| Classiques Du Cinema:
This ongoing series of justifiably famous or un-justly overlooked
classics of international cinema debuts inn January 2005. Some titles will be on the
all-time "Best Of" lists, while others will be hidden nuggets that haven’t
seen the light of a projector in many years.
Sunday, January 16 – 5:00 PM
Les Classiques du Cinema:
CASQUE D’OR, 1952, Janus
Films, 96 min. For those of you who missed it during our Jacques Becker Retrospective in
May ’99 at the Egyptian Theatre, here’s another chance to see this sublime
masterpiece of romantic French cinema – simultaneously a heartbreaking adult fairy
tale and an impressionist rendering of the turn-of-the-century Parisian apache
underworld. The fleeting moments of shared love and erotic passion between Serge
Reggiani and Simone Signoret are genuine poetry – moments cut short by the
jealous machinations of others. We’ve imported this rare 35 mm. print from France
just for this screening, so be sure not to miss it! [Also screening 1/19 Aero]
Thursday, February 10 – 7:30 PM
Les Classiques du Cinema Series
Los Angeles Premiere:
Martin Scorsese Presents: THE FALL OF OTRAR (GIBEL OTRARA), 1990, Seagull Films, 165 min.
Director Ardak Amirkulov’s 1990 historical epic
about the intrigue and turmoil preceding Genghis Khan’s systematic destruction of the
lost east Asian civilization of Otrar is unlike anything you’ve ever seen. The movie
that spurred the extraordinary wave of great Kazakh films in the 90s, Amirkulov’s
movie is at once hallucinatory, visually resplendent and ferociously energetic, packed
with eye-catching (and gouging) detail and B-movie fervor, and traversing an endless
variety of parched, epic landscapes and ornate palaces. But THE FALL OF OTRAR is also one
of the most astute historical films ever made, and its high quotient of torture and gore
(Italian horror genius Mario Bava would have been envious) is always grounded in the
bedrock realities of realpolitik: when the Kharkhan of Otrar is finally brought before the
Ruler of the World, he could be facing Stalin, or, for that matter, any number of modern
CEOs. The movie that has everything, from state-of-the-art 13th century warfare to
perfumed sex, THE FALL OF OTRAR is a one of a kind experience. Shot in a sepia-toned black
and white with occasional splashes of color, and written by none other than Alexei Guerman
and his wife Svetlana Karmalita. Program notes courtesy Kent Jones/Film Society of
Lincoln Center.
Friday, February 18 – 7:00 PM
Louise Brooks Films
PANDORA’S BOX (DIE BÜCHSE DER
PANDORA), 1929, Kino Int’l, 110 min. As Henri Langlois once thundered,
"There is no Garbo! There is no Dietrich! There is only Louise Brooks!" Here she
proves it with one of the wildest performances of the silent era, as the
dancer-turned-hooker Lulu who attracts men like moths to a candle. The combination of
Brooks and director G.W. Pabst ("It was sexual hatred that engrossed his whole
being with its flaming reality," she once said) is still astonishing. Silent with live musical accompaniment by Robert Israel.
>> Also playing at the Aero on Feb. 26
Friday, February 18 – 9:30 PM
Louise Brooks Films
DIARY OF A LOST GIRL (DAS
TAGEBUCH EINER VERLORENEN), 1929, Kino Int’l, 100 min. Dir. G.W. Pabst. Seduced
and abandoned by her father’s assistant, Brooks descends into a lurid hell of
reformatories and whorehouses. For a debauched party scene, Pabst insisted on realism
– so Brooks complied by playing "the whole scene stewed on hot, sweet German
champagne." Silent with live musical accompaniment by
Robert Israel.
>> Also playing at the Aero on Feb. 26
Saturday, February 19 – 5:00 PM
THE SANDGLASS (SANATORIUM POD KLEPSYDRA),
1973, Film Polski, 124 min. With Gustaw Holoubek, Tadeusz Kondrat. A truly remarkable
find, this unknown gem from the late Polish director Wojciech Has is a companion
piece to his more-famous THE SARAGOSSA MANUSCRIPT. Like Has’s earlier masterpiece,
THE SANDGLASS is an hallucinatory, Moebius strip experience in which notions of external
"reality" dissolve into a surreal continuum where past and present co-exist in
the same time and space. Based on a collection of stories by one of Poland’s greatest
authors, Bruno Schulz (who was tragically murdered by the Nazis during WWII), whose work
has been compared to Franz Kafka, THE SANDGLASS follows a young man, Joseph, taking a
train journey to visit his father, Jakob, who is being treated inside a huge, dilapidated
sanatorium. Images and memories of his youth growing up in a small Jewish village flash
through the son’s mind – and more disturbing, once he arrives, we learn that his
father is already considered "dead" in the outside world, but inside the Gothic
walls of the sanatorium, he is still very much alive … We’ve imported this
incredibly rare subtitled print from Poland just for this screening. Our enormous thanks
to Film Polski for making it available. [In Polish, with English subtitles.]
