June revivals: first half

Hey all. Mike here with a list of revivals for the first half of June. But first, I attended a screening of Rollerball last weekend at the Walter Reade at Lincoln Center. Deserves a lot more respect then it gets. A politically charged sci-fi film, that uses the idea of a brutal sport to make its points. I'm sorry the actual sport scenes have covered the messages for some, and kept others from giving it a chance. This includes Facebook friends of mine who had the choice to attend because they were bored, had nothing else to do and chose not to. Hey, I said I was going and that you were welcome to come in and join me, that you missed out is disappointing but not my problem.

After the screening, the film's director, Norman Jewison, spoke about the film (not much) and his career, with his friend, Sony Picture Classics co-president Michael Barker. 2 pictures from the conversation are posted here. Among the highlights:

Norman was inspired to make Rollerball, by his disgust at how the NHL degenerated to a violence first sport. Then he read William Harrison's short story "Roller Ball Murder", and wanted to make it into a film. But it still required them to figure out how to play the actual sport of Roller Ball, explain to skeptical United Artists executives, then figure how to shoot it, and how, alongside the stunt coordinators, how not to kill anybody when shooting. this. And despite the rampant rumors, no one died while shooting the Rollerball scenes, just one broken leg.

Rollerball was well received in Europe, but was dismissed as just an overly violent film in America and barely found any audience, especially while Jaws in release at the same time.

Steve McQueen was very cool, but strange. He literally went away from sets for days during the full moon, and nobody knew where he went. When shooting The Thomas Crown Affair, they had to basis the shooting schedule based on the lunar cycle.

United Artists executives wanted Jewison to direct Fiddler on the Roof because they thought he was Jewish. When Norman told him he wasn't and asked why me, he felt UA head Arthur Krim covered by saying that he wanted the picture to have a universal appeal, not just play well only on Seventh Avenue (sorry, I'm paraphrasing and working off of memory).

Jewison was surprised by Fiddler's international success, but was stunned about how successful it was in Japan. When he asked how could they could relate to the story so much, the answer was basically "A father worrying about his five daughters is universally relate able.".

There was more, but you weren't there, so too bad. On with the list, here we go:

DOGTOOTH- Fri June 3 at 9:30- Rubin Museum of Art- 150 W. 17th st near 7th Ave.- It appears there's a new space where I can bring up revival screenings: the Rubin Museum of Art. Open in 2004, they claim to have a state of the art theater. Now this may not be the kind of film that needs state of the art equipment, but it's as good a film as any to try them out.

Dogtooth had a limited art house run last summer despite good to very good reviews, and came and went in Manhattan so fast you'd think it was never in theaters at all. But then it received a surprise Oscar nomination this year for Best Foreign Language Film, the fifth film from Greece to ever receive a nomination of any kind, and it received a major uptick in rentals via Netflix. But it's still pretty unknown in this country, and once the story is loosely described, the reaction is a general "huh"?

I've heard it described as both a drama and a dark comedy, but since I haven't seen it, I can't tell you which is more likely. A well to do family live in a mansion, where the father keeps his kids, one boy and two girls trapped on the grounds. Their vocabulary constantly changes, with meanings that are different then ours, like the sea means armchair, or flowers are zombies. They have a (self-created?) brother, who may have been destroyed by the evil forces that exist beyond the walls, and the parents browbeat them to stay obedient or else they'll meet their brother's fate. And the parents have kept this up, even though the kids are obviously at least thirty. But the only person who is brought in from the outside, a woman hired to relieve the brother's sexual needs, is tired of this job, and the three "kids" ideas and interpretations may overwhelm the parents. Ideas of what the upper class can get away with or thinks they can get away with because of their wealth/social status, as well as the idea of Nature versus Nurture, may very well play out in this film, and I'm curious to find out. This screening will be introduced by actress/writer/ producer Marisa Stefatos:

http://www.rmanyc.org/events/load/1174

LA DOLCE VITA- Wed-Fri June 8-June 10 and Tues-Thurs June 14-16 at 7:40- Film Forum- A new 35mm restoration. A bored gossip columnist (Marcello Mastroianni) wanders through the hedonistic spectacle of modern Rome in Federico Fellini's epic, widely considered to be his most influential and entertaining film. Apparently I wrote this as an email to someone to try to draw them to this flick back in 2006. I'm not sure if I copied this from a revival house's website or not, but it was 5 years ago, I need to get this posted, and if you look at this list at any time and you never heard of La Dolce Vita, maybe I'm not for you. Oscar nominations for Fellini for Director and Original Screenplay, an Oscar for the Costume Design:

