August revivals: first half

Hey all. Mike here with what to catch for the first half of Aug. I could have done a longer list, but what would I really prefer catching? I narrowed that down. A lot easier to do with the first half of this month, as opposed to the second half. I do not look forward to having to cut that list down. In the meanwhile, here we go:


RASHOMON- Fri Aug 1 at 7:15- the Walter Reade at Lincoln Center- Back to Kurosawa-Mifune territory with the first of their films to make a worldwide cultural impact. Set in feudal Japan, a rape and murder occurs in the woods. The story of the crime is told from the perspective of four different characters; a bandit (Mifune), a woman, her husband, and a woodcutter. The only two things about the incident are clear, that the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily speaking through a medium). As each account is revealed, the only thing that's black and white is the film's photography.

Put Kurosawa on the international film map, with a plot device and/or story-telling style that has been copied ever since. The idea of something happening, and being looked at differently through flashbacks that are rarely the same, was radical back in the early 1950s. Now with other films and tv doing variations, it seems common, even cliched. But this was the best. Memento, most Tarentino films, and Catch-22 are only the most famous variations (note I said variations, so I don't want to hear from nit-pickers). An Oscar nomination for the Art Direction. An honorary Oscar for Best Foreign Language Film, apparently the only time there was basically a unanimous choice in this category.

THE ROAD WARRIOR- Fri Aug 1 and Sat Aug 2 at Midnight- Landmark Sunshine Cinema- 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 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.

RAISING ARIZONA and MILLER'S CROSSING- Sat Aug 2 at 5 (Arizona) and 7 (Crossing)- MOMA- A Coen Brothers double feature. There could be a triple feature, but I've caught Blood Simple enough times that I have no burning desire to catch it again. But it's been awhile with these two, so on the list they go.

First, Raising Arizona. Narrated by Nicolas Cage, playing a dumb ass early variation of The Dude, as an ex-con who wants to start a family with ex-cop wife Holly Hunter. No conception success, so they get the bright idea to steal a newborn quintuplet from a millionaire. They take Nathan Jr., they think. Problems arise when they have to explain how they suddenly got a baby, the arrival of his ex-con buddies (John Goodman and William Forsythe), and the bounty hunter willing to do anything to get Nathan Jr. back. Very broad comedy, but unlike Intolerable Cruelty and Hudsucker Proxy, this Coen Brothers film is actually fun and funny.

Followed by Miller's Crossing. Released among the glut of gangster films back in the fall/winter of 1990. Goodfellas is the only one better than this from that time, and is among the best films from that year. That it barely found more of a U.S. audience than The Krays or State of Grace means less then you think. So I'm guessing most of you reading this have either never seen this, or haven't seen this since the 90s on video.

A stylized gangster film set during the Prohibition era. Albert Finney's Boss character refuses to bow to pressure from a rising upstart who refuses to take "the high hat" any longer. Gabriel Byrne, playing his best friend and right hand man, begins a complicated scheme to save his boss. Even it costs him their friendship and possibly his life. Because Byrne's character is something of a cold fish for whom most of the fireworks going on with him are internal, you might have trouble going for this film.

For me, the style is substance here. A bit intellectual, but then I didn't say it was the best film of that year, just one of. Good cast helps. Among them is Homicide's Jon Polito, Marcia Gay Harden in her first major film role, and early screen appearances by Steve Buscemi and Michael Jeter. Cinematography by future director Barry Sonnenfeld, who come to think of it, did the same thing for Raising Arizona as well.

But if you know the film at all, then your first thought would be to John Turturro as weasel extraordinaire Bernie Bernbaum. Specifically, the scene in the woods where he goes to great lengths begging for his life. The desperation, the loss of self confidence in the face of one's demise, the knowledge that you have nothing to give that could change your killer's mind so you just beg and cry and beg some more. If John wasn't locked in to at least character film work forever with his work on Spike Lee films, then this cemented it.

Both films are worth catching separately, but I much prefer catching them together. Let's do this please.

RIFIFI- Fri Aug 8 and Sat Aug 9 at 5:30, 7:45 and 10- Film Forum- The start of the French Crime Wave film Retrospective. One of the great film-noirs ever made, and it's French, but directed by an American. Jules Dassin, forced to work outside the U.S. after being named by others to the House Un-American Activities Committee, then eventually blacklisted after refusing to name names.

This was his first film after all that, shot on a very low budget. Very simple heist story, where an ex-con plots the perfect robbery, gets others to help, they pull it off, things go wrong from within and from outside afterwards, and revenge is sought after. The story is simple. The execution of it is spectacular. Famous for its long robbery sequence (about a fourth of the entire film!), done with no music, no dialogue, and no sound effects unless absolutely necessary. A scene that's been copied most famously by Brian De Palma in Mission: Impossible.

I've seen this only once, as a re-release back in 2000. I tried to talk someone into seeing a cheap screening of American Psycho, but he talked me into this instead. American Psycho was one of the best films of 2000, Rififi is one of the best films ever. Haven't seen this since that night, but would like to do this again.

THE THIEF OF PARIS- Tues Aug 12 at 7- Film Forum- I've never seen this one, but the combo of director Louis Malle and one of my all-time actress crushes, Genevive Bujold. Set in turn of the century Paris, filled with gentlemen thieves. The focus is on one thief played by Jean-Paul Belmondo (Le Doulos), who steals his family's jewelery when he's cheated out of the woman he loves. What happens from there, I have no idea. But I'd like to catch it.

This is followed by Borsalino. But apparently, this is the English language version. That to me means poorly dubbed, so I have no interest in staying.

LA PISCINE and PURPLE NOON- Wed Aug 13 at 7:35 (Piscine) and 9:50 (Purple)- Film Forum- Part of the French Crime Wave retrospective. Interesting double feature that I've never seen, but I'd like to give a chance. First, La Piscine, or The Swiming Pool or The Sinners, depending on where it was released. Alain Delon and Romy Schnieder are vacationing in St. Tropez, when her ex-lover and his daughter (the ex, not Delon) come along. There sex, murder and betrayal.

Honestly, there's nothing about this story that screams I Must See This. An excuse to see two hot European actresses in a film that's supposedly slow, possibly dated, but decent is all the excuse I need. The two I'm referring to are Schnieder and Jane Birkin, as the daughter.

If anything, I'm more interested in the second film, Purple Noon. An early adaptation of The Talented Mr. Ripley. Basically, if you're allergic to Matt Damon or Gwyneth, this is the version you can at least sit through. Alain Delon (again) became a French star forever playing Thomas Ripley. Like I said, never saw it, and would really like to. And since we can see both films for one admission, let's do it.

Definitely want to do the Coen brothers flicks, followed by The Road Warrior (if you can stay up). Rififi and at least the Malle film as well. Anything else is a bonus. Later all.

July revivals: second half

Mike here with what to catch for the rest of August. Not everything mind you. Just what I want to see, and would like others to see as well.

