NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
Parajanov’s Shadows of Forgotten Ancestors plays on Friday; “City Dudes” returns on Saturday, while Space Jam screens on 35mm this Sunday.
Film Forum
Le Samouraï screens in a new 4K restoration; Hondo’s West Indies and the Belmondo-led Classe tous risques continue playing in new 4K restorations; Abbott and Costello Meet Frankenstein plays on Sunday.
Paris Theater
A dual retrospective of Steven Zaillian and Patricia Highsmith brings films by Hitchcock, Fincher, Scorsese, Haynes, Wenders, and more.
Anthology Film Archives
The films of Med Hondo play in a massive retrospective, while The Story of a Three Day Pass plays in “Americans in Paris.”
Film at Lincoln Center
The films of Wojciech Has continue screening.
Museum of the Moving Image
The Last Temptation of Christ screens on Friday and Saturday; Ang Lee’s The Wedding Banquet plays on 35mm...
Roxy Cinema
Parajanov’s Shadows of Forgotten Ancestors plays on Friday; “City Dudes” returns on Saturday, while Space Jam screens on 35mm this Sunday.
Film Forum
Le Samouraï screens in a new 4K restoration; Hondo’s West Indies and the Belmondo-led Classe tous risques continue playing in new 4K restorations; Abbott and Costello Meet Frankenstein plays on Sunday.
Paris Theater
A dual retrospective of Steven Zaillian and Patricia Highsmith brings films by Hitchcock, Fincher, Scorsese, Haynes, Wenders, and more.
Anthology Film Archives
The films of Med Hondo play in a massive retrospective, while The Story of a Three Day Pass plays in “Americans in Paris.”
Film at Lincoln Center
The films of Wojciech Has continue screening.
Museum of the Moving Image
The Last Temptation of Christ screens on Friday and Saturday; Ang Lee’s The Wedding Banquet plays on 35mm...
- 3/29/2024
- by Nick Newman
- The Film Stage
UK producer David P Kelly has come on board Zara Jian’s hybrid documentary drama I Will Revenge This World With Love celebrating Armenia’s greatest filmmaker Sergei Paradjanov.
Jian is shooting material at the Berlinale with Canadian-Armenian director Atom Egoyan, whose The Seven Veils screens as a Berlinale Special. Paradjanov (1924-90) directed Shadows Of Forgotten Ancestors and The Colour Of Pomegranates.
Double Palme D’Or winner Emir Kusturica, Joel Chapiron, and Lora Guerra are on board the project, which is being set up as an Armenian-French-uk coproduction with support from the Cnc in France and the National Cinema Centre of Armenia.
Jian is shooting material at the Berlinale with Canadian-Armenian director Atom Egoyan, whose The Seven Veils screens as a Berlinale Special. Paradjanov (1924-90) directed Shadows Of Forgotten Ancestors and The Colour Of Pomegranates.
Double Palme D’Or winner Emir Kusturica, Joel Chapiron, and Lora Guerra are on board the project, which is being set up as an Armenian-French-uk coproduction with support from the Cnc in France and the National Cinema Centre of Armenia.
- 2/19/2024
- ScreenDaily
Above: Soviet-export poster for Ashik Kerib. Design by “Lem.”On January 9 of this year, the legendary, often beleaguered and utterly sui generis filmmaker Sergei Parajanov would have turned 100 years old. Parajanov was born in Tbilisi, Georgia, in 1924 to Armenian parents, just seven years after the Russian Revolution. He died in Yerevan, Armenia, in 1990 at the age of 66, only a year before the dissolution of the Soviet Union. His life and career were very much defined by the strictures of the Ussr, including four years spent in a labor camp in the mid-’70s on trumped-up charges of crimes against the state, and numerous personal projects that were banned, censored, or shut down by Soviet film administrations.One of the world’s most exceptional filmmakers, Parajanov managed to make only eight feature films in his four-decade-long career. His first four socialist realist features were made at the Dovzhenko Film Studios in Kyiv and,...