http://www.filmforum.org/films/dolcevita.html

FEMALE TROUBLE for 7.50- Chelsea Clearview Cinemas- Thurs June 9 at 7 (with Hedda Lettuce) and 9:30 (without)- Chelsea Clearview Cinema- For those who like John Waters films, here's a Midnight cult-classic doozy from his 70's days. When the parents of Dawn Davenport (Divine) neglect to get the deviant high schooler the one Christmas gift she wants more than anything else in the world, a pair of cha-cha heels, she throws the tree over on her mother and leaves, only to have a sexual encounter with a slob (also Divine) who picks her up hitchhiking. Nine months later, she has a daughter, Taffy (Mink Stole). Dawn's life turns around when she marries Gator (Michael Potter), a hairdresser. Gator's employers the Dashers have a philosophy that "crime equals beauty," and they turn Dawn into their own private superstar, photographing her committing outrageous acts. Rated X for a reason. Your choice of seeing it either with Hedda Lettuce's comments both pre-film and during the film a la MST3K at 7, or comment free at 9:30:

http://clearviewcinemas.com/classics/classics-chelsea.shtml

NYFF OPENING NIGHT CLASSICS MOVIE MARATHON OF WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, PULP FICTION, DOWN BY LAW, DAY FOR NIGHT, MILLER'S CROSSING AND RAN for free- Starting on Fri June 10 at 9- Elinor Bunin Monroe Film Center- The Film Society of Lincoln Center is opening a new theater, the Elinor Bunin Monroe Film Center on Friday June 10th. Located approximately across from the entrance to the escalator and staircase to the Walter Reade, it has 3 screens and a weekend-long series of films for free. But you can only get the tickets for free through the filmlinc website, starting on June 3rd. Some of the stuff, like Olivier Stone showing then talking about his Director's Cut of Alexander, get lost. And some of the stuff, like Kevin Smith introducing Valley Girl or Jason Reitman introducing Carnal Knowledge, I wish I had time for.

But the intriguing doable one for me, at least in part, is their marathon of films that opened previous editions of the New York Film Festival. You can do one film, a couple, or the whole marathon, and God bless you if you can because I won't. Here are the films in order of screening, sorry that I'm skipping descriptions for this section:

Women on the Verge of a Nervous Breakdown- 10pm

Pulp Fiction- 11:50pm

Jim Jarmusch's Down by Law- 2:45AM

Day For Night- 4:50AM

Miller's Crossing- 7:50AM

Akira Kurosawa's Ran- 9:30AM

http://www.filmlinc.com/films/on-sale/nyff-opening-night-classics-movie-marathon

THE HURT LOCKER- Mon June 13 at 8- MOMA- Finally, Kathryn Bigelow fulfills the promise of Near Dark. After stuff like Point Break and Blue Steel, I essentially gave up on her (I'm pretending that K-19 The Widowmaker doesn't exist.). But with The Hurt Locker, not only do we have a good war film and a very good drama, but we have the best action film in a long time. Great tension, following a bomb disposal unit in Iraq, where the second they leave their compound, anyone with a cell phone, or peaking out of a window, may be trying to kill them. And that's not counting the openly armed enemy.

But having a lead character, superbly played by Jeremy Renner (Oscar nominated), treating war like a drug, was fascinating. Ok, it's not war, it's adrenaline. Having an adrenaline junkie, taking over the lead of a team only wanting to get out safely in the last thirty days of their tour, in the environment I just mentioned. The "junkie" will do his duty, because it's not only his job, but it's where he can get his fix. But when the distinctions blur, and his comrades wonder whether they're considered less important than his fix, Then this film begins to rock. Yes, the film offers no explanation for his behavior, but because the character himself refuses to fully explain himself, not even to his wife, I'm fine with that.