Interesting revivals last weekend. Caught double feature at the William Holden retrospective. I still liked S.O.B. But audience reaction was mixed. While waiting in the lobby to get it, those at the Walter Reade were nice enough to play for us the I Love Lucy episode when Bill Holden visits the Ricardos. Complete with Lucy's disguise (after she embarrassed herself meeting him earlier), and long fake nose that catches fire. While I liked the film, it wasn't quite as funny as I remembered. And definitely not as funny as the Lucy episode. Having a portion of the film burn up, causing a 2 minute delay, and having some loon behind who thought EVERYTHING WAS HYSTERICAL didn't exactly help.

Followed up by The Wild Bunch. Despite one audience who sounded like he was let out of his "special" home for the weekend, I thought it was a terrific film. I liked it on TV, but on the big screen, it blew me away. I can see why it almost got an X rating for its violence. It doesn't matter if you blow away a hundred men at a time. It's when you start blowing away women, armed or otherwise is when you get into trouble. But all the violence has artistic relevance as far as I'm concerned, and the editing gives the film a modern feel today. Don't know if I'd put it in my top 100, but it's close.

Also caught Ran at the Forum. Difficult to sit through on TV, a must-see treasure on the big screen. Nuff said, now let's get on with the list:

XANADU SING-ALONG- Fri July 18 and Sat July 19 at Midnight- IFC Film Center- 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 new element of a sing along, and this can only get better. Hey, it's cheaper than renting a box of a room in Koreantown, watching someone drink while others attempt karaoke. Plus the visual stimulus of Olivia Newton John, what is there to lose?


FAME- Mon July 21 at 7pm for 5 dollars, 3 with student I.D.- doors open at 6:30- DGA Theatre- 110 W. 57th St.- An archival print from the Academy. A cheap screening of the 1980 musical. I wrote about All That Jazz back in December, stating basically that there were no great live action musicals between the Fosse film and fill in the blank from this century (Moulin Rouge, Chicago, Once). But I didn't say there wasn't anything good or successful in-between. Fame is one of them. Not the blockbuster like Empire Strikes Back, or the big hit like The Blue Lagoon. But it held it's own, playing, like Airplane, for months until it could be considered successful.

Depicting several students studying to become actors, singers musicians etc., at the New York City High School for the Performing Arts. It seems like an Andy Hardy-like musical (especially the end), but it doesn't shy away from the idea that failure and/or emotional collapse are around the corner, and none of them are immune. Must be the working class influence of director Alan Parker. Some good musical numbers, especially the one pictured here, that takes place on W. 46th St.

It covers a New York that is essentially gone now, but the feelings of struggle by students and teachers alike are timeless. Great cast but it's telling to me, that for a story where the promise of a career may not last beyond school, some of the actors in the best roles or give the best performances, disappeared fairly quickly after the film's release. But the more recognizable people include Irene Cara, Broadway actor Boyd Gaines, Paul McCrane (Robocop, ER, 24), the late Gene Anthony Ray, Debbie Allen, Issac Mizrahi, Meg Tilly, Holland Taylor and Anne Meara.

6 Oscar nominations in total. I was definitely surprised by that number when I looked it up. Nominated for Original Screenplay, Editing, Sound, and for the song "Out Here on my Own". 2 Oscars, for Original Score and for the title song that gave Cara a career for a few years.

Michael Gore (who took home the Oscars) and costume designer Kristi Zea (who has moved on to become a production designer on flicks such as Goodfellas, Silence of the Lambs, Red Dragon and The Departed), will be at the screening. I don't know if they introducing the film or if they'll do a post film Q and A (my guess, it's the later), but they'll be there. Call 1-888-778-7575 for reservations. Get there before 6:45, otherwise the reservation may not be held.

But if you don't want to spend money to see a film that night, there's always . . .

ARSENIC AND OLD LACE- Mon July 21 for free at Bryant Pk.- Park opens at 5pm- Another strange, talky choice to show at Bryant Park. But this is one of my favorite comedies. Despite the play having been done to death in community theater, this Frank Capra comedy is still gold to me. I really hope the speakers at the park are cranked extra high. Cary Grant plays a man who comes home to find his beloved aunts are serial killers, who get thoughtfully kill lonely old men, and then bury them in the basement with the aid of the uncle who thinks he's Teddy Roosevelt. It's a good thing his serial killer brother returns home on the same night; looking like Boris Karloff and accompanied by his "doctor" who looks like Peter Lorre and is played by Lorre.

Grant thought it was his weakest, most over the top performance. History has been quite kind, disagreeing with Cary. Pitch perfect cast and production. If this was playing inside, I'd push this to the hilt, and be obnoxious to many in trying to catch this. But in Bryant Park? I'll leave this to you.


MONKEY BUSINESS and A DAY AT THE RACES- Thurs July 24 at 6 (Monkey) and 8 (Races)- MOMA- Explaining the plot of a Marx Bros. film is pointless. I know from experience when I was with a girl at the Forum for one of their flicks. Now granted, her wanting to know what the film The Marx Brothers was about should have been a sign, but I persisted. I gave the loosest description possible for one of the films, before some c-blocking twerp started going on about his philosophy of how there's no real structure to the plot and other crap I've long since scraped out of my mind. After he finished using oxygen, we looked at him, then turned around like he didn't exist. Not much happened with the girl by the way. Last time I heard from her, she complained about film shoots being moved to Connecticut for tax reasons and to benefit actors living there. She said somebody should write the mayor of Connecticut and tell him he's destroying actors' lives in New York. Re-read that sentence from time to time, and feel the IQ points drip away.

Even that above couldn't take enjoyment of the Marx Bros. away from me. Here's a double feature; we don't have to catch both, but one admission takes care of both film. And to tell the 2 films apart, Monkey Business is where the four brothers play stowaways on a cruise ship, with a funny scene where Groucho Harpo and Chico all have Maurice Chevalier as a passport photo, plus a hysterical finale in a barn. With A Day at the Races, we're down to 3 brothers. But we do get Margret Dumont and scenes at a sanitarium and a race track.

DICK TRACY- Fri July 25 and Sat July 26 at Midnight- Landmark Sunshine Cinema- An interesting choice for a midnight movie. Warren Beatty directed and stars as in the title role. Do your best to ignore Madonna whenever she stops singing Sondheim, no matter how much cleavage is on display.

An entertaining film, though this film is more into story than the typical summer blockbuster. Therefore it's pace might feel a little too drawn out, pun not intended but readily embraced. It moves fine for me.

The real star of this film is the makeup and art direction, both Oscar winning. The eye candy here is a ten, you feel like you're in the comic strip. The amazing bright colors and horrific look of the criminals goes a long long way. When you have characters like Pruneface, Flattop, Itchy, and Little Face, you get the look and you get the creep.

While not the star, Al Pacino steals the film chews the scenery as the Al Capone-esque main villain, with half baked artistic ideals and intellectual pretension, with a long cruel streak. Oscar nominated, the scenery is sufficiently chewed by Al. His comeback, started the previous year with Sea of Love, is complete here. And a little love for the rest of the cast that includes Glenne Headly, Charles Durning, Mandy Patikin, William Forsythe, Paul Sorvino, Estelle Parsons, Dick Van Dyke, James Cann, Catherine O'Hara, Michael J. Pollard, a pre-Misery Kathy Bates, a boatload of character actors, and Dustin Hoffman who hilariously strives to become the living embodiment of the name Mumbles.