- 1/26/2024
- MUBI
La BêteCOMPETITIONComandante (Edoardo De Angelis)The Promised Land (Nikolaj Arcel)Dogman (Luc Besson) La Bête (Bertrand Bonello) Hors-Saison (Stéphane Brizé) Enea (Pietro Castellitto) Maestro (Bradley Cooper)Priscilla (Sofia Coppola)Finalmente L’Alba (Saverio Costanzo)Lubo (Giorgio Diritti) Origin (Ava DuVernay) The Killer (David Fincher)Memory (Michel Franco)Io capitano (Matteo Garrone)Evil Does Not Exist (Ryûsuke Hamaguchi)The Green Border (Agnieszka Holland)The Theory of Everything (Timm Kröger)Poor Things (Yorgos Lanthimos)El conde (Pablo Larrain)Ferrari (Michael Mann)Adagio (Stefano Sollima)Woman OfHolly (Fien Troch)Out Of COMPETITIONFictionSociety of the Snow (J.A. Bayona)Coup de Chance (Woody Allen)The Wonderful Story of Henry Sugar (Wes Anderson)The Penitent (Luca Barbareschi)L’Ordine Del Tempo (Liliana Cavani)Vivants (Alix Delaporte)Welcome to Paradise (Leonardo di Constanzo)Daaaaaali! (Quentin Dupieux)The Caine Mutiny Court-Martial (William Friedkin)Making of (Cedric Kahn)Aggro Dr1ft (Harmony Korine)Hitman (Richard Linklater)The Palace (Roman Polanski...
- 7/29/2023
- MUBI
At a certain point you care less about world premieres and fixate mostly on a festival’s repertory slate. And even by the high standards set with Cannes Classics or NYFF Revivals is this year’s Venice Classics in a class of its own. We could start at the new cuts for three of the greatest directors ever: One from the Heart is the latest film to be given a revision by Francis Ford Coppola, following recuts of Apocalypse Now, Twixt, and Dementia 13––to say nothing of restorations like The Rain People, of which we’re hosting the New York premiere next weekend––while Andrei Tarkovsky’s Andrei Rublev will debut in “the reconstruction of the complete original version, which was censored before its release and has never been seen until now.” Meanwhile one of Yasujiro Ozu’s greatest films, There Was a Father, has been amended by “recent rediscovery...
- 7/21/2023
- by Leonard Pearce
- The Film Stage
The first screening of the uncensored version of ’Andrei Rublev’ by Andrei Tarkovsky has also been programmed.
Venice Classics will include a screening of ‘The Exorcist’ and tributes to late filmmakers Ruggero Deodato and Carlos Saura as part of its line-up of restored features for the 2023 edition.
The Exorcist, by William Friedkin, returns in a restored version, to mark the 100th anniversary of its distributor, Warner Bros.
Italian genre master Deodato passed away last year. One of his most extreme films, Ultimo Mondo Cannibale, has been programmed in tribute. This edition also pays homage to Italian actor Gina Lollobrigida, who died in January,...
Venice Classics will include a screening of ‘The Exorcist’ and tributes to late filmmakers Ruggero Deodato and Carlos Saura as part of its line-up of restored features for the 2023 edition.
The Exorcist, by William Friedkin, returns in a restored version, to mark the 100th anniversary of its distributor, Warner Bros.
Italian genre master Deodato passed away last year. One of his most extreme films, Ultimo Mondo Cannibale, has been programmed in tribute. This edition also pays homage to Italian actor Gina Lollobrigida, who died in January,...
- 7/21/2023
- by Mona Tabbara
- ScreenDaily
Recently restored versions of William Friedkin’s “The Exorcist,” Terrence Malick’s “Days of Heaven” and Francis Ford Coppola’s “One From the Heart” feature in the Venice Classics section of the 80th Venice Film Festival.
The lineup of recently restored films in Venice Classics, which is curated by the festival’s artistic director Alberto Barbera in collaboration with Federico Gironi, was unveiled on Friday.
“The Exorcist” is screened, 50 years after it was produced by Warner Bros., alongside Disney’s “Rebecca of Sunnybrook Farm,” starring Shirley Temple and directed by “the prolific and sometimes brilliant” Allan Dwan, to mark the Hollywood studios’ 100th anniversaries.
“One From the Heart” and Arturo Ripstein’s “Deep Crimson” are “not just restored, but also revised by the filmmakers themselves in what are genuine Director’s Cuts,” Barbera and Gironi said, while Andrei Tarkovsky’s masterpiece “Andrei Rublev” will be presented in the reconstruction of the original version,...
The lineup of recently restored films in Venice Classics, which is curated by the festival’s artistic director Alberto Barbera in collaboration with Federico Gironi, was unveiled on Friday.
“The Exorcist” is screened, 50 years after it was produced by Warner Bros., alongside Disney’s “Rebecca of Sunnybrook Farm,” starring Shirley Temple and directed by “the prolific and sometimes brilliant” Allan Dwan, to mark the Hollywood studios’ 100th anniversaries.
