Oct revivals: second half

Hey all. Mike here with a list for the second half October revivals. I'm trying to keep this minimal. Get in, post the options, and get out. I'm willing to sacrifice prose, such as it is, for the chance to see the title and time, and make a quick decision. And with a few on-purpose exceptions, I think I succeeded. So here we go:

METROPOLIS- Fri Oct 22 at 3:30, 7 and 10:30, Sat Oct 23 at 7 and 10:30, Tues Oct 26 and Thurs Oct 28 at 5:15 and 8:30- also Fri Oct 29- Thurs Nov 4 though times are TBA- The Ziegfeld- The version of Metropolis I mentioned back in May that played at the Forum, restored up to 5 minutes of its original running time, is back in on the big screen. One of the biggest screens in fact, the Ziegfeld's. A digital screening of Fritz Lang's film, in 5.1 Dolby Stereo, will get a two week run. Maybe not every day, since it is the Ziegfeld's habit to maybe close on Mondays and/or Tuesdays without notice, if there are no online sales or walk up business. But the weekends and the Wednesdays and Thursdays should be no problem. I posted the times I could both find and potentially do for its first week; it's second week hasn't posted yet. And unlike the houses of any of the Forum's screens, which might be a tenth the size of the Ziegfeld's at best, I'm not thinking we'd have to worry about sell-outs here. Maybe not dead center, where the glorious score should sound the best.

THE JERK- Fri Oct 22 and Sat Oct 23 at Midnight-ish- IFC Center- The Steve Martin- Carl Reiner comedy, where Martin plays a man who grew up a poor black sharecropper's son, gets a midnight(ish) screening. A big hit in theaters, despite a lot of critics hating it. I don't care what the Rotten Tomatoes website might say, I think David Ansen of Newsweek, and Janet Maslin of the NY Times where the only big reviewers supporting The Jerk, while Roger Ebert and Rex Reed led the opposition. Reed in particular, has been brutal to Martin's films, at least through the mid 80s anyway. But times have changed, the film keeps getting deserved new fans, and the critics by and large, have moved in lockstep with fans, proclaiming The Jerk a comedy classic of the late 70s.

This is part of a series of films chosen for Midnight screenings by IFC Center staffers. The series lasts through the New Year's weekend. Please excuse me if I ignore the other 2 from October; The Last Dragon and Buffy The Vampire Slayer (movie, not series or sing-a-long). Hopefully it gets better, but I'd like to catch The Jerk with an audience.

BACK TO THE FUTURE- Sat Oct 23 at 12:30 and Mon Oct 25 at 7- AMC Loews 34th St, AMC Loews Kips Bay, AMC Loews Village 7, and AMC Loews Raceway 10 in Westbury- The biggest film of 1985. Came out of nowhere to find not only the family audience, but served as an overall alternative to the other major film from that year, Rambo Part 2. Chances are you know the story, so I don't need to sell this classic.

For its 25th anniversary, the print and sound has been cleaned up and it will be released on Blu-ray. In November. In Europe. When it comes out in America, I have no idea. But we get a digital screening of Back To The Future, with a picture that, according to the film's co-writer Bob Gale, will be the clearest it has been since the film's 1985 release. We'll have two opportunities to judge for ourselves; on October 23rd and 25th. Only at select AMC theaters. I mentioned the ones that I've been to before that will screen it. So far as I know, Manhattan is the only borough in NYC that it will be screened, and Westbury is the only place in Nassau County where it will play. I did leave out AMC Empire, the theater that had a bedbug incident this summer. You can go there if you like, But you'll have to excuse me if I'm not quite ready yet to go there.

SMILES OF A SUMMER NIGHT- Sat Oct 23 at 6- 92Y Tribeca- 200 Hudson St.- See, I can post films other then what the Film Forum screens when it catches my interest. Ingmar Bergman's film of lovers who come together, split apart, and/or form new relationships with other people in the story, all during a summer night-ish. Later used as the basis of Sondhiem's A Little Night Music. If you can stand the fact that Send In The Clowns will not be sung, I think you will like this.

AN AMERICAN WEREWOLF IN LONDON for 7.50- Thurs Oct 28 at 7 and 9:30- Chelsea Clearview Cinemas- A sleeper hit from the summer of 1981. Funny and freaky. An Oscar for Makeup, highlighted by one of the great film transformation scenes ever. At the very least , Joss Whedon and everything regarding Buffy The Vampire Slayer, as well as the shows "inspired" by Buffy, owe much to the mixture of humor, love, friendship and dark horror exhibited in An American Werewolf in London.

I don't hold this film as sacred or unworthy of occasionally made of fun of however. Therefore, I'm ok with seeing this either with MST3K-style commentary from Hedda Lettuce (at 7), or without (at 9:30). 7 dollar admission either way.

THE ROOM- Fri Oct 29 at Midnight- Village East Cinema at Midnight- The latest Oh-My-God-this-film-is-so awful-its fun cult movie, which has been huge on the midnight circuit in L.A., gets a midnight screening. Described in an Entertainment Weekly article as "The Citizen Kane of bad movies", this picture, shot in 2002 where two best friends sleep with the same woman in strange Skinimax-type sex scenes, has only played in New York occasionally. But when I saw the A.V. Club article about The Room came out around the time of it's one night only run at the Ziegfeld, that's when it came up on my radar. Turns out I was a little behind. It plays at midnight on Cartoon Network on April Fool's Day, it already played once or twice down in Landmark Sunshine Cinema, and of course there's illegal downloads out there.

But if you wish to see this allegedly poorly filmed picture (shot in 35mm and HD at the same time and it's still not always in focus), poorly constructed (the writer/director/star Tommy Wiseau claims there is intentional comedy mixed in, but good luck finding anyone who believes them), where characters come in and out with or no introduction and has a storyline that might ultimately described as pointless, The Room could overtake anything that plays at midnight here in NYC. Audience interaction is important. The occasional flinging of plastic spoons, the flinging of the pigskin, talking back at the screen, and the brief fake walkout are just some of what is done at L.A. screenings. Let's see if that is brought over to us. Wiseau himself is scheduled to introduce this screening, which should be fascinating to watch all by itself.

