over the next 7-8 days to try. One option is catching it this coming weekend/ early next week at the Francesca Beale theater, one of the new screens at Lincoln Center. The other option, is a one night only screening at the Museum of the Moving Image in Astoria. It will be screened as part of the Museum's See It Big series, for film that should be seen to be appreciated on the big screen, as opposed to your computer screen or Ipad/Smartphone/whatever. The Museum's big screen and great sound system should do quite nicely. This film has been/ will be spoken about over the next few months, what will critics awards, top 10 of 2011 lists, and potential Oscar nominations coming down the pike. It's already been awarded by the New York Film Critics for Brad Pitt's performance, Jessica Chastain's performance, and for the Cinematography as well. Expect more to follow.

As for the film itself, I already wrote that I haven't seen it. But the first impression I got about all this seems to be holding steady after all these months: You'll either really like the film, or despite admiring the look, you'll think it's New Age-y clap-trap. Either or, nothing in-between. Anybody want to take a chance?

If you choose to do the Museum in Astoria, Douglas Trumbull, the special effects pioneer of such films as 2001, Close Encounters, Star Trek: The Motion Picture as well as Tree of Life, will attend the screening. Don't know if he'll introduce it, or do a post film Q and A, or both. And if you get here early enough, you'll also be able to check out the Museum itself, including the Jim Henson exhibit, which will be extended (unofficially) beyond Martin Luther King weekend. I don't know how much longer, but anyway, you can check it out for your admission to Tree of Life if you get there soon enough:




IT'S A WONDERFUL LIFE- Sat Dec 17, Wed Dec 21 and Tues Dec 27 at 7 and 9:40- with Mary Owen in person on Dec 21- IFC Center- A new 35mm print. Once again, IFC Center shows the Frank Capra-Jimmy Stewart-Donna Reed classic for a week. It's only shown once or twice a year on NBC and I believe it will be screened only once on TCM, and not much more after that, if at all. So if you're in the mood, here it is. I'm sorry that you don't get a little bell with the title of the film on it, like you do with the recent DVD release, but how bad do need to give out angel wings?

Once again, Mary Owens, Reed's daughter will make introductions to selected screenings. She'll be doing more than the one I posted. The film in general will play at IFC Center for 12 days, starting on Dec. 16th. In both cases, I'm just posting the days/ times I think I could make:



MEAN STREETS with Martin Scorsese in person- Tues Dec 20 at 6:30- Walter Reade at Lincoln Center- Part of Lincoln Center's series of films that made a splash over the years at the New York Film Festival. The first pairing of actor Robert De Niro and director Martin Scorsese. I have never seen this on the big screen, and I really want to. Not Scorsese's first film, but it is his first studio film. Done cheaply since Warner Bros was only going to devote so much Dirty Harry profits to distributing a film from the director of Boxcar Bertha. In college I dealt with a Scorsese sycophant, I mean fan, who talked about the raw power of this film was superior to the polished works of Raging Bull and Goodfellas. Considering he was coming out with Casino and The Age of Innocence, it was easy to conjure up babel like that.

But just because the film is raw as opposed to polished, doesn't mean it doesn't belong near the top of the director's work. Just that when you have Taxi Driver, Raging Bull, Goodfellas and lower profiles works like After Hours and Kundun on your resume, it's hard for a lot of films to get the respect it deserves. And respect AND viewer ship is what Mean Streets deserves. More of a character study than a plot driven project, Harvey Kietel's small timer is who we follow, but De Niro's living embodiment of a psychotic screw-up is what steals the show. The quintessential New York film, shot mostly in Los Angeles. Please let's make time to see this.
Scorsese himself will be attending this screening. Now whether he's just introducing this, or just doing a post film Q and A, or both, I have no idea and it isn't clear on the filmlinc website. Guess the only way to find out is to go, and why not, the man's a talker:



THE GOLD RUSH- Fri Dec 23 at 4:30, 6:15, 8 and 9:45, and Tues Dec 27-Thurs Dec 29 at 4:30, 6:15, 8 and 9:45- Film Forum- The 35mm restoration print of the Charlie Chaplin classic, with re-scored orchestral score in its original cut. Chaplin re-edited it, tweaked the score, added narration, and this was the version of The Gold Rush that's been available since 1942. Until now, where the original 1925 edit, popular at this year's New York Film Festival, gets a week-long run at the Forum. I'm only posting the days and times I think I can make.