“One From the Heart” and Arturo Ripstein’s “Deep Crimson” are “not just restored, but also revised by the filmmakers themselves in what are genuine Director’s Cuts,” Barbera and Gironi said, while Andrei Tarkovsky’s masterpiece “Andrei Rublev” will be presented in the reconstruction of the original version,...
- 7/21/2023
- by Leo Barraclough
- Variety Film + TV
Ukraine is to host its first ever queer film festival, it was announced at Intl. Film Festival Rotterdam.
Sunny Bunny – named after Kyiv-based Molodist Film Fest’s non-competition section, established in 2001 – is eyeing a summer slot.
“Maybe it’s a bit stereotypical to do it in June, as it’s Pride Month, but it will give us more time to prepare,” programmer Bohdan Zhuk revealed to Variety on Tuesday. Pointing out that the standalone event might still continue to be a part of Molodist in some form.
“The war is unpredictable, so you just have to adapt and be flexible. When we did Molodist in December, there were blackouts, so we needed generators. We also needed to plan where people would hide in case of raids, plan out shelters in cinemas or nearby metro stations,” he added.
“The plan is to do it separately, but also to keep that connection.
Sunny Bunny – named after Kyiv-based Molodist Film Fest’s non-competition section, established in 2001 – is eyeing a summer slot.
“Maybe it’s a bit stereotypical to do it in June, as it’s Pride Month, but it will give us more time to prepare,” programmer Bohdan Zhuk revealed to Variety on Tuesday. Pointing out that the standalone event might still continue to be a part of Molodist in some form.
“The war is unpredictable, so you just have to adapt and be flexible. When we did Molodist in December, there were blackouts, so we needed generators. We also needed to plan where people would hide in case of raids, plan out shelters in cinemas or nearby metro stations,” he added.
“The plan is to do it separately, but also to keep that connection.
- 1/31/2023
- by Marta Balaga
- Variety Film + TV
Tár writer/director Todd Field discusses a few of his favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
- 1/10/2023
- by Kris Millsap
- Trailers from Hell
"The Furniture," by Daniel Walber. (Click on the images for magnified detail)
Last week’s column was about Dr. Zhivago, the obvious first choice for any 1965 celebration of production design. But where do we go for Part 2? None of the other 9 nominees really leap forward as worth a column, though I do like King Rat. Outside Oscar’s purview, meanwhile, there’s a lot. There are sweeping historical dramas, like The Saragossa Manuscript and Forest of the Hanged. There are wildly bizarre fantasies, like Juliet of the Spirits and Shadows of Forgotten Ancestors. But I think it would be fun to follow Dr. Zhivago with something entirely different, a movie with only a handful of sets and a budget of $200,000.
Mario Bava’s Planet of the Vampires was perhaps never destined to be a hit. Bava was disappointed with the casting of Barry Sullivan as Captain Mark Markary, who he considered far too old.
Last week’s column was about Dr. Zhivago, the obvious first choice for any 1965 celebration of production design. But where do we go for Part 2? None of the other 9 nominees really leap forward as worth a column, though I do like King Rat. Outside Oscar’s purview, meanwhile, there’s a lot. There are sweeping historical dramas, like The Saragossa Manuscript and Forest of the Hanged. There are wildly bizarre fantasies, like Juliet of the Spirits and Shadows of Forgotten Ancestors. But I think it would be fun to follow Dr. Zhivago with something entirely different, a movie with only a handful of sets and a budget of $200,000.
Mario Bava’s Planet of the Vampires was perhaps never destined to be a hit. Bava was disappointed with the casting of Barry Sullivan as Captain Mark Markary, who he considered far too old.
- 9/30/2020
- by Daniel Walber
- FilmExperience
Arguably among the most beautiful works of cinema, Sergei Parajanov’s “The Colour of Pomegranates” has been called a work of lasting artistry, offering breathtaking imagery while also giving what might just be the most accurate account of the poet’s mind. In this case, the poet in question is Sayat-Nova, an Armenian poet and troubadour, whose life and work is the foundation for Parajanov’s film which was originally titled after the poet himself. However, when the Soviet censors laid eyes on the finished film, the argued Parajanov’s movie does not give a portrayal of the poet, nothing about his fame and importance for literature or indeed for the country, a dispute which eventually resulted in the censors re-naming the film “The Colour of Pomegranates” and the removal of all references to Sayat-Nova in the film.