I'm disappointed that I wasn't very successful in getting people to see it last summer, or after it received a lot of Oscar nominations, including Best Picture. I hoped after it won Best Picture Director and Original Screenplay, that The Hurt Locker will have finally found an audience. I'm mean, seriously, Summit Distribution knows how to sell a vampire fairy tale in Twilight, but they can't figure out how to sell this? Give me a break. Anyway, based on the number I know who still haven't seen The Hurt Locker, this hasn't really happened, even if it's available on DVD or having been screened a ton of times on Showtime. But unless you have a large screen TV, a Blu-Ray player and a good sound system, the screen at MOMA should do a fine job as an introduction:

http://www.moma.org/visit/calendar/film_screenings/12511

Y TU MAMA TAMBIEN- Wed June 15 at 8- MOMA- An art house hit from 2002. From director Alfonso Curaon. Sort of a career reboot for himself, after the English language films A Little Princess and Great Expectations drew no audiences, and before he directed the third Harry Potter film and Children of Men. Co-written with his brother Carlos, this is kind of like Summer of 1942, where two young men experience a life and sexual awakening with an older woman. Combined with aspects of the road film, but less fairy tale-like than Summer of 1942. Those who don't follow Spanish-speaking cinema may not know Maribel Verdu except for Pan's Labyrinth, but this combined with Amores Perros served as a good introduction for us to Gael Garcia Bernal. Also a good introduction for us to Diego Luna in one of his earliest adult roles, years before Milk. Both Cuaron brothers received an Oscar nomination for their Screenplay:

http://www.moma.org/visit/calendar/film_screenings/12548

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

May revivals: Memorial Day weekend

Hey, Mike here with a list of revivals to catch for the Memorial Day weekend. Normally, I only put a list together with the knowledge that's there's a better then 50/50 chance that I can make these screenings, barring those that conflict of course. But as of this writing, I still have no clue what I'll be doing for the rest of May, so I might as well post what I'm interested in, and see what happens. I'm not thrilled with the method of throw whatever on the wall and see what sticks, but I have little time to fret. We'll start with the Thursday before the weekend, a cheat but what the hell:

JESUS CHRIST: SUPERSTAR (with Q & A with Norman Jewison and Andre Previn) and/or THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING (Introduced by Jewison and Robert Osbourne)- each for 9 dollars- Thurs May 26 at 6 (Superstar) or 8:45 (Russians)- Walter Reade at Lincoln Center- Part of Lincoln Center's Norman Jewison retrospective. Similar to Sidney Lumet in that he doesn't have a distinct visual style, but with an impressive body of work nevertheless. From time to time, this Canadian director has been curious about the state of race relations in America before during and after the Civil Rights Movement. Making films the like of In The Heat of the Night, The Landlord (which he helped make though didn't direct), A Solider's Story and The Hurricane, with Hollywood studio money makes him standout I guess.

Sorry that I won't have the time for Heat of, Moonstruck, or Fiddler on the Roof. I've previously done revival screenings of The Thomas Crown Affair and Landlord so I'm not planning on do that again right now. I also can't work up any major interest in And Justice For All and Agnes of God, not at all. But that still leaves us with some choice selections. All screenings are 9 dollars, and all of the ones I'm posting here will have either a pre-film introduction or a post film Q and A.

First, Jesus Christ Superstar. For once, it's not being relegated to Midnight, but a reasonable 6pm screening. Now, is this film an underrated gem, or noble failure? I can't help you, because despite seeing this once on Cinemax, I'm not sure. From 1973, but still with a bit of 60s glow to it, a group of hippie actors bus out to the middle of nowhere (great use of mostly Israeli locales), ready to play out the last whatever number days in the life of Jesus.

Andrew Lloyd Webber wasn't exactly pleased with the final cut, and from what I can tell, critical and audience reaction were mixed. Musical fans have been much kinder to it in later years. I guess the older people back in 73 didn't like it or refused to go, and the younger ones, as they got older and had more say in terms of media and so forth, spread the film's virtues. I wouldn't say this has a cult following, but its close. For me, it's a mixed bag. Up and down for the majority of the film, not happy with anything involving King Herrod. But they have a great Judas in Carl Anderson, and the last 20 or so minutes is a triumph of music, cinematography, performance, choreography and editing. So in the end, you'll have to decide if this is worth the risk. But if you take the risk, I'll be right there with you if you like. After the screening, director Jewison and the film's conductor Andre Previn (Oscar nominated alongside Webber for their work) will take part in a Jesus Christ Superstar Q & A.