Posted below are links to the articles I mentioned. First, the A.V. Club article:

http://www.avclub.com/articles/the-room,25723/

And now, the Entertainment Weekly article:

http://www.avclub.com/articles/the-room,25723/

WALLACE AND GROMIT IN THE CURSE OF THE WERE-RABBIT- Sat Oct 30 at 1- Symphony Space at the Leonard Nimoy Thalia- Winner of Best Animated film at this year's Oscars, and one of my favorites from 2005. For the kids and the kids at heart. See how Wallace and his infinetly smarter dog Gromit, try to keep rabbits out of people's vegetable gardens, as well as finding out who the larger threat is to the annual vegetable growing contest.

It's also screening at 11AM that day as well, but good luck waking up for that one. Now if you're ambitious, you can do a sort of double feature on Oct 30. Seeing Wallace and Gromit uptown, then go downtown later that afternoon or evening to see . . .

PSYCHO- Sat Oct 30 at 5:30, 7:45 and 10 and Mon Nov 1- Thurs Nov 4 at 7:45 and 10- Film Forum- Honestly, I'm not trying to make a habit of posting this film each and every time it comes up. It's that I haven't seen it each time I've posted, and I'm gonna try again when it's playing at a convenient time for me. Which it is here.

Familiar to many, but I'm telling you, it's a completely different beast on the big screen as opposed to TV. You're not spending time in your living room, check marking all the familiar aspects of the story. This story sucks you in, lulls you into thinking one way, and then turns it around. You know all this, you wouldn't be looking at this list if you've never heard of Psycho. But this tightly edited story draws you despite what you know. And if you've somehow NEVER seen it, oh boy I'd like to see this with you.

And despite being an unplanned landmark in the horror genre, slasher sub-section, I would argue that this plays more like a suspense thriller then a horror pic. So those that have problems with horror flicks, should be ok with this. Interesting to watch acting-wise, as well. John Gavin's boyfriend performance hasn't aged too well, and Vera Miles's isn't bad, but definitely more then a little annoying. Not as shrill as Julianne Moore's in the remake, but still. Martin Balsam continued his reliable character actor work here, as a more believable ex-cop then Bill Macy in the remake.

There is a reason why this is Janet Leigh's most memorable performance, and it's not because of the shower scene. Go ahead, name another memorable performance of hers. Oops, Touch of Evil, not quite. Being part of the memorable opening scene doesn't qualify as a performance. And Manchurian Candidate doesn't count either. Being the red herring of a story's plot, eh, whatever. Despite Hitchcock's feeling about actor being cattle, Leigh gets to play a truly conflicted person. Decent, wanting more out of life, caught up in temptation, then over her head looking for a way out, which is about when she pulls into the Bates Motel.

But Anthony Perkins' performance feels modern today. Creepy, alive, desperate to open up, yet jittery within his own skin, and with just a little anger threatening to bubble up. Ole' Hitch may not have understood what Perkins was bringing to the table, but Alfred was patient enough to give him free rein. Thanks to the success of this, Tony could never be free of the typecasting. Oscar nominations for Leigh (her only one), Hitch for Director (his last nomination), Cinematography and Art Direction. On both AFI Top 100 lists and in my personal top 100. Catch this.

Let me know if there's interest, later all.

October revivals:first half. Mostly heist films. Long list.

Hey, Mike here with revivals to catch for the first half of Oct. Sorry if most of them are from the Forum's Heist films retrospective. But either I wasn't happy with what theaters had, or the alternatives were as interesting. I promise there will be more of a mix for the second half of the month but for now, it's mostly heist pictures. Let's start with something from September:

BRIDGE ON THE RIVER KWAI- Thurs Sept 30 at 7:30- Film Forum- One last day to catch the restored version of the David Lean classic. This is the one I'm catching for sure, and I hope you do to.

CHARLEY VARRICK and THE TAKING OF PELHAM 1 2 3 (1974)- Fri Oct 1 and Sat Oct 2 at 3:30 (Varrick), 5:35 (Pelham), 7:40 (Varrick), and 9:45 (Pelham)- Film Forum- The start of the Forum's Heist retrospective. First, the original Taking of Pelham1 2 3, not to be confused with last summer's mediocre remake. I did this film before in Sept 2004, and I liked it enough that I nominated it a couple of times in a Movie Night group I was involved in. It was eventually voted for, but we never got around to seeing it. This might be their only chance to see it. For the rest of you who haven't seen it . . .

A subway car is hijacked by terrorists who go only by color names like Mr. Blue and Mr. Brown (Gee, I wonder where Tarantino got the idea for Reservoir Dogs? Oh, he was doing a homage? YEAH RIGHT!) They demand one million dollars or they will kill the hostages one per minute. From there, it becomes a mental cat and mouse game between the hijacker leader (Robert Shaw) and the Columbo-esque Police Lt. (Matthau) who just happened to be on duty at the time. Depicts a New York that was dirtier and more dangerous then most readers under 32 can remember. But it feels like NYC in every other way: from the different type of people that make up this city, to subway and traffic problems in Manhattan, to the way humor is used by New Yorkers in even the oddest or toughest moments. If you're a fan of films like Reservoir Dogs or Inside Man, this is for you.

Next, Charley Varrick, from director Don Siegel. This was his follow-up to Dirty Harry. It's probably his best film that's been seen by the fewest people; I wouldn't be surprised if Tarantino was at least mildly influenced by this when conceiving Jackie Brown in terms of character development. Walter Matthau in the title role, plays a small time bank robber, who accidentally knocks over a bank that launders Mafia money. Now he has the law and the mob after him, and must use all his smarts to try to get out alive. Everyone is treated as a recognizable human being, including Matthau's crazy partner (Andrew Robinson, the killer in Dirty Harry), John Vernon's charismatic mob boss, even Joe Don Baker's genteel, psycho mob enforcer. Ok, the stuff involving Matthau and Felicia Farr (the wife of Matthau's friend, Jack Lemmon) has aged badly, but that's the only major quibble.