As for The Gold Rush itself, Chaplin's personal favorite of all his work, where the Little Tramp attempts to strike it rich during the Klondike Gold Rush, despite being unprepared for the harsh conditions, if you're a film fan, you probably know it. With the famous boot eating scene, including the dance with the dinner rolls. On both AFI Top 100 lists. Speaking from experience, it was a very pleasant holiday experience, catching Modern Times at the Film Forum some years back. I wouldn't mind repeating the experience with The Gold Rush:



LAURA- Fri Dec 30 at 4:40, 6:30, 8:20, and 10:10, Sat Dec 31 at 8:20 and 10:10, Mon Jan 2 at 4:40 and 6:30, and Tues Jan 3-Thurs Jan 5 at 8:20 and 10:10- Film Forum- A new 35mm restoration 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 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. If you don't know the film, you should make a concerted effort and change that.

On Dec 31, there will be a complimentary glass of champagne for all those who come out of the 8:20 and 10:10 screenings. So, this can be the start of your New Years festivities if you wish:



THE POSEIDON ADVENTURE- Fri Dec 30 and Sat Dec 31 at Midnight- Landmark Sunshine Cinema- The best disaster film ever made. One part action film, one part adventure film and one part religious parable, a group of passengers try to survive when the ocean liner they were on completely capsizes. They're attempting to reach the bottom or outer hull of the ship, which is the thinnest part of the ship and is above the surface. It's a theory that help will come in that direction, and that theory comes from a young boy, but those who haven't given up feel it's the only way to survive and see The Morning After (the title of the Oscar winning song). Gene Hackman plays an atypical hero, an ultra-self-righteous, Captain Ahab-esque, defrocked preacher whose personality clashes with loud doubter Ernest Borgnine may proof more problematic than the fires and leaks the group encounters. Throw in aspects of The Flying Dutchmen, Ship of Fools, other survivors wandering the ship like they were in the desert, and all the survivors looking for salvation of some sort, and you got parables right in your face. Or you can enjoy the strong acting and good action set pieces. Fine cast that includes Red Buttons, Jack Albertson, Leslie Neilsen, Roddy McDowell and Oscar nominated Shelley Winters. A special Oscar for its Visual Effects. 8 nominations in total, including Cinematography, Editing and for John Williams' fine score.

This will play at Midnight on Dec. 30 and Dec. 31; appropriate, considering all the action takes place on New Years Eve/ the AM of New Years Day. You decide for yourself if it's appropriate for you:




Let me know if there's interest. Later all, and Happy Festivus.
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Thursday, December 01, 2011

December revivals: pre-holidays edition









Hey all, Mike here with a list of December revivals. I'll split the December list up in half-ish. This list will be pre-holidays as in pre-Hanukkah. The next list will start on December 20 or a little after that. Here we go:


THE ROOM- Sat Dec 3 at Midnight- Landmark Sunshine Cinema- One of the best bad films of recent times, Tommy Wiseau's The Room will begin playing at Landmark Sunshine Cinema at Midnight, on the first Saturday of every month, for the foreseeable future. I don't know what I mean by foreseeable, except maybe through the cold and hot months of 2012, but I don't have specifics regarding dates. This "Citizen Kane of bad movies" has to be seen to be believed. After reading Kate Ward's article for Entertainment Weekly, I'm expecting a Rocky Horror experience. At previous screenings elsewhere, you might expect Wiseau and at least 1 actor to come, say hi to as many fans as possible, and do an interesting Q and A, but who knows. I'm definitely expecting a Rocky Horror type atmosphere, with talking back to the screen, tossing of footballs, etc. I also expect this to sell out like it did at the Ziegfeld, like it did at the Village East Cinema where this used to screen. I expect people to line up early, but I'm not sure what to expect at this location.