>> Also playing at the Aero on Feb. 16
Thursday, March 3 – 7:30 PM
Los Angeles Premiere!!
MARKETA LAZAROVA, 1967, 162 min. "Why
listen? … For poetry’s sake, at the behest of a wandering echo, and because the
oldest things carry over into the present" – so begins the opening narration
of Czech director Frantisek Vlacil’s unforgettable medieval epic of warring
tribes during the last, dying days of paganism in Eastern Europe, when the old religions
gave way to the oncoming tide of Christianity. The intricate, elliptical plot focuses on
two rival clans – the Kozliks and the Lazars – and the anguished love affair
between Mikolas Kozlik and Marketa Lazarova, but it’s the brilliant, imaginative
force of Vlacil’s filmmaking that takes your breath away. Dialogue is revealed in
cryptic exchanges; the story flashes backwards and forwards, interrupted by startling
poetic images: a wheat field in summer, a tree hung with pagan charms, a woman’s
lust, a bird sacrificed, a snake in the tall grass. Fans of Tarkovsky, and especially
ANDREI RUBLEV, should not miss this at any cost. Voted the Best Czech Film ever made by a
1998 critics poll. Starring Magda Vasaryova, Josef Kemr and Michal Kozuch. Our enormous
thanks to George Gund for permission to screen the film. An Egyptian Theatre Exclusive!
Tuesday, March 8 – 7:30 PM
New from Agnes
Varda – Los Angeles Premiere!!
"In my films, I always wanted to make people see deeply.
I don't want to show things, but to give people the desire to see." - Agnès Varda
CINÉVARDAPHOTO, 2004,
Ciné-Tamaris, 96 minutes. With originality and consummate artistry, director Agnès Varda
has produced dramatic features, quasi-musicals, cine-poems, essay films and documentaries.
Her concern with the importance of images resonates throughout all of her films. But in
the shorts that she brings together in the trilogy CINÉVARDAPHOTO, we find a
direct engagement with photographs and their meanings in different contexts over a period
of forty years:
"Ydessa, les ours et etc..." documents Toronto art
collector Ydessa Hendeles's Teddy Bear Project, an exhibition of thousands of photographs
featuring teddy bears. The daughter of Holocaust survivors who had lost all family
memorabilia, Hendeles bought the photos - metaphorical traces of childhood, security and
loving relations - over a period of ten years, finally exhibiting them as a contemporary
art experience that addresses the history of the twentieth century. Through this
groundbreaking curatorial approach, the exhibition questions the way personal and national
identity are formed in the context of history; the parallel course of idyllic and civil
life is just as present as atrocity, war, persecution and expulsion. Personal and
original, this documentary presents a fascinating portrait of a gifted Canadian figure. In
"Ulysse", Varda revisits an enigmatic photograph taken in Egypt
twenty-eight years earlier. The film is a thoughtful and imaginative analysis of the
meanings of images - mythological, allegorical, historical and personal. "Salut
les Cubains" animates fifteen hundred of the more than four thousand photographs
Varda took while vacationing in Cuba. Through montage, she makes the subjects of the
photos sing and dance. She calls it Socialism and cha-cha-cha.
In French and English, with English Subtitles.
>> Also playing at the Aero on March 15.
Wednesday, March 9 – 7:30 PM
COMEDY SHORTS
Join us for another round of laughter this year as we bring you some
of the funniest shorts from the recent festival circuit. A great chance to see how comedy
can transcend borders and speak universally when the filmmakers are in control of the
script, the actors and the visuals. Several of the filmmakers will appear for a
post-screening discussion. Jonny McGovern’s "Gay Pimp Daddy – Looking
Cute" Los Angeles Premiere! (4 min, USA). A spoof of the typical rap video.