A major flop in the U.S. despite very good reviews, but a big hit in Europe. It's never been released on VHS, Universal cares so little about the film the DVD isn't even in Widescreen, and this has only enjoyed the rare screening on AMC and TCM. For fans of caper films and/or modern film noir, here's a treat you probably never heard of. Let's do this one. “The narrative line is clean and direct, the characterizations economical and functional and the triumph of intelligence gloriously satisfying.” – Andrew Sarris.

THE TERMINATOR- Fri Oct 1 and Sat Oct 2 at Midnight- IFC Center- I brought up the Ah-nuld/ Cameron classic back in the spring. It's back for at least one midnight screening weekend, so I dutifully post it, in case there's interest. I went over it back then, so I'll just keep on moving . . .

ODDS AGAINST TOMORROW and BLUE COLLAR- Wed Oct 6 at 7:50 (Odds) and 9:40 (Blue)- Film Forum- 2 more heist films, both with a social conscience, but with elements that let the medicine go down smooth. First, Odds Against Tomorrow. A Robert Wise film from 1959, set in NYC. 3 men at the end of their ropes. Ex-cop Ed Begely Sr. seems to have planned the perfect bank robbery. But tensions in his gang, between Harry Belafonte and perennial tough guy Robert Ryan, as one of film's most believable bigots, threaten to do more damage to the gang than the cops. With Shelley Winters as Ryan's girlfriend, Gloria Grahame as their neighbor looking for a little love, and small roles by Cisely Tyson and Wayne Rogers. Written by Abraham Polonsky, forced to write under a pseudonym since he was still being blacklisted. Good use of NYC and upstate NY locations, with the earliest uses of zooming and infrared photography.

Next, Blue Collar, from 1978. Paul Schrader, essentially cashing in his golden ticket after writing Taxi Driver, by making his directorial debut here, co-writing the screenplay with his brother Leonard. Life in a Detroit auto factory isn't good for three friends: Harvey Kietel, Yaphet Kotto and, in a rare dramatic role, Richard Pryor. They decide to get even by breaking into their local union's safe. But instead of large amounts of money, they find files that link the union to the mob. Not good for them.

Shot as realistic as possible, though this time, union corruption is the target of 70s malaise and anger, as opposed to typical attacking the corrupt government or corrupt industry bosses. This combination probably meant doom at the box office, though from the early 80s on, Blue Collar has had a passionate following, by people who point at this an undiscovered treasure. Praise for the three leads, who didn't get along (Pryor was probably the one with the most, uh, anger management issues, powdered or otherwise), yet played convincing friends. And perhaps more convincing as friends who might turn on each.

THE HOT ROCK with or without THE THOMAS CROWN AFFAIR (1967)- Thurs Oct 7 at 7:30 (Rock) and 9:30 (Crown)- Film Forum- A light hearted double feature. The second film I've caught before at the Forum, so I don't have to see it. It's the first film, that never gets a revival screening, that I'm pushing. The Hot Rock, from 1972, adapted by William Goldman (Butch Cassidy, All The President's Men, Misery) from Donald E. Westlake's novel, is a forgotten New York movie. Think of this as The Gang That Couldn't Steal Straight. Robert Redford leads a crew (including George Segal and Ron Liebman), hired by an African ambassador, to steal a large diamond from the Brooklyn Museum. But that's just the start of funny and shake your head complications that make you think either "Only in New York" or "Jeez, Clouseau had an easier time getting the Pink Panther diamond". With Zero Mostel as a shifty lawyer, and featuring a zippy score from Quincy Jones. I'm sorry, nobody says zippy anymore. Barely on DVD, though not in a slapped together condition, as Universal did to Charley Varrick. Chances are, you've never heard of this film, and now's a good time to get to know it.

Double featured with the original version of The Thomas Crown Affair. The Pierce Brosnan remake is ok at times, but is deservedly gathering dust with those who are not Mr. Skin fans, when compared with the original. Steve McQueen plays the title role, and is in ultra-cool mode. He's a bored multi-millionaire who gets his kicks from planning bank robberies. He thinks he's fighting the system, but excuse me, with his status and influence, isn't HE essentially part of the system? But Crown might meet his match in high class private eye Faye Dunaway, who isn't afraid to commit a crime or use her sexuality (but damn you if you throw it in her face). The rest of the film becomes a cat and mouse game between them.

I enjoy Norman Jewison's film very much. But I'll admit to some dated moments here, though thanks to 24, the multiple pictures in picture isn't one of them anymore. Has a very 60s feel to it, especially in the Oscar nominated score, the Oscar winning "The Windmills of your Mind", and the ending. The leads help this endure. McQueen may not be the prototype for the polo playing 60s-esque Master of the Universe. But he's Steve McQueen, so he's cool. And Faye Dunway gets to be stylish, sexy, and smart as whip. Mix the 2 together in that chess seduction scene, and it becomes unforgettable. I'm confident that if you're reading this, you probably haven't seen this, unless you came with me in April 2008. And I'm just as confident you'll enjoy it. But if you only want to see The Hot Rock, I'm fine with that.

RESERVOIR DOGS- Fri Oct 8 at 5:40 and 9:20- Film Forum- As much fun as I might have been having at Mr. Tarantino's expense, if his films weren't any good, I wouldn't bother posting any. One of his other films will be on the next list, but here's Quentin's first film, Reservoir Dogs. Usually I can only find this as a midnight screening, but here's a day (and one day only), where it plays at normal times. If you look at sites like this, then you what this film, so I'm just moving on. Long list after all . . .