Considering it does not follow a traditional, linear narrative,...
Considering it does not follow a traditional, linear narrative,...
- 3/30/2020
- by Rouven Linnarz
- AsianMoviePulse
Along with Andrei Tarkovsky, filmmaker Sergei Paradjanov is perhaps one of the most popular and beloved directors of the former Soviet Union. Interestingly, both men not only shared a deep friendship with each other and supported the other’s artistic endeavors, but also quite frequently had trouble with the Soviet authorities for the nature of their films. In his 1986 published essay “Sculpting in Time”, Tarkovsky mentions his frustrations with a Ministry of Culture that had very strict, and of course ideology-friendly ideas about how a film should look like, who the characters and what the plot structure should be. While Paradjanov followed these principles in his early career, he later changed the nature of his work, famously calling all of his films before 1965 “garbage”.
“Shadows of Forgotten Ancestors” will screen at Hong Kong International Film Festival Society
Ultimately, the film which would be the first to introduce the world to...
“Shadows of Forgotten Ancestors” will screen at Hong Kong International Film Festival Society
Ultimately, the film which would be the first to introduce the world to...
- 12/16/2019
- by Rouven Linnarz
- AsianMoviePulse
The Hong Kong International Film Festival Society will kick off its 2020 Cine Fan programme with more cinematic gems in its January/February edition, including the delicately sublime dramas of Naruse Mikio and the magical realism-infused romance of Sergei Parajanov.
One of the most prolific and respected masters of Japanese cinema, Naruse Mikio is lauded for his realistic dramas of domestic life and his sympathetic portraits of women. The Cine Fan retrospective, entitled Life is But an Illusion: The Cinema of Naruse Mikio, features 12 of his most iconic works, including some rarely seen outside of Japan. Thematically curated in three separate sections, it showcases Naruse’s uncanny ability in the portrayal of artistic reflection, marital dilemmas and social transformations.
Still from “Flowing”
Under Love/Art, Naruse’s quietly devastating camera captured the dichotomy between artistic excellence and elusive love in his four-film collaboration with the legendary actress Yamada Isuzu in Tsuruhachi...
One of the most prolific and respected masters of Japanese cinema, Naruse Mikio is lauded for his realistic dramas of domestic life and his sympathetic portraits of women. The Cine Fan retrospective, entitled Life is But an Illusion: The Cinema of Naruse Mikio, features 12 of his most iconic works, including some rarely seen outside of Japan. Thematically curated in three separate sections, it showcases Naruse’s uncanny ability in the portrayal of artistic reflection, marital dilemmas and social transformations.
Still from “Flowing”
Under Love/Art, Naruse’s quietly devastating camera captured the dichotomy between artistic excellence and elusive love in his four-film collaboration with the legendary actress Yamada Isuzu in Tsuruhachi...
- 12/12/2019
- by Rouven Linnarz
- AsianMoviePulse
Iffr, the international film festival of Rotterdam has announced a number of exciting titles, including Soudade Kaadan’s ‘The Day I Lost My Shadow’, Brian Welsh’s ‘Beats’ and Simona Kostova’s ‘Dreissig’.
This year’s theme programs touch on espionage, memes, (un)finished films, new Afro-Brazilian cinema and the ‘reappraisal of hushed, quiet attention to film’.
Click here for a first overview of 2019’s program.
Bero Beyer , Dirextor of Iffr ( photo credit: Jan de Groen)
Iffr arts program is featuring a new artwork by Philippe Parreno, director and writer, known for Zidane: A 21st Century Portrait(2006), Le pont du trieur (2000) and Anywhen in a Timecolored place (2016) called No More Reality (1988–2018), a special installation screening of Jean-Luc Godard’s Le livre d’image and a thought-provoking presentation of never-before-seen outtakes from Sergei Parajanov’s classic film The Colour of Pomegranates. One of the 20th century’s greatest masters of cinema,...
This year’s theme programs touch on espionage, memes, (un)finished films, new Afro-Brazilian cinema and the ‘reappraisal of hushed, quiet attention to film’.
Click here for a first overview of 2019’s program.
Bero Beyer , Dirextor of Iffr ( photo credit: Jan de Groen)
Iffr arts program is featuring a new artwork by Philippe Parreno, director and writer, known for Zidane: A 21st Century Portrait(2006), Le pont du trieur (2000) and Anywhen in a Timecolored place (2016) called No More Reality (1988–2018), a special installation screening of Jean-Luc Godard’s Le livre d’image and a thought-provoking presentation of never-before-seen outtakes from Sergei Parajanov’s classic film The Colour of Pomegranates. One of the 20th century’s greatest masters of cinema,...