Next, The Russians Are Coming The Russians Are Coming, a gentle, at times hysterical, satire from 1966. Most of Jewison's film work from the 1960s were comedies, and except for Send Me No Flowers (for Rock Hudson/ Doris Day fans), this is the only one worth paying attention to. A Russian Captain (Theodore Bikel) accidentally runs his submarine aground off the coast of a small New England town. Trying to avoid any possibility of World War 3, the Captain orders a small party to sneak into town to find stuff to get them free. The people they run into range from nervously helpful (Carl Reiner, Eva Marie Saint), to bumbling incompetent (Jonathan Winters) to blustery fear-mongering (Paul Ford). The misunderstandings start piling up and then, well, see the film yourself.

One of the few films at the time not to depict Russians as evil bad guys, and was a big hit on both sides of the Iron Curtain (when it could be show over there). Oscar nominations for Picture, Adapted Screenplay, and Editing for Hal Ashby. Also a Best Actor nomination for Alan Arkin, as the Russian Second-in Command/ head of the Landing Party/ one of the few sane people in the whole film. It was his first major film role, and Russians' success launched his career.

This screening will be introduced by director Jewison and TCM's Robert Osbourne. I don't know if this will be a simple 5-8 minute intro/set-up of the film, or a lengthy 20-30 min Q and A, like what Osbourne did with Angela Lansbury a few weeks back for The Manchurian Candidate, but we'll see. 9 dollars for either film, 18 dollars for both:

http://www.filmlinc.com/films/on-sale/jesus-christ-superstar

http://www.filmlinc.com/films/on-sale/the-russians-are-coming-the-russians-are-coming

THE CINCINNATI KID (with Q & A with Norman Jewison) and/or ROLLERBALL (1975; with Q and A with Jewison and Sony Pictures Classics President Michael Barker)-Sat May 28 at 3 (Kid) or 8:30 (Rollerball)- Walter Reade at Lincoln Center- More from the Norman Jewison retro. 2 films where I can, in theory, either catch 1 or both, and I have no clue which as of this writing. Rather than try to choose, I'll post both and see what happens. Both films are 9 dollars each.

First, The Cincinnati Kid, from 1965. Jewison got the chance to break away from comedy, to do this drama, which is basically a redux of The Hustler. Not on the same as the Paul Newman classic, but worth seeing. Young cocky poker player, with a slimy manager and a "good" girlfriend, tries to prove he's the best, against a legendary veteran. Instead of slimy George C. Scott, we have slimy yet complex Karl Malden. Instead of one main woman, we have two: the good girl played by Tuesday Weld, and the very naughty woman, played by Ann-Margaret. Instead of Jackie Gleason as Minnesota Fats, we get a cool steely Edward G. Robinson. And speaking of cool, we get Steve McQueen in the lead. More than just a handsome face, he showed he had the chops to play off against actors of Robinson's and Malden's caliber. Remember folks, movie acting is always emotive.

Good sense of period (early 1930s New Orleans), tight editing from Hal Ashby, and a nice, slowly creeping claustrophobic feeling as the main game takes place. Great support from Rip Torn, Joan Blondell, Jeff Corey and Cab Calloway, and a good score from Lalo Schifrin (Dirty Harry, Mission: Impossible theme). Jewison himself will do a post-film Q and A.

Next, the original Rollerball from 1975. Another of those dystopian sci-fi films that go right along with the likes of Soylent Green, A Clockwork Orange, Brazil and Wall-E. Considered a little cheesy then and now. Ripped back then for its amount of violence. But it's doesn't feel as violent today, maybe in part because you can file this version of Rollerball alongside say, Unforgiven, under "violence with consequences". As in, there's a point to it and it isn't a cartoon, there are consequences.

James Caan basically plays a Brett Farve of the future (2018). It looks a little cheesy because of the 70s style fashion that hasn't aged, but otherwise, it doesn't feel that far off from a possible future today. Corporations run the world, nations are figureheads at best, about as powerful as the Royal Family. The violent sport of Rollerball, a cross of Roller Derby, Hockey, and WWE except with an acceptable injury/ mortality rate, is the corporate gift to the world. A way to "solve issues" between company-nations, and a sort of Circus Maximus to keep the population quiet. If the ruler of Metropolis gave the people Rollerball instead of a robot, maybe he would ran his utopia longer. No, I didn't give that last sentence much thought, why do you ask? . . . .