THE ASPHALT JUNGLE and THE KILLING- Sat Oct 9 at 4:45 (Asphalt), 6:50 (Killing), and 8:20 (Asphalt) and 10:25 (Killing)- Film Forum- Two tough minded film-noirs starring Sterling Hayden. Both films feature heists gone wrong, not because of faulty planning, because of double crossing, one unexpected flaw, and saps who fall for bad dames. First, The Asphalt Jungle, John Huston's film from 1950. Tough guy Hayden is brought in by criminal mastermind Doc (Sam Jaffe, Oscar nominated), to lead a gang in a jewel heist. The heist is intricately plotted, elaborately filmed, but things slowly fall apart. Jean Hagen is the femme fatale that causes problems, and Marilyn Monroe has a small role.

With other directors, The Asphalt Jungle would be considered one of the landmarks of their career. But in the case of Huston's (Maltese Falcon, Treasure of the Sierra Madre, African Queen), it could probably be considered second tier. But oh what glorious second tier. Oscar nominations not just for Jaffe for Supporting Actor, but also for Huston for Director and Screenplay (with Ben Maddow) and for B and W Cinematography. I've only see this film in piecemeal, never in one shot. I'd love to change that now.

Next, The Killing, the first Stanley Kubrick film of note. From 1956, Hayden stars as the leader of a criminal group, brought together to rob a race track. The classic film noir notes are touched on: the likable anti-hero leader, the dumb loser jerked around by the femme fatale, the eccentrics in the gang, the precision of the plan, and the twist of fate that causes things to fall apart. Cited by Premiere, formerly remembered as a quality movie magazine back in the 90s and barely hanging in there as a website, having one of the best endings in movie history. And for those who can't tolerate Kubrick or can't stand the time, it's only 85 minutes, so you'll get out at a decent time.

I've never done a screening of Asphalt Jungle before, I've done The Killing twice. I don't have to catch them both,but I wouldn't mind.

THIEF- Thurs Oct 14 at 3:30 and 8:30- Film Forum- Michael Mann's first time directing a theatrical film might be considered as an example of style over substance, but oh what glorious style. One of United Artists' last flops, from 1981, it tells a familiar story. James Caan is a top safe cracker who agrees to do one last job for a crime boss who'll let him retire afterwards, or will he? He wants to make (or steal) enough money so he can retire and raise a family. All the obsession he brings to his profession, he transfers to pursing his dream, ignoring his own instincts. He'll pay for that.

If this had come out 3-5 years later, when Michael Mann's style was firmly established in the hit series Miami Vice, it might have been more successful. The energized cinematography, slick editing, electric rock score, it's all there. Plus, a strong centerpiece performance from Caan as the tough as nails thief; anxious to have something resembling a normal life, and unsure if he can get it, or keep it. Not the best film on this list, but look at as a Mann template coming into place, as it tells a familiar story told in an interesting way, with a great lead performance ably supported by the rest of the cast (Robert Prosky, Tuesday Weld, Willie Nelson, Jim Belushi, William Petersen, Dennis Farina). It's only available in an out of print DVD, with little to no extras. It's rumored to be given the Criterion Collection treatment, but that can't possible come for another year or so. So this is your best chance to see this rarely screened film.

BOB LE FLAMBEUR and BAND OF OUTSIDERS- Fri Oct 15 at 7:15 (Bob) and 9:10 (Band)- Film Forum- More films from the Heist retro, both French films that, similar to Hot Rock, Pelham, Varrick and the Tarantino films, doesn't mind throwing in a bit of humor. Only these pictures got there first. First, Bob Le Flambeur, the first standout film for director Jean-Pierre Melville, that was a major influence on the French New Wave. Bob is a broken down, middle aged gangster/gambler, deep in into his current losing streak. He's known by everyone and friendly with almost all. Even with those in the police who tell him to give up planning heists. But when he hears about a casino holding the winnings for the Grand Prix, he has to plan one more heist. Some of you might be familiar with the decent 2003 remake starring Nick Nolte, The Good Thief. But it's time to know the original classic. And for people who have looked at these lists for a while, you probably heard me wax poetic about Melville (Leon Morin: Priest, Le Doulos, Le Circle Rouge which plays at the Forum on October 10, and especially Army Of Shadows). So I want to catch this, probably more than any film on this particular list.

And since I would be there anyway, I might as well catch a film released during the New Wave, Goddard's Band of Outsiders. Anna Karina talks two guys, who seem to have gained their criminal smarts strictly from watching American crime films, into robbing the villa she's staying at. The two friends try to bed the girl with as much zeal (if not more), than in the actual heist. But what happens if the people around them, start finding out about the would-be heist?

For those of you who don't know Goddard, or find him an impenetrable director to tackle without having EVER seen a film of his. Famous for scenes such as the race in the Louvre, the minute of silence where everything is quiet, and the Madison dance scene, that seems to have inspired Tarantino for the Travolta/Thurman dance scene in Pulp Fiction.

Consider Band of Outsiders a gateway film. If you have no interest in Goddard after this, then hey, at least you tried. And since we've already paid to see Bob Le Flambeur, why not stay and catch Band of Outsiders?

That's all for now. Let me know if there's interest. Later all.

Sept revivals: second half. Small list edition.

Hey all. Mike here, apparently late with regards to posting revivals for the rest of September. But that's only for two reasons. First, I lost the desire to try to catch On A Clear Day You Can See Forever. Maybe another time, sorry Streisand fans. No, sincerely, I would consider catching it at some point, no sarcasm here. But if I don't feel any kind of burning desire, there's no point in pushing it. And second, the little Tornado/ Macroburst thingie. I'm ok, despite Time Warner Cable's insistence that I share the pain with their half-assed repair efforts. If they are not half assed, then they let the perception form as such, and that is not my problem. Seriously, I know it could have been far worse. It was a few blocks in different directions, and I know I dodged a bullet here.