As for The Room itself, the best I can say is, there is nothing quite like it. That's the best you're getting out of me. What? I didn't go into what it's about? Does it truly matter? Won't make it any better. Decide fast if you want to, because tickets will go fast:



THE WAGES OF FEAR- Fri Dec 9, Sat Dec 10, Tues Dec 13, Wed Dec 14, Sat Dec 17, and Mon Dec 19 at 6:40 and 9:30, plus Mon Dec 18 at 9:30- Film Forum- A new 35mm print of the film that gets a two week run. I'm just posting the days and times I think I can make. From the director of Diabolique, from 1953. 4 desperate macho men will get the reward of a ticket out of the hellhole, piss-poor little South American village they're all stuck in. That is, if they're willing to drive trucks filled with nitroglycerin over mountain sides and through jungles, in order to put out a fire at an oil refinery. They also battle each other, with macho posturing just as threatening as the elements and the nitro. Doing it all for a company that was part of a recent IMDB poll about evil film corporations, alongside the ones depicted in Robocop, Alien, Resident Evil, and District 9. Starring Yves Montand.

Perennially in imdb's annoying top 250. Winner of the Grand Prize at Cannes and a worldwide hit back in the day. Diabolique is director's Henri-Georges Clouzet's best known film, but this is considered his best. I've never seen it, but I've seen the American remake from 1977, Sorcerer, which is underrated (released the same weekend that Star Wars went into wide release, thus forgotten). But The Wages of Fear is considered a classic, at least outside the U.S., and I'd like to catch it:



CHRISTMAS EVE ON SESAME STREET and other Sesame Street Holiday moments and HALDANE OF THE SECRET SERVICE- Sat Dec 10 at 1 (Sesame) and 5:30 (Haldane)- Museum of the Moving Image in Astoria- A unique potential double feature at the Museum of the Moving Image in Astoria. Two different pieces from two different retrospectives, and if you still haven't checked out the Jim Henson exhibit, you'll have time in-between the pieces to do so.

First, in time for the holiday season and part of the Henson retrospective, over eighty minutes worth of Sesame Street Holiday Moments. Don't know what they all are, but the highlight is the 1978 special, Christmas Eve on Sesame Street. All your favorites who were around in 1978 are here. Which means no Elmo, but Mr. Hooper is still alive, who explains why he celebrates Hanukkah as opposed to Christmas. One of the special's highlights is Big Bird, after being teased by Oscar the Grouch (who walks around a subway station in his trash can) that Santa can't fit narrow chimneys and deliver presents, investigates and will eventual wait for Santa by his own chimney. Another highlight is a variation of O' Henry's The Gift of the Magi, as Bert and Ernie try to buy each other the perfect gift. And just wait till you see Cookie Monster's appetite go nuts, slowly but surely.

A good Holiday special that is mostly about Christmas, but does acknowledge and celebrate Mr. Hooper's Jewish heritage and identity. It rarely plays on TV anymore, and when it does, it usually cuts out Oscar's big comic musical number "I Hate Christmas". But the special will be screened intact on the 10th. Other holiday moments in Sesame Street will be included at the screening. And by holiday you do realize I mean more than just Christmas. right? You do realize New Year's and Hanukkah exist, right? Anyway, they'll be part of this as well.

At 5:30, there will be a unique screening, the only film from the Museum's Magicians on Screen retrospective I have both interest and a chance that I could actually catch it. The rarely screened Haldane of the Secret Service, a silent film from 1923 directed, produced and starring Harry Houdini in the title role. Harry's after the counterfeiters and bad guys who murdered his father. And wouldn't you know it, they seem to initially get the jump on him, trapping him in ropes or chains. And wouldn't you know, he has to try to get out of all these confinements like he's a master escape artist or something . . .