- 12/28/2018
- by Sydney Levine
- Sydney's Buzz
Above: Italian 2-foglio for Loves of a Blonde (Miloš Forman, Czechoslovakia, 1965).As the 54th New York Film Festival winds to a close this weekend I thought it would be instructive to look back at its counterpart of 50 years ago. Sadly, for the sake of symmetry, there are no filmmakers straddling both the 1966 and the 2016 editions, though Agnès Varda (88 years old), Jean-Luc Godard (85), Carlos Saura (84) and Jirí Menzel (78)—all of whom had films in the 1966 Nyff—are all still making films, and Milos Forman (84), Ivan Passer (83) and Peter Watkins (80) are all still with us. There are only two filmmakers in the current Nyff who could potentially have been in the 1966 edition and they are Ken Loach (80) and Paul Verhoeven (78). The current Nyff is remarkably youthful—half the filmmakers weren’t even born in 1966 and, with the exception of Loach and Verhoeven, the old guard is now represented by Jim Jarmusch, Pedro Almodóvar,...
- 10/15/2016
- MUBI
Ukraine has become the seventh European Union (EU) neighbouring country to join the Creative Europe this year.
It follows Albania, Georgia, Moldova, Montenegro, Turkey and the Former Yugoslav Republic of Macedonia (Fyrom).
The Commissioner for Education, Culture, Youth and Sport, Tibor Navracsics was in Kiev today (Nov 19) to sign a Creative Europe Agreement and meet with representatives of the Ukrainan cultural and creative industries.
Navracsics also had meetings during the day with Arseniy Yatseniuk, Prime Minister of Ukraine; Vyacheslav Kyrylenko, Vice Prime Minister and Minister of Culture; Serhiy Kvit, Minister of Education and Science; and Igor Zhdanov, Minister of Youth and Sport.
The Creative Europe Agreement with Ukraine will give full membership of the Culture sub-programme, but only partial participation to the Media sub-programme.
Ukraine will therefore only be able to participate in training, festivals, audience development and access to market initiatives within the Media sub-programme.
Sentsov put forward for the Shevchenko National Prize
Imprisoned Ukrainian filmmaker...
It follows Albania, Georgia, Moldova, Montenegro, Turkey and the Former Yugoslav Republic of Macedonia (Fyrom).
The Commissioner for Education, Culture, Youth and Sport, Tibor Navracsics was in Kiev today (Nov 19) to sign a Creative Europe Agreement and meet with representatives of the Ukrainan cultural and creative industries.
Navracsics also had meetings during the day with Arseniy Yatseniuk, Prime Minister of Ukraine; Vyacheslav Kyrylenko, Vice Prime Minister and Minister of Culture; Serhiy Kvit, Minister of Education and Science; and Igor Zhdanov, Minister of Youth and Sport.
The Creative Europe Agreement with Ukraine will give full membership of the Culture sub-programme, but only partial participation to the Media sub-programme.
Ukraine will therefore only be able to participate in training, festivals, audience development and access to market initiatives within the Media sub-programme.
Sentsov put forward for the Shevchenko National Prize
Imprisoned Ukrainian filmmaker...
- 11/19/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Lords of Salem
Written by Rob Zombie
Directed by Rob Zombie
USA/UK/Canada, 2012
God hates the Lords of Salem. With the divisive Rob Zombie’s hits blasting through midnight at the Ryerson theater to the banging heads of many a face-painted devotee of the rocker/filmmaker, it is difficult to believe one is in the same location that housed premieres for such pictures as Noah Baumbach’s quaint, Allen-esque French New Wave throwback Frances Ha not one week prior. Zombie himself introduces the film with a sarcastically modest joke before announcing, “Let’s watch. F– yeah, Satan!”
Zombie is an artist born to the fight the system. With Lords he has worked far enough outside that system the production has been something of an enigma, with few detailed promises for its results outside a meager smattering of set photos implying an utterly guts-out romp through its creator’s more hellish fantasies.