FANTASIA with SKELETON DANCE and/or ANIMAL CRACKERS and/or MONKEY BUSINESS- Sat July 26 at 2 (Fantasia), 4:30 (Animal) and 6:30 (Monkey)- MOMA- On the first AFI Top 100 film. 2 Honorary Oscars for its then revolutionary combination of music and animation. A flop in its day, a hit and a classic since then. I really want to see this. I saw it on Radio City Music Hall's former 70mm screen and it blew me away. Now I know that MOMA has no 70mm screens, but their sound system is pretty darn good. I hate it when I take grief from people, just because I've said that if you give me great visuals and interesting music, I can overlook quite a number of a flim's flaws. But a film like this? Bring the kids. Bring the kids-at-heart. Now for the rest, I'll quote from the Walter Reade website back in 2006 I believe:


"Go and see it, if you're in the business. You can learn more from seeing 'The Dance of the Hours' by Walt Disney than from spending a year glumly staring at the television screen," wrote director Michael Powell in his autobiography. "Oh that the rest of Hollywood were only like Walt!" For generations now, kids and adults have plunked down their hard-earned dollars to see Fantasia, and emerged a little over two hours later with their minds blown. Vulgar? For sure, and proudly so. This kind of myth-making always is.

You could throw almost any adjective at the film and it would be absorbed into its vast mythic territory. One little addendum to Powell's assessment. It's Walt, assisted by a small army of animators. Here are a few names: Bill Tytla, Norman Ferguson, Ollie Johnston, Ward Kimball, Eric Larson, Joshua Meador, Fred Moore, Art Babbitt and Wolfgang Reitherman. Not to mention a few composers: Bach, Dukas, Tchaikovsky, Ponichelli, Stravinsky, Beethoven, Mussorgsky, and Schubert.

Preceding Fantasia, is a Disney short, Skeleton Dance form 1929. One of the Silly Symphonies shorts. I know nothing else about it.

Now for the same admission, you can also see one or two Marx Brothers films on the same day. Monkey Business I mentioned above. Animal Crackers is definitely weaker than say, Duck Soup or Monkey Business, but still fun. It's basically a filmed play, but fun it is. Groucho is a famous explorer, returning home to a party held by Margaret Dumont. The 3 other brothers come in tow, hilarity ensues.

Fantasia is the highest priority, followed by Fame, then anything with the Marx Brothers. Anything else is a bonus. Let me know, especially with Fame, which probably requires a reservation. Later all.

July revivals: first half

Mike here with what to catch for the first half of July. One retrospective I really want to attend is the William Holden retro at the Walter Reade at Lincoln Center. I can't catch most of them, especially I'm afraid The Bridge on The River Kwai. Too many plans for me this 4th of July weekend, so I'm afraid I'm missing that one. In the meantime, here's some good choices here. Now let's go:

THE GENERAL with SALVADOR DALI: HOME MOVIE- Mon July 7 at 6 and Wed July 9 at 8- MOMA- W. 53rd and 5th- A Buster Keaton comedy classic, though I would argue that it's more successful as an action film classic. He plays a train engineer who has a better time showing affection to his locomotive, The General, than with 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. He sulks away.

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 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 very short film about Salvador Dali. MOMA is doing a retrospective of his work. It includes this. You now know as much as I do.

ADAM'S RIB and PAT AND MIKE- Tues July 8 at 7 (Adam's) and 8:45 (Pat)- The Leonard Nimoy Thalia at Symphony Space- W. 95th and Bway- A double feature of two Hepburn/Tracy comedies directed by George Cukor. 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.

Gordon and Kanin were also nominated for their Screenplay for Pat and Mike. Another pretty good Hepburn/Tracy team up. Kate plays an athlete who's great at golf and tennis, but cracks when whenever her annoying fiance watches. Enter her new manager Tracy, whose tough ways eventually melt in the face of too much Kate. The script was conceived in part to take advantage of Hepburn's physical skills. She believable plays tennis and golf with the likes of Babe Didrikson.
But two set pieces stand out. One where Tracy imposes the first limits of diet and training on Hepburn, which she hates but has no choice. The second involves a very young Charles Bronson. Hepburn saves Tracy from getting beat on by thugs, one played by Bronson. First you have the thugs beating Tracy, then they get beaten by Hepburn, then they're flabbergasted by the feeling of lost manhood by being beaten by a woman, then you have them trying to explain to Sheriff Chuck Connors why Hepburn should be arrested, then the thugs try to keep from going to jail, then Tracy and Hepburn try to keep the thugs from facing worse criminal charges or perhaps more thugs would come down after them. Got all that? No? See the movie, they do it better then I can explain.

JEAN DE FLORETTE- Tues July 8 at 7:30- Florence Gould Hall- 55 E. 59th St.- Part of the Yves Montand retrospective. A novice farmer battles another farmer for control over a natural spring. Part one of a two part French epic. Starring Montand, Gerard Depardieu and Daniel Auteuil. Sorry I'm not describing it well. But it's very good.

S.O.B. and THE WILD BUNCH- Fri July 11 at 1 (S.O.B), 3:30 (Bunch), 6:15 (S.O.B.) and 8:45 (Bunch) - Walter Reade at Lincoln Center- Part of the William Holden retrospective. According to V.A. Musetto's NY Post article, all films shown in the retrospective are one admission for each day. 2 films, one admission is what I meant to say. I hope that's true, especially for this pair.

First, S.O.B.: Holden's final film. This rarely gets a revival screening, and I'm glad this is will play now. A forgotten Blake Edwards comedy from 1981. His previous films from 1975 up to that point were all Pink Panther sequels. But this was different, this was more in the vein of acidic Hollywood films like Sunset Blvd. and The Player. Oh, and don't think the initials in the title stand for the obvious.

He based it on his previous experience directing his wife Julie Andrews in the film Darling Lili. Big budget, big promotion, big expectations, big bomb. It was re-edited and re-released, to no avail. In this film, Richard Mulligan plays an Edwards-like director who directed his Julie Andrews-like wife, played by Andrews herself, in a big budget musical disaster. After several days of suicidal depression, he comes out of it (though not necessarily sane) with an idea to save the picture. By remaking it as an X-rated film, with his wholesome wife showing her breasts. And the film goes from there. Cynical to be sure, and it does get silly in the last 20 minutes or so, but I like this film a lot. Great cast. While Holden (as a liked but somewhat burned out veteran producer) and Andrews got top billing, it's more of an ensemble cast. Along with Mulligan, you had Robert Vaughn, Shelley Winters, Loretta Swit, Larry Hagman, Edwards veteran Robert Webber, Larry Storch, Marisa Berensen and Rosanna Arquette in her film debut. But the standout among the supporting players is Robert Preston, as a quack of a doctor, with as many punch lines as drugs in his medical bag. In other words, plenty.