But I'm just fine with the list being small: 2 AFI Top 100 films and a fun flick to catch at Midnight. Pretty respectable I think. Here we go:

DOUBLE INDEMNITY for 7.50- Thurs Sept 23 at 9:30- Chelsea Clearview Cinema- A cheap screening of the Billy Wilder film noir that's on both AFI Top 100 lists. Fred MacMurray and Barbara Stanwyck are both cool as they plot her husband for the insurance money, but pesky investigator/moral compass Edward G. Robinson keeps getting in the way. I shouldn't be that way; if Eddie G. didn't turn in such a humane performance as basically both the audience's stand-in and the incorruptible everyman (as opposed to MacMurray's fine performance as the corrupted everyman), maybe this film would be slightly less better remembered. That last sentence probably made little grammatical sense, but I have little time, so I'm just moving on. Except that it's not like Eddie G. created the performance out of a vacuum. He did Wilder as a director, and Wilder and Raymond Chandler as screenwriters (the screenwriters detested each other. Reading a little about makes me think it was karma that Wilder had to deal with Monroe for Some Like It Hot). And let me not forget the source material: James M. Cain's novel, based on actual murder case from the 1920s.

7 Oscar nominations, including Best Picture, Wilder for Director, Stanwyck for Actress, and Wilder and Chandler for Screenplay. Surprisingly nothing for MacMurray or Robinson. No wins, since Going My Way was a juggernaut that year. On the short list for the best film noirs ever made. While I can't put this above Laura, which was released the same year as this, I enjoy the dance Wilder and cast do around the Production Code. And only for 7.50.

THE BRIDGE ON THE RIVER KWAI- Fri Sept 24, Sat Sept 25, and Tues Sept 28 - Thurs Sept 30 at 4:30 and 7:30- Film Forum- The classic David Lean film, the first of his big epics, gets a one week run at the Forum. A 4k digital restoration with 5.1 Dolby Sound that supposedly shows the picture in its original aspect ratio, unseen either on screen TV or video since its original 1957-58 release. I'm just parroting what it says on the Forum website. Those with knowledge about aspect ratios and why Bridge's was messed with so often can tell me at their leisure, I'd appreciate it in layman's terms, please.

Kwai follows the stories of two men. Alec Guinness, in his best known role before Star Wars, is Colonel Nicholson, whose British stiff upper lip demeanor is beaten out of in a Japanese POW camp. Though not really; it seems to get twisted with more than a little insanity, as he takes his Japanese commander's orders to have the prisoners build a bridge further then anyone might expect. William Holden plays a cynical American, who recovers from his physical wounds from the camp in a hospital, and his psychic wounds by falling in love with a nurse there. But all that optimism is crushed, when Holden is forced to lead a commando group in a borderline suicide mission. To lead them back to the POW he just escaped from, and blow up any bridge that might be built nearby. Fascinating and powerful.

Oscars for Picture, Director, Guinness for Actor, Cinematography, Editing and Score. Also an Oscar for Screenplay Adaptation. But the two screenwriters, Michael Wilson and Carl Foreman, were blacklisted and credit went instead to the author of the book this was based on, Pierre Boulle, who didn't speak or write in English. It took until 1984 for the Academy to award them their Oscars. Wilson had already died and Foreman died the day after the announcement. The film is also on both AFI Top 100 lists and in my personal top 100. Only available on DVD with good sound but with a sub par picture (even on widescreen, you don't see the entire picture). Now if you prefer TV, it comes out on blu-ray on November 2, but seeing something like this on TV (no matter how large your screen is) as opposed to the big screen is, to quote Larry Miller, the difference between shooting a bullet and throwing it, and you are therefore, useless to me. Just go already.

PURPLE RAIN- Fri Sept 24 and Sat Sept 25 at Midnight for 9.99- Landmark Sunshine Cinema- The only midnight screening I had any interest in catching this month, screened at a cheaper price than at IFC Center. For the rest, I'll repost what I wrote the last time I listed it:

"Pauline Kael once said in the late 60's that the time then was ripe to create more musicals with the present (then) rock stars like Janis Joplin. That's what made the musicals of the 30s, 40s and 50s successful: they were populated with the top recording artists of the day (Doris Day, Rosemary Clooney, Crosby et. al.). That's what the studios could do: setup a musical with one or many of today's contemporary recording artists."

I think that fits in the case of Once, where you had recording artists doing their songs. And it certainly applies to Prince with this film. Can't imagine a good actor from that period pulling off these kind of songs, no matter who wrote them. Not the greatest film ever made, and not what you call great acting by Prince. But with performances of songs like "When Doves Cry", "Let's Go Crazy" and the title track, the sleeper hit of the summer of 1984 literally rocks whenever the music comes up. Watch how Prince went from successful rock act to icon status. Granted, he would later throw it away with crap like "Under The Cherry Moon" and "Graffiti Bridge", change his name to a symbol with no real meaning, and basically become strange to the point of uninteresting. But watching and listening to him here, anything seemed possible back then. Prince did win an Oscar for music, in a category that no longer exists.

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

September revivals, first half: the in-a-hurry-edition.

Hey, all. Mike here with a revival list for the first half of September. I don't have a lot of time, what with the U.S. Open having officially started. So please don't mind the haste this list was put together with, just check out the titles and see if there's interest. Here we go:

AVATAR: SPECIAL EDITION in 3-D and IMAX 3-D- Different theaters in New York, Long Island, New Jersey and about 600 plus screens around the country- All at different times that you can look up on your own- The extended, probably unnecessary version of Avatar still plays, probably through Thursday, September 9th, and maybe until Thursday, September 16th. Playing at different places in both 3-D and IMAX 3-D. Please excuse me if the only screen its playing in that I actually count as IMAX is the screen at AMC Lowes Lincoln Square: the only genuine IMAX screen that screens studio films in New York City, probably. I'll go, since I have little interest in sitting through this on a regular or even HD TV screen.

WHEN STRANGERS MARRY- Thurs Sept 2 at 6:35- Film Forum- Part of the William Castle retrospective. Castle was a director/ producer who's better known for the gimmicks used to promote or to "enhance" the experience of seeing his films, than the actual films themselves. Ok, Rosemary's Baby is the best known film on his resume, but since Roman Polanski was hired to direct because Roman was a more talented director, I'm not counting it, and neither is the Forum since it isn't in their retrospective.