Written by Rob Zombie
Directed by Rob Zombie
USA/UK/Canada, 2012
God hates the Lords of Salem. With the divisive Rob Zombie’s hits blasting through midnight at the Ryerson theater to the banging heads of many a face-painted devotee of the rocker/filmmaker, it is difficult to believe one is in the same location that housed premieres for such pictures as Noah Baumbach’s quaint, Allen-esque French New Wave throwback Frances Ha not one week prior. Zombie himself introduces the film with a sarcastically modest joke before announcing, “Let’s watch. F– yeah, Satan!”
Zombie is an artist born to the fight the system. With Lords he has worked far enough outside that system the production has been something of an enigma, with few detailed promises for its results outside a meager smattering of set photos implying an utterly guts-out romp through its creator’s more hellish fantasies.
- 9/12/2012
- by Tom Stoup
- SoundOnSight
Ronald Reagan, Knute Rockne: All American Kay Francis, William Powell, Myrna Loy, Jean Harlow: Packard Campus Movies Thursday, September 1 (7:30 p.m.) The Wanderers (Orion, 1979) Set against the urban jungle of 1963 New York's gangland subculture, this coming of age teenage movie is set around the Italian gang the Wanderers. Directed by Philip Kaufman. With Ken Wahl, John Friedrich and Karen Allen. Action drama. Rated R. Color, 117 min. Thursday, September 8 (7:30 p.m.) Mildred Pierce (Warner Bros., 1945) A housewife-turned-waitress finds success in business but loses control of her ungrateful teenaged daughter. Directed by Michael Curtiz. With Joan Crawford, Zachary Scott and Ann Blyth. Drama. Black & White, 111 min. Selected for the National Film Registry in 1996. Friday, September 9 (7:30 p.m.) Pre-code Drama Double Feature Jewel Robbery (Warner Bros., 1932) A wealthy, married woman becomes captivated by a debonair jewel thief. Directed by William Dieterle. With Kay Francis and William Powell. Comedy,...
- 9/15/2011
- by Andre Soares
- Alt Film Guide
William Powell, Kay Francis, Jewel Robbery Kay Francis, William Powell, Myrna Loy, Jean Harlow, John Barrymore, and Mary Astor are some of the stars featured in September at the Library of Congress' Packard Campus in Culpeper, Virg. [Packard Campus Movie Schedule.] Kay Francis and William Powell can be seen together in Jewel Robbery (1932), a charming pre-Code comedy directed by, of all people, William Dieterle. Dieterle would become closely associated with some of Warner Bros.' most tedious biopics, usually starring Paul Muni. The year of 1932 was a good one for the Francis-Powell combo, who also starred in Tay Garnett's highly successful — and quite moving — melodrama One Way Passage. William Powell can also be seen in another charming comedy, Libeled Lady (1936), co-starring Powell's frequent screen partner Myrna Loy, in addition to Spencer Tracy and future Powell fiancee Jean Harlow. Deftly directed by the underrated Jack Conway, Libeled Lady went on to receive a...
- 9/15/2011
- by Andre Soares
- Alt Film Guide
Sergei Paradjanov made some of the most beautiful films ever seen, writes Elif Batuman. His reward was to be sent to the gulag for 'surrealist tendencies'
Between his abandonment of socialist realism in 1964 and his death from lung cancer in 1990, Sergei Paradjanov made four of the weirdest and most beautiful movies ever seen. An ethnic Armenian, Paradjanov was born in Soviet Georgia in 1924. His mother was "very artistic": she "used to adorn herself with Christmas tree decorations and curtains and join her friends on the roof to enact legends". In 1947, Paradjanov spent a brief stint in a Georgian prison for committing "homosexual acts" (which were illegal under Soviet law) – with, of all people, a Kgb officer. He later disavowed the seven films he shot in the 1950s and early 1960s. In 1962, he saw Tarkovsky's Ivan's Childhood and completely changed his artistic method, which had previously been quite normal.
The...
Between his abandonment of socialist realism in 1964 and his death from lung cancer in 1990, Sergei Paradjanov made four of the weirdest and most beautiful movies ever seen. An ethnic Armenian, Paradjanov was born in Soviet Georgia in 1924. His mother was "very artistic": she "used to adorn herself with Christmas tree decorations and curtains and join her friends on the roof to enact legends". In 1947, Paradjanov spent a brief stint in a Georgian prison for committing "homosexual acts" (which were illegal under Soviet law) – with, of all people, a Kgb officer. He later disavowed the seven films he shot in the 1950s and early 1960s. In 1962, he saw Tarkovsky's Ivan's Childhood and completely changed his artistic method, which had previously been quite normal.
The...
- 3/13/2010
- The Guardian - Film News
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