Paramount distributed this film. For weeks during the summer of 81, they had sneak previews with nothing in the ads but a time, night, location and a hot chick. Played out in the media, just like in the film, was Andrews throwing out her Mary Poppins image, to show the world her tits on screen. Then the film came out. The reviews were mixed, though the overall ones are better now. The business was non-existent. It's become a footnote, both for Andrews' nudity and for being Holden's last film (he died about 3-4 months). You probably never saw this comedy, especially if you're under 34.

Next, The Wild Bunch, the film that John Wayne complained destroyed the myth of the Old West. Follows a group of older outlaws, still robbing and shooting to make a living. The times have changed, they've gotten a lot older and their foes are seemingly younger and stronger. They want to rob to retire, but that only gets a group of bounty hunters after them, led by a former member of the group. They escape to Mexico for one last go. But dealing with the corrupt forces there and the bounty hunters on their tail, the old group of outlaws basically to go out on their own terms. Violent, bloody, and taking hundreds of the enemy with them. Holden is the leader of the Bunch, Ernest Borgnine is his best friend, and Robert Ryan is their former friend. Plus Western stalwarts like Edmond O'Brien, Warren Oates, Ben Johnson, Strother Martin and future director Alfonso Arau (A Walk In The Clouds) in the cast as well.

Sam Peckinpah's film was approved mainly to compete with what they thought was the similar Buthch Cassidy and the Sundance Kid. Similar, Warner Bros.? Oops. He wanted to show a certain macho code that was not holding up in the start of the 20th Century. But no matter what code you live by, betrayal is unacceptable. From others and especially from yourself. Another thing Peckinpah wanted to show was the violent world of this time. Not sanitized like in most Westerns, but closer to what was shown on the news in Vietnam. He wanted to horrify his audience with its brutality. The climatic shootout was supposed to convey this. With 6 different cameras all shooting at different speeds, its an amazing combination of choreography, cinematography and editing. Despite about 20 minutes cut before its release to avoid an X rating, the violence was still considered controversial. But what shocked Peckinpah was how much of his audience was thrilled by the violence as opposed to being repulsed by it. Oops for Sam. When Warner Bros tried to re-release the film back in 1994 with 10 extra minutes, the MPAA gave it an NC-17 rating, complaining about the violence! It took a year of resubmission before an R rating was finally granted.

I'm sorry to say, it appears Lincoln Center will only be showing the original theatrically released cut, as opposed to the longer, more accepted version. A version still good enough to get 2 Oscar nominations, including Screenplay. On BOTH AFI Top 100 lists. Seeing either film separately is ok I guess. But I REALLY prefer seeing S.O.B. and The Wild Bunch together. There is an alternate day and time regarding Wild Bunch, but that's later in this post.

RAN- Sat July 12 at 4:30 and 7:30- Film Forum- Part of the Tatsuya Nakadai retrospective. Considered Kurosawa's last standout film. Basically King Lear set in Japan with sumptuous visuals, with Nakadai as the old king. Oscar nominations for Cinematography, Art Direction, and Kurosawa's direction. An Oscar for the costumes. A visual spectacle worth catching, even on the Forum's smallish screen.

SABRINA (1954) with or without STALAG 17- Mon July 14 at 6:15 (Sabrina) and 8:30 (Stalag)- Walter Reade at Lincoln Center- Part of the William Holden retrospective. Another double feature, though this time, I want to catch the former, and wouldn't mind seeing the later. But only if it's convenient.

One of the better romantic comedies. Young servant's girl falls for the youngest of 2 rich brothers. Gets a little older and goes off to Paris. Comes back full of life and self confidence. The younger brother is now attracted to her, but things get complicated when the older brother gets involved. There, that's the Cliff Notes version. Audrey Hepburn plays the girl, Holden is the younger brother, Humphrey Bogart is the older brother. MUCH older brother; you're gonna have to let some stuff slide to enjoy.

It's a miracle this got made at all. Director/Co-Writer Billy Wilder had to settle for Bogie when Cary Grant wasn't available. Bogie didn't get along with Wilder, especially when Billy refused to cast Lauren Bacall in the title role. Bogie didn't respect Audrey, and he and Holden hated each other with a passion. Speaking of passion, Holden and Hepburn started a heated affair on this film. It supposedly ended shortly after the film ended, but I thought it picked up later on; I could be wrong on this. Anyway, Oscars nominations for Wilder for both Director and Screenplay (along with Ernest Lehman and Samuel A. Taylor), Hepburn for Actress, Art Direction and Cinematography. An Oscar for Edith Head's Costume design, though most of Hepburn's costume were designed by someone else who DIDN'T win.

The other film in this double feature is Stalag 17. I'm not dying to catch this, but I wouldn't mind. It's pretty good and doesn't feel like the typical stagy adaptations. Especially if the alternative is to walk around on a potentially hot sticky night away from the Walter Reade's air conditioning.

One of Billy Wilder's biggest hits, about a group of American P.O.W.s living in the title German camp. One part dramedy/slice of life during WW 2, one part mystery as the prisoners try to figure out who informing to the German guards.

An Oscar nomination for Wilder for Director, an Oscar for Holden for Best Actor. Won in part probably making up for losing the award for his performance in Sunset Blvd. three years earlier. Also won in part for his twenty minute scene where he reveals who the rat is. Holden plays this with two themes in mind. One, as though he was the detective in an Agatha Christie murder mystery, delighting as he shows off his smarts. And two, as a giant F.U. to all the guys who thought HE was the traitor and beat him for it.

Like I said, I'd really like to catch Sabrina, and wouldn't mind staying for Stalag 17. Unless you prefer to catch the following after Sabrina . . .

FAIL-SAFE- Mon July 14 for free- at Bryant Pk- park opens at 5pm- Part of the free film series at Bryant Park. An unusual choice as far as I'm concerned. So talky for a park film. From the same year and studio as Dr. Strangelove, with the same brutally dark black Cold War atmosphere as well. But while Strangelove treated it's material as black comedy, Fail-Safe treated its material as dark suspense thriller. A thriller where our technology is stronger than our ability to fix it. A thousand to one electronic glitch causes a bomber group to go past its fail-safe marks, and proceed to bomb the Soviet Union. A nervous general tries to help the Soviets shoot them down, civilian expert Walter Matthau advises to let the planes hit their targets to force a showdown once and for all; and President Henry Fonda must talk to the emotional Russian premier (with the help of nervous translator Larry Hagman), and eventually must make an offer of atonement that's should make every New York viewer very uncomfortable.

In fact, even if I don't do the film at all from start to finish, I might want to race down there for the last 10-15 minutes and see the viewers in the park squirm.Sidney Lumet's film is well acted and well crafted. Because of Strangelove, a flop in its day, despite great reviews. But I'm guessing most of you reading this aren't very familiar with this film, so it's time to play catch up.

SABRINA (1954) and THE WILD BUNCH- Tues July 15 at 1 (Bunch) and 3:35 (Sabrina)- The Walter Reade at Lincoln Center- The end of the William Holden retrospective. If The Wild Bunch isn't doable on Fri the 11th, then it can be done in the afternoon with Sabrina. A more out of whack double feature then S.O.B. and Wild Bunch, but these are two good films, so I'm ok with that.