Aundre Johnson’s "F***ing Hollywood in Wild Card" Los Angeles
Premiere! (18 min., USA) A rollicking romp in this nightmarish comedy of errors. Olivier
Venturini’s "In the Bathroom" Los Angeles Premiere! (8 min., UK). A
hilarious battle of wills between a seemingly loving couple. David Harb’s "Cut
and Run" Los Angeles Premiere! (15 min., USA). A tough-talking bounty fulfills
his dream of entering beauty school. Jay Field’s "Displaced" (23
min., Canada). Director stars as a Frenchman who was mistakenly born into an English
family. Unique and fresh! Neele Vollman’s "My Parents" (19 min,
Germany). Multi-Award Winner! Marie is panicked about introducing her new boyfriend to her
uncool parents. Discussion following with Aundre Johnson ("F***ing Hollywood
in Wild Card") & David Harb ("Cut and Run"). An Egyptian Theatre Exclusive!
Thursday, March 17 – 7:30 PM
Les Classiques du Cinema Series –
Los Angeles Premiere!!
BRONCO BULLFROG, 1970, 83 min.
Director Barney Platts-Mills’s
long-lost classic of late 1960’s British indie filmmaking is like an early Kinks or
Pretty Things song brought to life: rude, raw and defiantly downbeat, with an amazing cast
of non-pro actors headed by Del Walker as the diffident, welder’s apprentice
"hero" of the film, and Anne Gooding as his 15-year old girlfriend, a
dark-haired, East End version of Julie Christie hidden behind long tresses and a shy
smile. There’s nowhere to go, nothing to do in this
bleaker-than-bleak portrait of London teenagers – but strangely, the film has an
uplifting feel to it as you find yourself rooting against all odds for these beaten-down
kids to somehow pull through. Call it a rough-trade QUADROPHENIA, or THE 400 BLOWS
filtered through the no-illusions sensibility of early Mike Leigh or Ken Loach. By any
standards, this is a real discovery – our thanks to the British Film Institute for
restoring this long-overlooked gem. "A smashing Cockney film" – Penelope
Gilliatt, New Yorker. "Crude and defiant, full of angry energy" –
Jay Cocks, Time Magazine. (Please note that the date on
this event was changed.)
The director's Official Website.
>> Also playing at the Aero on March 16.
May
Wednesday, May 4 – 7:30 PM
Les Classiques du Cinema Series:
One of the best known Italian directors and actors of the postwar period, Vittorio
de Sica has contributed immensely to the development and the crafting of the
Italian Neorealist movement’s artistic and intellectual style. Born in Naples to a
middle-class family, de Sica started acting as a stage comedian. As an actor he is still
mostly known for unforgettable comic roles (THE LAST JUDGEMENT, THE TWO MARSHALS, THE
TRAFFIC POLICEMAN, COUNT MAX). After WWII he started directing and, though still
interested in comedy, he dedicated his work to the topics and characters that soon became
know as "Neorealist". Particularly significant was his collaboration with Cesare
Zavattini, a screenwriter that contributed greatly to the actual theory of the movement
(even though some critics still find it difficult to call it a "movement").
After the war and the Fascist experience, Italian filmmakers focused their attention on
everyday urban and country life, and the heroes of these stories were the average people
living in economically and culturally frustrated conditions. The actual way of making and
producing cinema changed. Directors (among them, Roberto Rosellini, Luchino Visconti and
Guiseppe De Santis) preferred real locations to studio sets; most of the actors were
non-professional and sometimes hired off the streets; the films were willfully
non-polished and the use of entertaining music and fancy editing was abandoned. The
director’s subjective approach was also relegated invisible. The camera had to simply
describe the events (often tragic and unfair) in the most trustworthy and accurately
realistic way; thus the explanation of the term Neo-realism (Neo; in order to distinguish
it from the literary movement –Verismo/ Realism- introduced in the late 19th
and early 20th century in Italy with writers such as Verga and Capuana). We are
proud to present two of De Sica’s best movies: the moving story of UMBERTO D
[screening exclusively at the Egyptian Theatre] and the satirical MIRACLE IN MILAN
[screening exclusively at the Aero Theatre.]