Caan is the best player in the game, despite being the age where most players walk away or have long been knocked out. John Houseman is his owner who tries to coax him into retirement. Because as long as Caan keeps playing, he's an individual who stands out among large sections of group think, which is intolerable. Caan's character isn't thinking that. He's not political. He thinks of himself only as a jock who likes his job, the locker room, and his lifestyle, except for the time when he had his wife taken away because some other corporate type wanted her and could just take her. But otherwise, Caan's character is ok with his life, but that's just too bad. If he won't leave on his own, then the world CEOs will have to change the rules, allowing Rollerball to become more and more brutal. Something has to give . . . .

Ok, if some people think of Rollerball has subtle as a brick, or a noble failure, I won't fight you. It has flaws. Runs too long. The Rollerball game is fairly well spelled out, but other aspects are not. Parts of the 1970s that made it into Rollerball's near-future world haven't aged well, with the computers and the sharp collars and jump suits coming immediately to mind. Though most of the performances, but Caan's in particular, are generally show don't tell, making the viewer work a little. That aspect has certainly aged well. But the story seems to have done an interesting job of predicting life today. One aspect is the idea of the history of world kept on computer, with Ralph Richardson playing a sort of History Custodian. Apparently, history is very easy to erase and change in the film, and hopefully the idea of Wikipedia controlling what history is without dissent should make you uncomfortable. And as for Rollerball's world run by corporations, are we truly that far off?

Like I said, a little heavy-handed, but the ideas last after the film ends. And if you like say, Gladiator, the actual Rollerball scenes have an effective Gladitorial feel, that becomes more effectively brutal as the film progresses. With a great centerpiece performance from Caan, we have another film in Norman Jewison's career that deserves more props than it gets. Hope you can catch it. At the screening, Jewison will discuss the film and United Artisits, the studio that made Rollerball, with Sony Pictures Classics President Michael Barker, who got his start with the studio. No idea if this conversation will be pre-film or post-film:

http://www.filmlinc.com/films/on-sale/the-cincinnati-kid

http://www.filmlinc.com/films/on-sale/rollerball

SILENCE OF THE LAMBS- Sat May 28 and Sun May 29 at Midnight- IFC Center- Part of IFC Center's Girl with a Gun at Midnight series. A stretch for me in the sense that while the scene where Jodie Foster is holding then firing her gun is key, it's not like there's no film without holding a gun of some sort in order to do the job. But any excuse to screen Silence of the Lambs is fine by me.

This wasn't the first Hannibal Lecter film, but the underrated Manhunter went ignored about 4 1/2 years prior to Lambs. This, combined with the lack of box office names in Foster (despite having an Oscar to her name), Anthony Hopkins, and director Jonathan Demme, was probably why Orion Pictures made this a February dump (on Valentine's Day no less!). But great reviews, and huge word of mouth, helped give the soon-to-be bankrupt Orion one of its biggest hits and an almost instant classic. Amazing source (Thomas Harris' novel) probably helped. Oscars for Picture, Hopkins for Actor (who was thrilled he never had to work in theatre again thanks to Lecter), Foster for Actress, Demme for Director and Ted Tally's excellent script, plus nominations for Editing and Sound. On both AFI Top 100 lists.

I'm not going to break down the story of this classic in the horror and thriller genres. If you look at this list at all, then you know what Silence of The Lambs is, its virtues, and you really like it. Unless you're like this Queens girl I know who thinks Citizen Kane is overrated; oh please, snap out of it wench. I will say that you probably have seen this a ton of times on VHS, DVD, and cable, but have never seen it on the big screen. Or if you did, maybe back in 1991 or 92, or possibly a midnight screening like this one at IFC Center. Sorry to say, I never see Lambs available for viewing in a theater unless it's at Midnight. Sorry that this is the case here, but at least it's on Memorial Day weekend, so maybe getting up for work won't be a major issue:

http://www.ifccenter.com/films/the-silence-of-the-lambs/

But if you don't want to something so heavy as Midnight screening, there's always . . .

TRON- Sat May 28 and Sun May 29 at Midnight- Landmark Sunshine Cinema- Now here's some 80s throwback fun. A midnight screening of the 1982 Disney film that was a disappointment at the box office, but has a cult following so strong, we ended up with Tron:Legacy. This is literally the kind of film that gets screened either at 11AM or Noon for families, or Midnight, rarely any in-between. A lot of hype for the film, but the video game was/is a bigger hit. But it is fun, and for its time, it's look was a singular standout.

The story, eh, whatever. Jeff Bridges had his game designs stole, and gets sucked into whatever early-80s-form-of-the-internet world by the evil MCP (Master Control Program) He gets all Spartacus, freeing a few other programs (including the title character/program), and works on a rebellion against the MCP and his henchman (a wonderfully evil David Warner).