MANON OF THE SPRING- Tues July 15 at 7:30- Florence Gould Hall- Part of the Yves Montand retrospective. The sequel to Jean De Florette. I prefer this one to the first. Don't get me wrong, they both get thumbs up from me. But I suppose since this film puts the story to a satisfying end, I prefer Manon. That and having Emmanuelle Beart in all her nubile glory helps. What can I say, I'm a pig. Sue me. She plays the title role, seeking revenge on Montand and Daniel Auteuil what they did in the first film. Both French classics were released in the US in 1987, and both won Best Foreign Language film by the National Board of Review.

Like I said, the Holden films have top priority for me. Anything else is a bonus. Later all.

June revivals: second half

Hey all. Mike here with what to catch in early June. A more eclectic collection than usual. but before that, I went to MOMA on Friday to catch Breathless. Whoever thought that many people would go to see the Richard Gere remake as opposed to the French original, is the very definition of being cuckoo for Cocoa Puffs. Anyway, now I knew that on Friday's after 5pm, the museum is free to the public. But I didn't know the films were as well. Boy am I pleasantly surprised. When they come up with something interesting I'll post it. Sorry that I don't consider Todd Haynes' Poison to be one of them. Anyway, here we go:

Charlie Chaplin's MONSIEUR VERDOUX- Wed June 18 and Thurs June 19 at 7 and 9:30- Film Forum- A new 35mm print of 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.

SPELLBOUND or JAWS- Fri June 20 at 6 for both- MOMA- First come, first served with both these films. You can't do both on this day, you can only get into one. Spellbound is Hitchcock's romantic mystery/thriller. Ingrid Bergman is a psychiatrist who tries to help amnesiac patient Gregory Peck, who thinks he might have killed someone. Of course they fall in love . . . Oscar nominations for Picture, Hitchcock for Director, Michael Chekov (as Bergman's mentor) for Supporting Actor, Cinematography, and Special Effects. An Oscar for the score. It's playing at MOMA as part of a retrospective of Salvador Dali's work. He designed the dream sequence. Fans of his work tend to enjoy this more than the rest of the film. It's not in my top 5 of Hitchcock, but I like it, and wouldn't mind seeing it, especially for free.

Jaws is also playing for free, subject to availability. I talked about it when it played at the Ziegfeld. If you didn't catch this there before and you DON'T take advantage of this, then you're hopeless, or out of town. Though probably both.

BONJOUR TRISTESSE- Wed June 25 at 6 and Thurs June 26 at 8:30- MOMA- An Otto Preminger film I've never seen. David Niven and Jean Seberg play play self-interested father and daughter who vacation on the French Riviera with his girlfriend. An Oedipus attachment develops between parent and daughter, but things get worse when old girlfriend Deborah Kerr comes to visit. Very curious and wouldn't mind trying it.

CLUE- Fri June 27 and Sat June 28 at Midnight- Landmark Sunshine Cinema- The 1985 comedy gets another midnight screening. This has a major cult following in L.A. In NYC, not so much. I don't know why I like the film so much. It has a good begginning, an extremely mixed middle and endings of varying quality. But I like it, no rational reason why. I'd like to catch this, unless you prefer your midnight films darker, in which case, there's always . . .

MAD MAX- Fri June 27 and Sat June 28 at Midnight- IFC Film Center- The 70s Sci-fi retrospective ends with the film that made Mel Gibson an international star and put director George Miller into the big leagues. Note I said international and not U.S. Before films like Titanic and the Lord of the Rings series came along, you see the list of what was the highest grossing films in any country outside of North America, and chances are Star Wars, Mad Max and E.T. were in the top 4. But in America back in 1980 (it was released in most countries in 1979), it came out in a heavily dubbed form. Apparently there was no belief that we could understand all these Australian dialects. And to see this little film as opposed to say, Empire Strikes Back for the second or third time? Forget it. Several re-releases, including one a year after The Road Warrior's success, made no dent here.

One part post-apocalyptic film and one part Death Wish. Not as much action as you might think or remember, but still pretty good on a low budget. Apparently most of Australia can pass for a post- WW3 environment, and director Miller does a lot with a little. And Gibson practically screams Movie Star here. And it's only 93 minutes; helpful for a midnight screening.

YOJIMBO- Sat June 28 at 1, 7:10 and 9:40- Film Forum- Part of the Tatsuya Nakadai retrspective. The only one I have the guts to post at the moment- I've caught High and Low at the Forum and I'm in no hurry to catch it again. Among my favorites. Leone would later rip this off to make A Fistful But for the rest of this Mifune-Kurosawa, I'm cutting and pasting something from a another website that described this. It could have been Film Forum, it could have been AMMI. I don't remember, it was over 2 years ago and I'm tired:

"You can't get ahead in this world unless folks think you're both a cheat and a killer." Met at the entrance to a seemingly deserted village by a stray mutt sauntering past with a severed hand in his jaws, grubby wandering and unemployed samurai Toshiro Mifune, after a suitable double take, realizes a skilled yojimbo (bodyguard) could rake in a few ryo in this town. And after checking out the sake merchant's thugs squaring off against the silk merchant's goon squad, twice as much, if he hires out to both sides. Venice Festival acting prize to Mifune, with Tatsuya Nakadai as the pistol-waving killer."

I would have posted Bride of Frankenstien at Bryant Park for free on Monday June 23, but due to the fire at Universal Studios, I don't know if the print scheduled to come here survived the fire. If it didn't, I don't know if they'll get another print up in time. Either way, there are other choices so I push them instead. Let me know. Later all.

June revivals: first half

Hey all. Mike here with what to catch in early June. A more eclectic collection than usual. Here we go:

THE PAWNBROKER- Fri June 6 at 6- MOMA- I brought this up back in February during the Film Forum's Sidney Lumet retrospective. It plays again at MOMA. If you haven't seen this well-acted drama starring an Oscar nominated Rod Stieger, now's your chance. Not a happy film, but a good one.

THE PRESIDENT'S ANALYST- Sat June 7, Mon June 9 and Thurs June 13 at 7:30 and 9:40- Film Forum- A mostly forgotten film from 1967 in a new 35mm scope print. One of a number of the inspirations for Austin Powers, yet probably the only American one. It tries to both emulate and mock James Bond films as well. And I'll give the Village Voice credit; the final 10-15 minutes seems to have inspired at least sections of The Matrix trilogy.

James Coburn plays the title role. The stress of this job causes him to have his own breakdown and his own paranoia. Justified, since once he escapes, The FBI and CIA want to kill him, and the KGB and other foreign groups want what he knows. But that's nothing compared to the most powerful group of them all. One who, for those who haven't seen this, I dare not spoil. Though today, one can imagine Microsoft plotting like the film's master group.

A very pointed satire for its day. Attacks on the counter-culture, liberalism, gun control and the civil rights movement are just the tip of the iceberg. Pointed about the fear of citizens being spied on, and their willingness to spy on others. Something that will probably mean more to us now then the audience back then. Pointed enough that the FBI and CIA demanded not to be named in the film. Their names were dubbed over. So pointed that the name of the big evil world-controlling company was removed by NBC on their TV broadcasts, in fear of retaliation. And since most of the technology needed to carry out their evil plan is no longer science fiction, but science fact, oh boy.