Now I don't this film, but it seems interesting, so I post it. One night only, and only at 6:35. And hey, its only 67 minutes long. I'm loathe to do this, but I'll have to cut and paste the Forum's description and go from there:

(1944) Kim Hunter weds glove salesman Dean Jagger after their first date, then hears there’s a gloved strangler on the loose. But old flame Robert Mitchum is there to help. Shot in 7 days for $50,000, but “better acted than Double Indemnity and Laura” (Orson Welles). Approx. 67 minutes.

“Hitchcock was never more low-rent than this early B-movie sleeper.” – J. Hoberman

THE TINGLER plus PSYCHO: THE TRAILER- Sat Sept 4 and Sun Sept 5 at 2:50, 4:40, 8:15, and 10:05 (the Sunday 10:05 not for me)- Film Forum- Part of the William Castle retro, and his best known film. Better known for the gimmicks used to enhance the film experience, than the actual film itself. Simple story, where scientist Vincent Price discovers a creature that exists in all humans, a creature that lives on fear. He discovers one that is quite big and then it escapes . . .

Supposedly the Forum will re-enact the stunts that were done back when The Tingler was originally released. Not sure what that means exactly, but if it includes a few seats wired to give some select viewers a small shock, some people fainting "on cue", and some "nurses" ready to help movie goers, then this might be fun. More fun than the film itself.

Before The Tingler, the Forum will screen the original trailer for Psycho, which will play at the Forum around Halloween. The famous six minute trailer where its mainly just Hitchcock giving us a tour of the Bates Motel.

VANISHING POINT- Sat Sept 4 at 10- Walter Reade at Lincoln Center- Part of the 20th Century Fox retrospective. New prints or special prints of every film that weekend. Go to the filmlinc website. Vanishing Point is a favorite among gear heads, features the world's most famous Dodge Challenger, and served as at least a partial inspiration for Quentin Tarantino's section of Grindhouse. As for the rest, here I'll cut and paste from filmlinc's website:

One of the choice pictures from the post-Sixties come-down is this road movie on amphetamines. Vietnam veteran, former police officer, and ace driver Kowalski (determined Barry Newman) takes a car cross-country and tries to outrun the law in an existentialist race to the final end. The sweet Dodge Challenger that is his muscle car of choice roars across the screen, spawning a cult virtually all its own among auto buffs. Featuring the off-the-wall radio-DJ stylings of Cleavon Little, chorus to Kowalski’s death trip.

PATTON- Mon Sept 6 at 8- The end of the 20th Century Fox retrospective. A rare 70mm print of the classic film. Arguably one of the best War films ever made. For me, among one of the best World War 2 films AND one of the best Biographical films ever made. Most people under the age 36 has probably never seen one before, and for something that isn't an IMAX screen, it's pretty damn large. A warts and all depiction of the general that even the very private Patton family would come to admire. Featuring a performance from George C. Scott that has made him seem like nothing less than Patton incarnate, and a first five to seven minutes that are among the best in the history of film, I kid you not.

THE MAN WHO KNEW TOO MUCH (1956)- Thurs Sept 9 at 9:30 for 7 dollars- Chelsea Clearview Cinema- A cheap screening of Hitchcock's 1956 remake of his own film of the same name. Jimmy Stewart is basically the title role, as he and Doris Day's son is kidnapped, so that Stewart will keep quiet about whatever info he was given by a dying spy. But the couple works essentially on their own to get their kid back. Now you can interrupt the script as Hitch's view of America overseas. Bumbling whenever it first gets involved in a foreign affair, perhaps more interested in initial action as opposed to first understanding the problem. Or understanding the area and people they will encounter. But the Americans' actions are well meaning, and they will eventually figure out a satisfactory conclusion.

This was one of Hitch's films that was gone for a while, then re-released in theaters in 1984. While this version of Knew Too Much didn't gain the classic status Rear Window and Vertigo received, it has been deservedly appreciated. And I will argue the wordless sequence in the middle of the film, set in the Royal Albert Hall, is as much a classic as anything Hitch ever did. Day's rendition of the Oscar winning "Que Sera, Sera", not so much; important to the plot but a film stopper in the worst way beforehand. Anyway, it's a cheap screening so don't knock it.

MY UNCLE plus Tatitude- Fri Sept 10, Sat Sept 11 and Mon Sept 13 at 7:45 and 10- Film Forum- A 35mm restoration. The Forum is determined to keep the work of Jacques Tati alive, and after the success of M. Hulot's Holiday, here another one of Tati's comedies. But since I don't know this, and I have little time, I must once again cut and paste from the Forum's website:

(1958) Ah, la vie moderne! Madame Arpel dons rubber gloves to serve her son an egg; a pressed button pops her steak from grill to plate; another opens the front gate — but first the vertical fish sculpture must be turned into a fountain for important guests; circular windows resemble eyes when the silhouetted Arpels peer through them; hosts and visitors ruthlessly conform to the serpentine paved paths through the postage stamp graveled front yard; and an anniversary present, an automatic garage door opener and closer, backfires when their dog triggers it with the couple trapped inside. But their son Gérard prefers the company of his seemingly hapless uncle, the high-cuffed, pipe-smoking bull-in-a-China shop Monsieur Hulot (Tati), who lives alone in a crumbling old neighborhood, where a wandering pack of dogs mark their territory, schoolboys play practical jokes on motorists and passersby, the street sweeper prefers chatting over actually scraping up the dung, and where a cheery tune is always playing in the background.

The gentlest of satires, Mon Oncle was Tati’s first film released in color and his most honored: Best Foreign Film Oscar; Best Foreign Film, New York Film Critics Circle; Special Jury Prize, Cannes, etc. But its simultaneously produced doppelganger, My Uncle, had been forgotten and nearly lost. With opening credits and street signs in English and the Arpels’ dialogue in British-accented English — though the townspeople still speak in (unsubtitled) French — Uncle was meant to be more accessible, but is also subtly different, containing scenes missing from Oncleand producing a slightly greater tilt toward Hulot’s world over la moderne. Long forgotten, the negative discovered in Tati’s archives has been restored to its original bright and vibrant color.