Oscar nominations for Costume Design and Sound, but not for Visual Effects, because the Academy said using computers to create visual effects was "cheating". I kid you not. But the look of the computer world, which was shot in black and white then colorized either via rotoscope or early photo-shopping techniques, alongside disc fights and light cycle scenes, are the most fun elements that still hold up. It's also fun to see a lot of The Dude in Jeff Bridges' character. And frankly, sometimes you don't need that much more for a Midnight movie. And because this falls on Memorial Day weekend, this too can be seen on a Sunday night as well.

A SOLIDER'S STORY introduced by Norman Jewison- Sun May 29 at 9:30- Walter Reade at Lincoln Center- The last of the Norman Jewison retro that I can make or have interest in (sorry to the merely passable And Justice For All). After Jewison was discharged from the Royal Navy post World War 2, he took a tour of the U.S. South, and witnessing segregation shook him up big time. Once his big screen directing career took off, he has tended to make films with some kind of political and/or social axe to grind. Not saying all all these films are heavy handed, but they have an emotional connection for Jewison. Remembering what he saw as a young man must have influenced his tackling A Solider's Story, adapting Charles Fuller's Pulitzer Prize winning play "A Solider's Play", to the big screen.

Howard E. Rollins plays a military lawyer, sent to investigate the murder of a black Master Sargent of an all black platoon, just outside an Army base during World War 2. He starts sifting through the obvious possibilities/suspects, like the Klan and white officers, and discovers there are plenty of suspects in the Master Sargent's own platoon. Most of the platoon was belittled and attacked, especially if they seemed overly jovial or uneducated. The lawyer must find who did, before the platoon and most of the on-base suspects, ship out to the European Theatre. And since the base is in a small Louisiana town during Segregation, there's only so far this lawyer can go, even if he is a Captain.

The filter of the procedural, gives us an interesting intro to a slice of American life and history. Even with a low budget, time and place is well captured, to the point that Herbie Hancock's electronic sounding score actually enhances, not distracts. A cast of somewhat unknowns (including Denzel Washington in his second film role) is uniformly excellent. As far as I'm concerned, A Solider's Story is the best film of 1984. I've generally taken grief for placing this ahead of say, Amadeus, This Is Spinal Tap and The Killing Fields. I'm willing to hear arguments regarding Spinal Tap, but I doubt you'll successfully convince me. You certainly won't convince with regards to Killing Fields or Amadeus, especially if you bring up Amadeus' Director's Cut. I should note that those who give me grief have never seen A Solider's Story, and now would be a good time to change at least that status.

3 Oscar nominations. For Best Picture, for Charles Fuller's Adaptation of his play, and, the element that gives the film its charge, Adolph Caesar for Supporting Actor. His performance as the murder victim shown in flashbacks; of a bitter, angry Sargent who hates Blacks who drag down his race. Who makes it his mission in life to weed through the weak puddinheads. A man who hates most country Blacks, probably hates the world around him, and possibly hates himself most of all. This multi faceted performance energizes A Solider's Story, and the highlight of the veteran actor's career. It was a shame that Mr. Caesar died of a heart attack, only about 2 years after his nomination.

Jewison himself, nominated as a producer for Best Picture but NOT for Best Director (Woody Allen for Broadway Danny Rose was nominated ahead of him) will introduce the screening. Due to the late time, there will be no post-film Q and A:

http://www.filmlinc.com/films/on-sale/a-soldiers-story

THE GENERAL with The Blacksmith- Mon May 30 at 7:30- Film Forum- Part of the Buster Keaton retrospective, only on Monday nights. It's a little annoying that this is on Memorial Day evening, but the film is too good to ignore, even if I'm not sure yet if I can make this at all.

A Buster Keaton comedy classic, though I would argue that it's more an action film classic. He plays a train engineer who is better at showing affection to his locomotive, The General, than to his girlfriend. But the Civil War breaks out, and all the men in her family enlist and are accepted as soldiers in the Confederacy. Keaton tries, but his engineer job makes him more valuable there than as a solider. But the girlfriend thinks he skipped out on enlisting and brands him a coward.