From writer/director Theodore J. Flicker; this was his chance to make a big statement on film after years of TV directing (The Andy Griffith Show, I Dream Of Jeannie, The Man From U.N.C.L.E.). After the film's failure (it appealed to the young, but after its big opening weekend, why did Paramount pull it from most of its screens?), it was back to TV for Teddy. He never made another theatrical film, but he did co-create Barney Miller, so it's not a loss for us. I assume most of you don't know this film, but the Forum was good enough to pull this out of cultural mothballs, so I strongly urge you to take advantage.

ZARDOZ- Sat June 7 at Midnight- IFC Film Center- Part of IFC film center's 70s Sci-Fi retrospective. They seem to all be screened upstairs, in a screening room that has quality sound and is kind of small and round. In the lobby, they've got some impressive posters from different countries that would fit this retrospective. It makes me wish that films like Westworld, Logan's Run, even Rollerball, were scheduled to play alongside Mad Max and Sleeper. Right now, they're not. A shame.

Now as for Zardoz. One of my favorite What The Fuck kind of films. I admire its audacity, and I can't believe that anyone in Britain or at Fox thought people would pay to see this in droves. I like that director John Boorman really tried to go out there, but in his most recent DVD commentary about Zardoz, even he can't figure out What The Fuck is happening, or why he chose to do certain scenes the way he did.

I'll attempt the Cliff Notes version here. In post-apocalyptic Britain, Sean Connery plays the leader of a group of tough guys, who stumbles on a highly advanced, Utopian village. It comprises of three types of people: youngish Brits with hot bodies bright minds and snooty attitudes, youngish Brits whose brains don't seem to be working, and babbling old people. Throw in a God named Zardoz, and there's a mystery to be solved. Though why Connery is forced to do this in a long black wig, Fu Manchu-esque mustache and shiny red diaper, I have no idea. I'm serious, it looks like Sean spends more than half the film in a shiny red diaper. With Charlotte Rampling, who's smoking here.

There are parts of the film that I don't want to spoil. There are parts of the film where I think "YOU GOTTA BE SHITTING ME!!!!". Though the ending is cool. You'll either admire it, hate it with a passion, or laugh at it. Don't worry, I've done all three. Let the film experimentation begin.

BREATHLESS (1959)- Fri June 13 at 6- MOMA- I brought this film up back in April during the Film Forum's Goddard retrospective. The only one I was willing to watch, especially after seeing the pretentious Contempt on TCM. For those who haven't seen it, you get a second chance.

2001: A SPACE ODYSSEY- Fri June 13 at Midnight- Landmark Sunshine Cinema- Some of you looking at this have done this film before, and in some cases, more than once. But every time one of my all time top 5 films is shown on a decent screen with at least good sound, I will bring it up. Throw in the odd chance that someone I know has never seen it except on TV and might be curious to experience this classic as it should be . . . I'd feel guilty not bringing this up. This film is ageless despite the title, timeless, and it's still possible to discover something new about it as one gets older. And those who've only seen this on TV; to paraphrase and change Larry Miller's joke to fit here, seeing 2001 on the big screen as opposed to TV, is the difference between shooting a bullet and throwing it.

DR. NO- Mon June 17 at dusk for free at Bryant Park- Park opens at 5- The free films at Bryant Park kicks off with the first Sean Connery Bond film. A bit of a surprising choice to me. I might not have felt that way if I hadn't caught it at the Forum in April. Portions play a bit slow, and the dialogue on the island didn't play well, especially for those of us who saw Goldfinger just before. Now that I think of it, I believe Goldfinger or From Russia With Love would be better films in general, and better crowd pleasers in particular. Must be some kind of rights problem, unles both are over two hours long. The dialogue scenes on the island have not aged well at all.

Still, the fight scenes will appeal in the Park, and when Connery starts acting all cool, or when Ursula Andress rises out of the sea, it should still be fun.

As long as one makes the attempt to catch The President's Analyst, anything else is a bonus as far as I'm concerned. Later all.

May revivals: the rest of the month.

Mike here with the remainder of of May's revivals. Most of them would be fun birthday viewing options for me, even if they're playing after the birthday. Here we go:

ANNIE HALL- Fri May 23 at 10 (tentative on my end), Sat May 24 (the whole day tentative for me for this film) and Mon May 26 at 3:30, 6 and 8 (the last 2 times on Mon. tentative for me), and Tues May 27 at 8 and 10- Film Forum- The end of the United Artists Back By Popular Demand retrospective. I've talked about this before, so I won't go into this Oscar winning film/ one of the best romantic comedies ever/ in my personal Top 100. For those who did this with me back in the days of Movie Night meets, you've done this before and that's good enough. But others haven't caught this, not in a long time anyway. So back on the list it goes. For some reason, the Forum describes this as a 70s Abbie's Irish Rose, but I don't get that. And by the way, good job of by the Film Forum folks to draw people to a 1977 Woody Allen film; by comparing it to a play that was already outdated and cliched by 1935!

ALIEN- Fri May 23-Sun May 25 at Midnight- IFC FIlm Center- The first of IFC's 70s Sci-Fi retrospective. A perfectly constructed film as far as I'm concerned. Some have you seen this classic with me before, and I'm not saying you have to see this again. May or may not be in my personal top 100, but one I can see over and over again. Sci-fi for those who aren't into Star Trek or Star Wars. Great visual effects, and just enough of Jerry Goldsmith's beautiful score to make the silences even more effective. Ridley Scott never made a better film; sorry for those of you who are fans of Blade Runner, or Black Hawk Down, or American Gangster.

Even more convenient, is that's playing all three nights of the Memorial Day weekend. I'm assuming of course most of you aren't working on Monday. But another option for this weekend is . . .

THE SHINING- Fri May 23-Sun May 25- Landmark Sunshine Cinema- If you rather do Kubrick-Nicholson at Midnight, well here's The Shining. This film works for me to on this weekend. Longer and a little more out of the way, but worth it. If you don't know this film, what good are you? Moving on.

PILLOW TALK- Thurs May 29 at 7 and 9:30 for 6 dollars- Chelsea Clearview Cinemas- The first of the Rock Hudson- Doris Day comedies, as well as both the most successful and the best. No point in breaking down plot, they're all about the same. Man and woman hate each other, love each other but don't know it, then eventually find out and after much arguing, a happy ending, with Tony Randall on the sidelines, making jokes. Like I said, the best of the bunch. Oscar nominations include Day for Actress, Art Direction, Score and for Thelma Ritter for Supporting Actress in another wisecracking role. An Oscar for the Screenplay. And only for 6 dollars.