Don't know, but I'm very curious. The film will play with live piano accompaniment. But before the film, a short will play. The Talking Tea Kettle, made this year, about Houdini's and fellow magician David P. Abbott's efforts to reveal fake psychics and mediums:



WITNESS FOR THE PROSECUTION for 7.50- Thurs Dec 15 at 7 (with Hedda Lettuce intro) and 9:30 (without Hedda)- Chelsea Clearview Cinema- A cheap screening of a film I really enjoy. I told some of you when i had my CED collection in the mid 80's, there were films i would watch in heavy or semi-heavy rotation. This film from director Billy Wilder, was one of the later. I saw a revival screening of this 5 years ago, and it holds up quite well. With a screening hosted by Hedda Lettuce, and one without. I really want to catch this.
Ailing attorney Sir Wilfrid Robarts (Charles Laughton-Oscar nominated) has been advised by his doctors to retire. When he's asked to take the case of murder suspect Leonard Vole (Tyrone Power, in his last completed film role), who stood to gain financially from the victim's death, his interest is piqued. But the case becomes even more of an uphill battle when the defendant's supposedly loving wife Christine (Marlene Dietrich) decides to testify as a witness for the prosecution. Wilder expanded Agatha Christie's play, creating the role of Robarts' housekeeper Miss Plimsoll (played by Laughton's wife Elsa Lanchester-Oscar nominated), whose back-and-forth with her employer provides a funny counterpoint to the film's melodrama. Also nominated for Picture and Director for Wilder. If you've never seen it, now would be a good time:


NASHVILLE- Fri Dec 16 at 7- Museum of the Moving Image in Astoria- Part of the Museum's See It Big series. Robert Altman's other masterpiece, from 1975, gets a big screen showing. Country music types were not thrilled with Altman's attack of their world, but they weren't a target. This was Altman's cinematic State of the Union address; while hope is expressed for some of the Individuals, the country was rotting and it would only get worse. Bad enough that it kinda predicts the coming of both Mark David Chapman and John Hinckley. So let's sort of frame it as a musical!

We're following 23 characters, who'll all eventually come together for the Parthenon concert in Nashville's Bicentennial Park. Lily Tomlin is a married gospel singer who ends up becoming one of the many conquests of rock star Keith Carradine. Ned Beatty is Tomlin's husband, who has his own wandering eye, is a local organizer for an unseen Presidential candidate, and his tying in a campaign rally with the concert. Henry Gibson is Country Music Royalty, with an ego, an eye for political office, and a loud, drunk girlfriend who worships the late Kennedy boys, JFK and RFK, a bit much. Ronee Blakley is the most popular female country singer, whose constantly on the verge of a nervous breakdown and whose husband is struggling to keep her sane. Scott Glenn is a Vietnam vet, walking around in uniform and gets maybe a little too close to Blakley's character. Karen Black is another popular country singer, though more ruthless off-stage and mediocre on-stage than Blakley's character. Michael Murphy is the two-faced campaign manager. Shelley Duvall is a man-chasing groupie, chased by uncle Keenan Wynn, whose wife is dying. Barbara Harris and Gwen Welles are two aspiring singers trying to get into the concert; the former is not conventionally pretty and has been struggling for a while, the later is lovely, and is forced to move up through her body than through her voice. Geraldine Chaplin as a reporter (or is she?), who seems a lot closer to starfucker than serious journalist. With Elliot Gould, Julie Christie (as themselves), and Jeff Goldblum in an early role.
A film that Altman had difficulty finding financing for years. All the major studios didn't want to touch the heavy political aspects of Nashville, no matter what possible actors and big time soundtrack would come along with it. It wasn't until Jerry Weintraub came along, became producer of the project and got creative with the financing before Nashville could get made (at least according to Weintraub's interesting autobiography). The last Altman film that both drew an audience and had critics (lead by Pauline Kael) praising it to the hilt.
Oscar nominations for Picture, Altman for Director, and both Tomlin and Blakley for Supporting Actress. An Oscar for Carradine, who wrote the song, I'm Easy. On the second AFI Top 100 list. The main reason it's not on mine is because it's been a long while since I've seen this on cable, and I've never seen this on the big screen before. Now is a great chance to change that. And if you get there early, you could check out the Jim Henson exhibit if you haven't already:



THE BLUES BROTHERS- Fri Dec 16 and Sat Dec 17 at Midnight- IFC Center- Part of IFC Center's retrospective of films with notable car chases. From 1980, though it has much more of a 70s vibe. The story is basic. Jake and Elwood Blues is on a Mission From God, to raise money to keep their childhood Catholic orphanage from going under due to taxes. Of course there is no respect for property, so the law is after them. It just gets worse as the boys try to get the band together, and get harassed by cops, rednecks, neo-Nazis, and Carrie Fisher as one crazed, trigger-happy, explosives-happy, flame thrower-happy, ex-fiance.

Dan Aykroyd never wrote a screenplay before, and it shows. He turned in a 324 page screenplay, and left it to director John Landis to make a film out of this mess. So there is a reason for the film being a bulky, excessive mess at times. Never mind that there's no such thing as an organized religion in this country whose school, church, ANYTHING, going into tax default. There isn't a lot for John Belushi and Aykroyd to do in terms of comedy. I think I like them here more for the good feelings going in than what they do at times. Car chases feel like a crutch at times, but luckily, some of it is really good. Especially the scene involving the drive through a crowded mall, at top speed.

But this film succeeds with its musical numbers. Dan and John get a few numbers at the end, but they/Landis/the script generously let others get their moment in the sun. James Brown with the Rev. James Cleveland Choir is the standout for me, with The Old Landmark. Aretha Franklin performing Think, Ray Charles performing Shake A Tail Feather, Cab Calloway performing Minnie The Moocher and John Lee Booker performing Boom Boom also stand out for me.

The Blues Brothers was successful at the box office, but with it's budget overruns and having to compete with The Empire Strikes Back and hits with smaller budgets (Friday the 13th, The Blue Lagoon, Airplane), the veneer of smash hit was not on this film. Plus, the critics took a giant crap on it, especially some of the New York reviewers like Janet Maslin, Rex Reed and Kathleen Carroll. Reviewers since then have become much kinder to The Blues Brothers, and the audience for has made this a cult film of sorts, thanks to massive success on cable and home video. Therefore, I expect a crowd for this:



WILLY WONKA AND THE CHOCOLATE FACTORY for 6 dollars- The Amphitheater at Lincoln Center- 165 West 65 Street, 4th Floor- Sat Dec 18 at 4- Part of Lincoln Center's series of Family Films that get screening times that families can reasonably do. The Gene Wilder cult classic gets a screening that for once, isn't at Midnight. It may not be as loyal to the original Roald Dahl book as Charlie and the Chocolate Factory, but it's a better film. Dahl wrote the original adaptation, but a massive re-write caused Dahl to badmouth the film every chance he got. And while there was better usage of the Oompa Loompas by Tim Burton for the remake, and the budget to go hog wild on the look, the family/daddy issues, especially in the last half-hour, drags the film down when compared to Willy Wonka. Maybe I like this film so much strictly for Wilder's performance. I'm ok with that.
Now considering this was not a hit back in 1971 but only became a cult classic thanks largely to NBC broadcasts from the late 70s into the 1980s, most people have no idea what this film looks like on the big screen. I include myself in that statement, but I would like to change that. And for one day, it's at the relatively dirt cheap price of 6 dollars. It will play in the Amphitheater in Lincoln Center. The film will play on a 152" Panasonic Plasma screen, in the newly opened Elinor Bunin Monroe section of Lincoln Center. I believe it houses the fewest seats of all the Lincoln Center film screens, so a yes on this would need to immediate:




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