Also playing is a short, Tatitude, director Vivian Ostrovsky's tribute homage or whatever, to M. Hulot's Holiday.

Let me know. Would have to know quickly regarding the first film listed and Patton, since I'd have to plan around the Open for them. Later all.

August revivals: second half

Hey, all. Mike here with a revival list for the second half of August. With the U.S. Open, my favorite time of summer in NYC, starting soon, it's hard to schedule some stuff. Not just the tournament, but the free qualifying round and the practices by top players that starts on August 24. Most revivals take a backseat for me, but I'll post a few. A lot of them conflict, but that's not my worry. Here we go:

FLYING DOWN TO RIO and SWING TIME- Tues Aug 17 at 6:45 (Rio), 8:30 (Swing) and 10:30 (Rio)- Film Forum- The start of the Astaire-Rogers retrospective. I brought it up last time. Go to the last list and review what I wrote there if you're interested. Not too closely, since I don't claim great writing there, just gleam for the info if interested.

ORLANDO- Now until whenever the Quad decides otherwise- Probably Thurs Aug 19 or Thurs Aug 26- The restored print of the film that has kept essentially kept Tilda Swinton employed ever since it's released, continues to play at the Quad. It's last day will probably be either Thursday August 19, or Thursday August 26. The Quad's website hasn't said when, but I can't wait. I'll just post and move on.

PAULINE AT THE BEACH- Wed Aug 18 at 6:45 and Sat Aug 28 at 8:30- Walter Reade at Lincoln Center- Part of the Eric Rohmer retrospective. A famous French director who seemed to be working straight up to his death last year, at age 89. To steal a line from an imdb poster, Rohmer seemed to be a writer, who wrote with a film camera, as opposed to a pen. Similar to Woody Allen, but Allen can be more experimental and has done more with the camera, while Rohmer wrote his human drams or comedies, concentrating always on his very talkative characters. I won't post them all, but I'll post a few, starting with Pauline On The Beach, my favorite of his work. Probably his most accessible as well, which it explains why it did well on the art house circuit back in 1983. Raves from Siskel and Ebert, and other critics, helped I'm sure.

Pauline is a 15 year old who gets to spend summer vacation at a beach house, with her older cousin. The cousin, freshly divorced and a hot-to-trot blue eyed blond, thinks she gets to chose, between a friend who's always loved her, and an old boyfriend who prefers living in the moment, and checking out every female he sees. Pauline seems mature for her age, and observes all of this. But she's uninterested in it all, until she develops a crush on a boy her own age. And as the summer winds down, both females are surprised with what they've learned, and what they still don't know and understand.

No true villains in this film (depending on your point of view?), and very little moralizing here. Just a slice of life picture, of a summer both women won't forget. Not a big film, but a gentle, well paced and interesting one.

SHADOW OF A DOUBT for 7 dollars- Thurs Aug 19 at 9- Chelsea Clearview Cinema- A cheap screening of the classic Hitchcock film. As wealthy widows keep disappearing, Joseph Cotten's lovable Uncle Charlie visits his niece "Young Charlie" (Teresa Wright) in her very average middle-American town (shot-on-location in Santa Rosa, California), but when someone mentions "The Merry Widow Murderer" . . . Often claimed as Hitchcock's own favorite, he must have got a big kick out the idea of small town Americana having evil nestled in its bosom. "Authentic Americana" (my quotes) from the screenwriters, Thornton Wilder (Our Town) and Sally Benson (Meet Me In St. Louis). As good as Theresa Wright is, I come away admiring Cotten's performance more. Some times pleasant and gentle, sometimes incapable of keeping his hair-trigger emotions in check, with practically every shade in between.

DIAL M FOR MURDER in 3-D- Fri Aug 20 and Sat Aug 21 (extreme maybe for me as of this writing) at 2, 4:30, 7 and 9:30- Film Forum- Part of the 3-D retrospective the Forum is having. And we're talking the original 3-D method; with two projectors as it was back in the 50s, not Real 3-D like with Avatar. A Hitchcock classic, that may not have strayed all that successfully from its stage roots, but is still quite good. Ray Milland finds out his wife, Grace Kelly, is cheating on him and is getting ready to dump him. Seeing his wealthy lifestyle about to be taken away from him, he plots his wife's murder. Complications ensue, etc. . . .

Cool performances from Milland, Kelly, and character actor John Williams, reprising his Tony winning role as the dogged Chief Inspector. Talkier then usual from a Hitchcock film. I'd argue it's about as talky as Hitchcock and Kelly's other 1954 film together, Rear Window. Window had a better script, with sly insights and a somewhat better realized film. Dial M is a more straight forward, ably executed mystery, with a great scene involving Kelly and a large shiny pair of scissors.

Now at about this time, 3-D was enjoying about the same kind of popularity it's having at the moment. You had studio heads pushing to have films made in 3-D, but unlike now, where pressure can be applied to have films that were never shot in 3-D converted (Clash of the Titans, The Last Airbender), the pressure in the 50s had to be applied in pre-production. So while Hitch was forced to shoot it in 3-D he must have said something along the lines of "Screw them", and did as little as possible in terms of 3-D. Playing a little with perspective, a few low angles, some objects blocking some actors, not much. Hitch basically looked at 3-D as a fad, shot in 2-D and 3-D simultaneously, and just tried to make a good film, which he did. The 3-D version was released first but didn't play too long, followed by the 2-D classic version. It was re-released in 3-D in 1980 (I thought it was 81, but imdb disagrees), but in a flat version that wasn't popular, and different from how it was screened back in 1954, and different than how it will be screened in the Forum. If you want to experience what it was like to watch a 3-D film in the 50s, but with coffee brownies and air conditioning, catch Dial M.