BATTLESTAR GALACTICA- Fri May 30 and Sat May 31 at Midnight- IFC Film Center- Part of the 70s Sci-Fi retrospective. The pilot gets a Midnight screening. This is strictly childhood for me, though the memories for me are strongest in terms of remembering this show on syndication, as opposed to it's original run on ABC. The remake is a very good show, and if you haven't seen it, get to Netflix already. It used the feelings and emotions of dread from post 9/11 and spread on a multi-global level, mixed some 24-esque tension, hired some good (mostly Canadian) actors, took some story chances, and have come up with a superior series than the original.

The 1978-79 edition of Battlestar didn't have that kind of emotional heft around. Okay, there was the Holocaust, that was too far away and too long ago I guess. This was created in part or mostly, depending on who you ask, to rip-off Star Wars. Lucas sued them, and concessions had to be made in order to keep George from owning Universal. This is big space opera, with explosions, space battles, acting that verges from the ok, to campy to amateurish. For this last part, ABC had the tendency to cast hot chicks who were models or college students with little skill, whose career would either end within 5 years, or finish in infomercial or direct to video hell. Not every actress hired could be Jane Seymour, who is in this. One of my early crushes, an ideal for beauty that has screwed me up to no end, but that's for another blog . . .

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

I can't say this would be the best flick you'll ever see whether you've seen it or not. And I can't say seeing this now wouldn't ruin any childhood memories. There are some aspects that will just seem laughable now. And as much as I like this, I would probably laugh at those absurd or lousy moments with the rest of you. But dammit, not everything can be The Rules of the Game, or Annie Hall, or Lawrence of Arabia. This is silly campy fun, and I'm not ashamed of having fun with it. And I hope you will as well.

For the record, I don't know if this is the original ABC pilot from 1978 that will be screened at IFC Film Center, or the 1979 theatrical release that was in Sensurround. For those under 32, or didn't watch films in the U.S. in the mid-late 70s, Sensurround was basically Universal's failed attempt to get people interested in some of their flicks. Speakers would be under some of the seats, and in scenes of shakes or explosions, they would go on and cause the seats to shake. And in some cases, it caused plaster to fall from the theater walls.

No matter what version they screen, I just hope those working in IFC Film Center can have the whole thing in focus from the beginning. I still remember what trouble they had with the start of Eraserhead. Please please don't screw this up. This and Alien too for that matter.

Any chance to catch the midnight screenings would be great. Anything else would be a bonus. Let me know quickly, and I do mean quickly. Especially about this weekend. Later all.

Mid May revivals.

Hey all. Mike here. Not in the mood for a long list, so I'll just break down what to catch for the next 8-10 days or so. All repeats from the last list or from an earlier one, but worth bringing up. Here we go:

THIEVES LIKE US- Wed May 14, Fri May 16, and Tues May 20 at 7 and 9:30- Film Forum- Part of the United Artists Back By Popular Demand retrospective. I mentioned and pushed this Robert Altman drama before (basically, a more realistic variation of Bonnie and Clyde), and I do so again. But luckily, it's been popular enough that the Forum is giving it a week-long run. Can't get any easier for you to catch. This is just what I'm pretty sure I could make.

ALL ABOUT EVE- Thurs May 15 at 7 and 9:30 for 6.50- Chelsea Clearview Cinema- W. 23rd and 8th Ave- I mentioned it last time. You know it, you've heard about it, so I'll move on.

FIRST BLOOD- Thurs May 15 at 7:30- Regal E-Walk 13 on 42nd st, Regal Union Square 14, Regal Kaufman Astoria 14, Chelsea Clearview Cinema 1st & 62nd and Chelsea Clearview on 260 West 23rd- A digital screening of the Stallone film. Again, a repeat mention from the last list. I've seen mention about the screening elsewhere, and I thought it was supposed to be First Blood as it was back in 1982, followed by interviews and the complete alternate ending. But some of what I've read makes me think we'll see this alternate ending, edited in and eliminating the other one. I'm confused but whatever.

It's still awful fun. And yes, I do mean awful. And yes, I do mean fun. Personally, Kaufman Astoria, the Clearview on E. 62nd and the Regal on 42nd St are easiest to get to for me. But it's playing on the same night as All About Eve at the Chelsea Clearview. It might be possible to see First Blood then sneak in to All About Eve afterwards? Might miss the first minute or so. Just musing . . .

Enough for now. Later all.

May revivals: first half

Mike here with what to catch for the first half of May. Not a lot of time, so I'll just get to it. Here we go:

CITY LIGHTS with or without MODERN TIMES- Thurs May 1 at 4:40 (City), 6:30 (Modern) and 8:20 (City)- Film Forum- The last of the main United Artists retrospective. A Chaplin double feature of 2 of his best films. Saying which of the two is better would be a long argument that I won't get into here. Not when one can see both on the same day. First, City Lights. It is a silent film, but Chaplin's first with recorded music and sound effects. Basically, Chaplin's Little Tramp goes through various trails and tribulations, all for the love of a blind flower girl. Chaplin and blind girl actress Virginia Cherrill hated each other with a passion, but since she was the only one who could play blind without looking like a joke, he was stuck. He fired her at one point, only to later rehire her. One of the all time favorite films of both Kubrick and Tarkovsky; either I got someone real interested or turned them off on this film completely. Apparently, Woody Allen modeled that last scene of Manhattan on this film's final scene. A comedy classic that's on both AFI Top 100 lists.

The exact same thing can be said of Modern Times. Featuring Chaplin's first bit of sound speech, even if it is gibberish. This time, the Little Tramp tries to work in automated factories, and the hilarity results. Sounds like a cliche, but for those who have seen it know this is just bad writing on my part. Granted, it does have a heavier political hand then any of Chaplin's previous films. But when it results in a funny scene such as when the Tramp accidentally leads a Communist parade, it's easily taken. And sorry, no matter how dirty her face was made, Paulette Goddard is still the most beautiful homeless person that has ever been. Since I've done Modern Times a few years ago, my emphasis is on City Lights. Especially since I didn't catch it at the Forum at the end of 07. Caught 4 other films instead. Now granted, I was thrilled to catch All That Jazz, and Juno was ok, but just ok. But the Walk Hard/ Charlie Wilson's War double feature I did (pay for the first, sneak into the later afterwards) over City Lights? Not the best choice I ever made. So let me know.

BREATHLESS (1959)- Fri May 2 and Sat May 3 at 4:40, 6:30, 8:20 and 10:10, plus Sat May 3 at 2:50- 8:20 SHOW ON FRIDAY INTRODUCED BY FRENCH DESIGNER AGNÈS B.- Film Forum- The official beginning of the Jean-Luc Goddard retrospective, and probably the only film from here that I'll put on the list. Since I started out with catching American films on my own and took a class or two of (mostly) American films long before I caught a nice share of foreign language pics, this was has fallen through the cracks. Have seen portions of it, but never from start to finsh. Sorry that I'm more familiar with the lousy Richard Gere remake. I'm sorry, there was a hot naked chick in it.