Some time later, they meet again. Somehow, she ends up on his train when it's hijacked by Union spies. Keaton must now to go to great lengths to save his train (and oh yeah, his ex) from the North, then get back to the nearest Confederate general with his train (and oh yeah, his ex) to warn him of a surprise Union attack. Rooting for the Confederates is not as hard as you might think, this isn't Birth of a Nation folks. It's an action comedy. And there are some good comedy set pieces, such as Keaton in the enlistment office. But it works best as an action film. Wonderful scenes shot in the Northwest; the only place where Civil War style trains and tracks were still in use. Wonderful stunt work from co-director/lead Keaton. Chaplin's films may be best remembered, but he couldn't do that kind of stunt work on a moving train. Deservedly a classic. And we get live piano accompaniment as well, as opposed to the canned electronic score that doesn't sound great when TCM plays the film.

Playing before it is the short The Blacksmith, where Keaton plays a blacksmith . . . . yeah I got nothing, sorry:

http://www.filmforum.org/films/keatonmondays.html

Let me know if there's interest. Later all, and enjoy your Memorial Day weekend.

May revivals: Elizabeth Taylor edition

Hey all. Mike here with the next revival list. Haven't been feeling well lately (getting better now), so writing has been the last thing on my mind. Felt I was getting way behind until I noticed how the rest of May was shaping up. So instead of splitting up the month in half, I'll split it kinda into thirds. Or specifically, some films for this weekend, and a few for the Memorial Day weekend. And for this weekend, I narrowed it down to one film each day of the weekend. All three films are in one location, honoring one actress, and all for the cheaper then usual price of 9 dollars. Here we go:

WHO'S AFRAID OF VIRGINIA WOOLF- Fri May 20 at 6- Walter Reade at Lincoln Center- Part of the Elizabeth Taylor retrospective at Lincoln Center. Let's face it, Ms. Taylor is far from the first person to be considered for a retrospective. Half her filmography is worth avoiding, the woman herself as celebrity is more famous than her acting work, and it would take her death to force a New York revival programmer to conceive a Liz Taylor retrospective. It would probably take a half century, minimum, before she might ever be better remembered for her work. The more people who think of as celebrity first die out, the quicker the changeover will happen. But anyway, Lincoln Center has jumped in first with a weekend long retrospective. I won't post everything, since Lincoln Center is rarely into double features. So if I'm going to post any of her work, I'm posting the big guns, starting with Who's Afraid of Virginia Woolf.

Among the best of the stage-to-screen transfers ever. I've been waiting a long time for this to play in a revival house. Hell of a first film for director Mike Nichols. Richard Burton and Taylor (heavier and made up to look far older and tired in a successful attempt to de-glamorize) are George and Martha; bitter middle-aged alcoholics, who in order to keep any semblance of interest in their marriage, tear into each other and the young couple (George Segal, Sandy Dennis) who come to their little party. As the film goes on, the head games get more cruel and vindictive.

Not necessarily a happy film, but with Albee's words, a joy to behold. No matter the attempts to open up the film, the house still feels like a steel cage. The attempts at opening, in particular the diner, doesn't hold as well, but everything else does. Some modern audiences might consider the acting as over the top at times, but I would disagree. I have a weakness/high tolerance to some excess, but it fits the piece.

Not on the first AFI Top 100 list, but on the second Top 100 list. 13 Oscar nominations. Oscars for Taylor for Actress, Dennis for Supporting, Art Direction Costume and Cinematography for a black and white film. Nominations include for Picture, Burton for Actor, Segal for Supporting Actor, Nichols for Director, Editing, and Alex North's very good score. I hope the overture and closing music are played here. Also nominated was Ernest Lehman for his screenplay, despite the fact that the actors hated his version so much, they and Nichols went behind his back and replaced all but 2 lines back to Albee's original. For me, best film of 1966. Excuse me if I'm not agreeing with the Academy with their choice of A Man For All Seasons. I want to go. let me repeat. I. Want. To. Go:

http://www.filmlinc.com/films/series/elizabeth-the-golden-age

GIANT- Sat May 21 at 6- Walter Reade at Lincoln Center- Part of the Elizabeth Taylor retro. Giant is (practically) never revived. You can always count on this being screened for some sort of Taylor and/or Rock Hudson and/or James Dean and/or director George Stevens and or 30 Days of Oscar series on TCM. But playing on the big screen anywhere else in New York? Not likely it seems, until now for one night only.