BLUE VELVET- Fri Aug 20 and Sat Aug 21 at Midnight for 9.99- Landmark Sunshine Cinema- In my top 5 ever, possibly higher. What Shadow of a Doubt pushed in terms of evil in a small town Americana, Blue Velvet cranked to 11 and turned it on its (severed) ear. This mystery/neo-noir/romantic drama got Lynch a Best Director nomination, and brought both his and Kyle MacLachlan's career back from the dead. Isabella Rossellini established herself as an actress once and for all, and Dennis Hopper became a working character actor forever, in a career performance. Also drew major controversy in its day for its, let's just say, sexual connotations, and what was required of Rossellini in her role. I believe it was Ebert who called this film the most vile thing he had ever seen (or something along those lines). Rosselini attacked him in response (verbally attacked I meant). A bit of a Rorschach test, this hauntingly beautiful film is. Decide for yourself.

HOUSE OF WAX (1953) in 3-D- Sun Aug 22 at 9:20- Film Forum- From the Forum's 3-D retrospective. I believe it was one of, if not the biggest hit from the 50s 3-D craze. A Vincent Price hit, where he plays a good man, a sculptor, left for dead in a fire surrounded by his wax sculptures. He miraculously lives, and opens a new museum, filled with remarkably life-like sculptures. But one woman suspects they're a little too life like. Especially when she sees a sculpture of her friend, the soon to be Morticia Adams, Carolyn Jones. And there are all these stories about corpses stolen from morgues. And why does Price look so strange. And why is she being chased on the creepy streets by Price's assistant Igor, played by Charles Bronson, back when he still used his real last name, Buchinsky. Not a great film, but a fun one. It has more screenings, but I'm sorry, this is the only one I can probably make, therefore, it's the only one I'm posting.

MY NIGHT AT MAUDE'S- Mon Aug 23 at 6:45 and Fri Aug 27 at 6:15- Walter Reade at Lincoln Center- Part of the Eric Rohmer retro from 1969, though released in the U.S. in '70. Jean-Louis Trintignant (Z, A Man and A Woman. After this, The Conformist) is a mathematician who has a way with the girls (don't they all). Francoise Fabian (Belle de Jour) is Maude, who has a way with the boys. They go to bed together, where they talk. And talk. And talk and philosophize. Mainly about God and religion, and what it takes to be a true believer, to be faithful, etc. Exactly the kind of stuff you talk about in bed. If you're familiar with Melville's "Leon Morin, Priest", you have an idea where the discussion goes. I have to think Louis Malle is familiar with both films when he made My Dinner With Andre; no facts behind this, just my guess. But anyway, you've just been given a primer of what to expect in My Night At Maude's, so if you complain there's nothing going on in this film, you can't say you weren't warned.

I'm not familiar enough with Rohmer's work to know if My Night At Maude's gave him international fame or just fame in the U.S. But the film does seem to have received the most awards and nominations in Rohmer's career (I'm in no mood to research it carefully; too little time). Nominated for the Golden Palm at Cannes, critics' awards for either the screenplay or the cinematography (not all of the film takes place in a bedroom), and Oscar nominations for Foreign Language Film and for Original Screenplay. Seems interesting enough to give it a chance.

CAREFREE and SHALL WE DANCE- Tues Aug 24 at 7:30 (Carefree) and 9:10 (Dance)- Film Forum- More Fred and Ginger. Again, who cares about plot, we care about the dancing, and I suppose the music and singing as well. With Carfree, Ralph Bellamy is the Baxter yet again, when his fiancee (Rogers) falls for his best friend (Astaire). There's stuff about the guys being doctors and hypnosis, but who cares. Oscar noms for Art Direction, the Score, and Irving Berlin's "Change Partners and Dance with Me". With Shall We Dance, ballet dancer star Astaire likes musical leading lady Rogers. But he doesn't know her, so he arranges to be on the same cruise ship as her. But once they dock in New York, people think they're married. Again, who cares, it's about the dancing, people!. An Oscar nom for the classic George and Ira Gershwin, "They Can't Take That Away from Me".

CLAIRE'S KNEE- Wed Aug 25 at 6:50 and Fri Aug 27 at 8:30- Walter Reade at Lincoln Center- Part of the Eric Rohmer retro. From 1970 though released in the U.S. in 71, consider this a lighter version of Dangerous Liaisons. A soon to be ex-bachelor, accepts a bet from his female friend, to flirt with an 18 year old girl and nothing more. The teen falls for him, but the guy falls instead, for the girl's older sister, Claire. He has to at least touch her knee, and is oblivious to the probable fact, that the perfect looking Claire, is probably a stuck up bitch. Talky, but seems interesting enough to post.

AVATAR- Extended version in both Real and IMAX 3-D- Starting Fri Aug 27- Times and locations TBA- One of the best films of 2009, that has been referred to either as Dances With Smurfs or James Cameron's Pocahontas, but with gunfire and a few moments of annoying 9/11 imagery, gets a re-release. Only this time 8 minutes longer; just like what James Cameron did with The Abyss and (luckily ignored and forgotten) Terminator 2. Now what is in these 8 extra minutes? A Na'vi sex scene? Stephen Lang's bad (and bad ass) Marine eating a Na'vi over an open flame? More of Sigourney Weaver being earnest? More Michelle Rodriguez doing whatever it is she does? I have no idea, I'm not sure what this could except for maybe another blatant cash grab. But since this isn't a film I'll have any interest in seeing on TV, except for maybe a 40 plus inch Blu-Ray TV with a kick ass sound system, the big screen will do.

It will be re-released in both Real 3-D and IMAX 3-D screens. Where exactly I'm not sure. I'm sure that info will come down by Wednesday, August 25, but I can't wait that long. And in the NYC area, I'm not sure if by IMAX they include the actual IMAX screen at AMC Lincoln Square, or the rip-off IMAX screens at 42nd, 34th, and 14th street theaters. We'll have to wait, but I'll go again if there's any interest.

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