Written by Goddard from a screen story from Francois Truffaut. It was incomplete when filming began; some scenes were written in the morning to be shot later in the day. Jean-Paul Belmondo plays a cool car thief who shoots a policeman, attracts Jean Seberg to run away to Italy, where coolness prevails until the law catches up. Belmondo would play a similar type of cool criminal in Le Doulos; while the gorgeous Seberg was made an It girl forever, for better and for worse in her short life. Is credited for introducing the jump cut, based on editing advice given to Goddard by Jean-Pierre Melville (Le Doulos, Army of Shadows). Instead of cutting out scenes that slowed down the action, Goddard cut out shots in most scenes that slowed things down. A classic I'd like to catch.

Designer Agnes B., whose career was launched in part by copying Seberg's look in Breathless, will introduce the 8:20 screening on Fri May 2. If you want to try for this one, some early planning must be done.

WHATEVER HAPPENED TO BABY JANE?- Sat May 3 at 10 for 8 dollars- Chelsea Clearview Cinema- 260 W. 23rd- A-list Campfest incarnate. the plot is simple enough that I'll just copy it from imdb: In a decaying Hollywood mansion, Jane Hudson, a former child star, and her sister Blanche, a movie queen forced into retirement after a crippling accident, live in virtual isolation. Shot in terrific black and white, it deserves attention just on the teaming of Bette Davis and Joan Crawford. I don't know if the simmering rivalry that exploded into a full-fledged feud is obvious in Crawford's performance, but the rage certainly fuels Davis performance as the former child star/ alcoholic/ tormentor. An Oscar for Costume Design. 4 other nominations, including Black and White Cinematography, and Davis for Best Actress. The story of what happened with that category, as well as the whole making of the picture itself is too damn long to go over here. Just see the film if you haven't.

SUNDAY BLOODY SUNDAY- Sun May 4 and Tues May 6 at 7:50 and 10- Film Forum- Part of the United Artists Back By Popular Demand retrospective. A good British drama from 1971 that's unknown here these days, unless you stumbled on it either on PBS or TCM. Forgotten in part because it wasn't A Clockwork Orange or The French Connection, and maybe because it wasn't American like The Last Picture Show. A quiet film that John Schlesinger choose to cash in his Golden Ticket (so to speak) for, after the success of Midnight Cowboy.

Glenda Jackson and Peter Finch (Howard Beale from Network) fall in love with the same man (Murray Head; best known for stage work and one hit wonder 80s song, One Night in Bangkok). Unfortunately for them, the guy is self-centered to the point of not caring about the emotional damage he leaves behind. A simple story, well told. 4 Oscar nominations: Best Actor for Finch, Actress for Jackson, Director for Schlesinger and Original screenplay. You probably have never heard of it, but you should check it out, if not here, at least on Netflix.

PUTTING LOONEY IN THE TOONS- Monday May 5 at 7:30 for 5 dollars- The Academy Theater at Lighthouse International- I've always been semi-serious to people when I told them that I think Bugs Bunny is the best American actor. He could do anything. Sing, dance, do comedy, action, sports and even pull off drag better than most queens. I make this comment partly in tongue in cheek mocking of some current actors, and partly in embracing childhood memories. But I know full well the character is not only great because of the work of Mel Blanc, but also of writers and directors like Chuck Jones, Tex Avery and Michael Maltese. A number of these cartoons that are Oscar winners or just nominated will screened for only 5 dollars. Call 1-888-778-7575 for ticket reservations, otherwise it will be a pain in the ass to get in. Doors open at 7 p.m. All seating is unreserved.

For the rest of the info, I'll cut and paste from the Oscars website:

Academy Award®-winning animator John Canemaker (The Moon and the Son: An Imagined Conversation, 2005) will host this double centennial tribute to Tex Avery and Michael Maltese, which returns to the big screen some of the short cartoons the pioneering pair worked on together as well as selected highlights from their prolific individual careers in animated films. Avery and Maltese, both born a century ago in early 1908, crossed paths at the Warner Bros. animation studio back when it was Leon Schlesinger Productions (now affectionately referred to as “Termite Terrace”). Among their collaborations and individual career achievements are many of the wackiest moments (animation or live action) ever devised for the film medium. Avery’s directorial approach to animation was to celebrate the medium’s unique energy and limitless possibilities at a time when Disney animation was striving for increased pictorial realism. Maltese, who wrote dozens of animated shorts over the course of his career, was perfectly suited to incorporating Avery’s madcap style into the evolving stable of Warner Bros. characters, which included Bugs Bunny, Daffy Duck and Elmer Fudd.

The evening will include screenings of such Avery and Maltese classics as Porky’s Duck Hunt (1937), Heckling Hare (1941), Oscar winner For Scent-imental Reasons (1949) and What’s Opera, Doc? (1957).

BLUE VELVET- Fri May 9 and Sat May 10 at Midnight- Landmark Sunshine Cinema- Once again, I put up the David Lynch film that resurrected his career and Kyle McLaughlin's after Dune flopped. In my own top 5. Will anyone be talked into this? We'll see.

ALL ABOUT EVE- Thurs May 15 at 7 and 9:30 for 6.50- Chelsea Clearview Cinema- The acclaimed bitch fest starring Bette Davis that beat Sunset Blvd. for Best Picture. Try to pick between those two films; almost like which flavor satire you prefer, acidic with visual style, or acidic with verbal flair. If you've never seen it on the big screen, you can now at a reduced price. Sat is tentative for me at the moment.6 Oscars. Most nominations in Oscar history, Titanic could only tie it. An AFI Top 100 film and in my personal top 30. But unless you prefer a different film with more blood and guts and less intellect, then there's always . . .

FIRST BLOOD- Thurs May 15 at 7:30- Regal E-Walk 13 on 42nd st, Regal Union Square 14, Regal Kaufman Astoria 14, Chelsea Clearview Cinema 1st & 62nd and Chelsea Clearview on 260 West 23rd- A digital screening of the Stallone film. Less bloody then the awful fun (figuratively and literally) of Rambo, here's the one that started the series. There was no intention to create a series, it was a minor miracle that they could cut the film down to make it watchable. And a major miracle that it came out of nowhere to be a big hit of the fall of 82. Maybe the combination of Stallone with a machine gun, the fact that it was just E.T. and fill-in-the-blank in playing in theaters at the time, and the story of an unappreciated Vietnam vet doing a variation of Travis Bickle and Charles Bronson, hit the cultural zeitgeist at just the right time.

The story: Rambo comes into town up North, just passing through. Sheriff Brian Dennehy arrests him when not necessary. Behind their boss's back, his redneck-ish deputies torture him (pulling out the whip?!?!?), Rambo goes nuts and gives payback to the town, while Richard Crenna shows up with monologues about how tough Rambo is and how much dead meat the town will be. Ending with Stallone giving the most incomprehensible monologue known to man. Kenny speaks clearer on South Park!!! Just check your brain at the door and have fun.

For the rest of what the evening has in store, I'll quote from the Event website:

"Following the film, see the alternate ending (where Rambo dies!) for the first time ever in theatres. Plus - this one night event will include an exclusive, never-before-seen interview with Sylvester Stallone on First Blood, the new film Rambo and the iconic Rambo series."

Emphasis on Chaplin, the Brit drama, the cartoons, and something on the 15th. Anything else is a bonus, but you must move fast and reserve for the cartoons. Later all.