Epic film with a little social message stuff thrown in. Two generations of history are told in the state of Texas, through the filter of a family and their rival, though the emphasis is more Old Money vs. New Money, as well as racism toward Mexican-Americans. But like I said, the heavier influence on the story is the fight between Old Money and nouveau riche. Rancher baron/ old school Hudson (never better, except in Seconds) marries socialite Taylor, of whom ranch hand/hot head Dean has a major crush on. The change of power and new money in Texas is mirrored in Dean, when his character strikes it rich via Oil, causing the unfair fight between them to suddenly become a rival between equal rivals.

Classic drama. One of the big hits of the 1950s, which combined with his untimely death days before Giant's shooting completed, solidified James Dean as icon (now with Cowboy Hat!). 10 Oscar Nominations, including Picture Dean and Hudson for Actor, Mercedes McCambridge for Supporting Actress, and Screenplay. Its only Oscar was to Stevens for Director. On the AFI Top 100 list, though not on the second one:

http://www.filmlinc.com/films/on-sale/giant1

CLEOPATRA (1963)- Sun May 22 at Noon- Walter Reade at Lincoln Center- Part of the Liz Taylor retro. A rare 70mm screening, and a litmus test for you film buffs out there. This print was previously screened last Labor Day weekend, when the Walter Reade had their 20th Century Fox retrospective. After it stunningly sold out, they're bring Cleopatra back for the Taylor retro. Anyone wanna bet the Walter Reade will be planning either a Richard Burton or Rex Harrison retrospective if this sells out again?

The film that almost bankrupted a studio and was synonymous with the term Flop for years, despite actually seeing an eventual profit before the end of the 1960s. Others have written about the difficulties, love affairs, the rampant budget gone wild, and occasionally, the idea that this is a bloated film. Good looking, but empty of quality. I'll let you research the articles regarding the filming difficulties, but I disagree with a good chunk of this assessment. This Sand and Sandals saga, where the Egyptian queen entices 2 powerful Romans, goes limp when we rely on spectacle. In particular when it runs on too long, like the famous parade sequence. Or isn't very interesting, like with the final navy battle. One reason why it may look cheap was that Fox was in such debt, that they had no money for a proper final fight.

What is surprising to me, is how much of the human drama actually works. Liz Taylor provides a great center in the title role, and yes, we believe the men in her life would throw much away to be with her. The film however, never completely recovers when it loses Rex Harrison as Caesar. Fascinating character, terrific performance and once the Ides of March scene occurs, we need someone big to fill in the gaps. Surprisingly, Richard Burton fails to do that. Now why this happened (possibly busy wooing Taylor in real life, possibly too busy being in charge of getting Taylor to set each day, possibly not sober on set at times) I'm not sure. His dialogue is mostly crap, so he didn't have a lot to work with. But since there's a heavy emphasis on Marc Anthony and Cleopatra together in the film's second half, a sense of disappointment tends to set in. Luckily, Roddy McDowall turns in a career performance as Octavian and he, along with supporting turns from Hume Cronyn and Martin Landau, carry some of the slack.

More of the slack covered by the sumptuous production design. The sets, the costumes, nothing less then spectacular. Alex North's score is also on that level. Oscars for Art Direction, Costumes, Cinematography, and Visual Effects (really?). Nominations for Picture (really?), Harrison for Actor, Editing (Really?!?), Score and Sound. The cut that will be screened at Lincoln Center is 4hrs, 2 mins long (I expect an intermission); probably as close as we'll ever get to the original cut, though the 5-6 hour versions I can skip. The 70mm print should give us a clearer image and a kind of vertical IMAX, that the Walter Reade screen can handle. So can the film buff in you handle that flawed but interesting film, whose reputation screams overpriced hype yet with hidden virtues buried deep? We'll see:

http://www.filmlinc.com/films/on-sale/cleopatra

Sorry that I had no time for A Place In The Sun, Cat on a Hot Tin Roof, Father of the Bride, Reflections of a Golden Eye, or National Velvet. And I have no desire to sit through Raintree County. Noble effort, but "an underrated Civil War epic"? Hardly. Some good scenes and a risky performance from Taylor that works, but way too long, with the amount of soap opera that works well in Giant, but not here. If you wish to see one of those yourselves, click on the first link below Virginia Woolf.

Let me know ASAP about this weekend. My next post will comprise mostly of midnight movies that we all should be able to stay up for during the Memorial Day weekend, as well a Norman Jewison retrospective at Lincoln Center. Later all.