UMBERTO D, 1952, Rialto Films, 91 min. The last of
director Vittorio de Sica’s Neorealist films, UMBERTO D is the poetic and
touching story of an old man dealing with retirement and loneliness in postwar Rome. (De
Sica dedicated the film to his own father.) Carlo Battisti, in real life a
university lecturer, offers an astounding interpretation of Umberto and is one of the best
examples of non-professional acting. In his own words, de Sica said: "The man in
the street, particularly if he is directed by someone who is himself an actor, is raw
material that can be molded at will. It is sufficient to explain to him those few tricks
of the trade which may be useful to him from time to time; to show him the technical and,
in the best sense of the term, of course, the histrionic means of expression at his
disposal. It is difficult--perhaps impossible--for a fully trained actor to forget his
profession. It is far easier to teach it, to hand on just the little that is needed, just
what will suffice for the purpose at hand." The film was restored in 2002 for the
film's 50th anniversary and the 100th anniversary of De Sica's birth.
An Egyptian Theatre Exclusive! DeSica's MIRACLE IN MILAN will be shown
at the Aero on May 12.
Friday, May 27 – 7:30 PM
Billy Wilder Double Feature
SUNSET BOULEVARD, 1950, Paramount, 110 min. "I’m
ready for my close-up, Mr. De Mille!" Director Billy Wilder created one of
his most enduring masterpieces in this dark, glittering poison pen letter to all things
Hollywood, told in flashback by murdered screenwriter Joe Gillis (William Holden),
whose final job is playing paid-companion to egocentric, aging silent film goddess Norma
Desmond (Gloria Swanson). With Erich von Stroheim. Academy Award Winner for Best
Screenplay (Wilder, Charles Brackett and D.M. Marshman Jr.) and Score (Franz Waxman.) The
original Schwab’s drugstore figures prominently in the film, as does Paramount
Studios and the still-standing Alto Nido apartments.
DOUBLE INDEMNITY, 1944, Paramount (Universal),
107 min. Director Billy Wilder collaborated with Raymond Chandler on the script,
from the novel by James M. Cain. As if that pedigree wasn’t enough, we have Fred
MacMurray as cynical Los Angeles insurance salesman Walter Neff, Barbara Stanwyck
as Phyllis, the stunningly amoral blonde that seduces him into a murder plot and Edward
G. Robinson as Walter’s boss. Stir those ingredients together and you get the
plus ultra of noir. Wilder’s cunning masterpiece helped spawn Hollywood’s
dark renaissance in mordant murder thrillers. It still hasn’t been equaled.
An Egyptian Theatre Exclusive!
Saturday, May 28 – 6:30 PM
GONE WITH THE WIND, 1939, Warner Bros., 222
min. Dir. Victor Fleming. Coquettish, infuriating Southern vixen Scarlett O’Hara (Vivien
Leigh) only has eyes for sensitive Ashley Wilkes (Leslie Howard) – but
wise-cracking hellraiser Rhett Butler (Clark Gable) is determined to win her heart,
even if it takes surviving the burning of Atlanta, the destruction of Scarlett’s
beloved Tara, and the overthrow of the Old South itself. Considered by many the high point
of grand, Hollywood style filmmaking, and – despite its sometimes questionable
depiction of blacks during the Civil War – still one of the most irresistible
American epics ever put on screen. Brilliantly mounted by producer David O. Selznick
based on Margaret Mitchell’s best-selling novel, with an unforgettable score by Max
Steiner. With Olivia de Havilland, Hattie McDaniel, Thomas Mitchell, Butterfly
McQueen, Evelyn Keyes. Academy Award Winner for Best Picture, Director, Actress (Vivien
Leigh), Supporting Actress (Hattie McDaniel, the first black performer to receive an
Oscar), Screenwriter (Sidney Howard).
>> Also playing at the Aero on June 4.
Sunday, May 29 – 5:00 PM
Ingrid Bergman & Claude Rains -- Double Feature
CASABLANCA, 1942, Warner Bros., 102 min. Dir. Michael
Curtiz. The word "classic" was arguably minted for this absolutely flawless
blend of wartime romance, intrigue and exotic adventure, set at Rick’s Café in
WWII-era Morocco, where owner Humphrey Bogart never drinks with any of his
customers – until lost-love Ingrid Bergman (GASLIGHHT) walks back into his
life, with insufferably noble husband Paul Henreid (NOW VOYAGER) in tow. Claude
Rains (THE INVISIBLE MAN) is the sly Vichy French police captain, Conrad Veidt the
sinister Nazi officer in pursuit of Henreid, Peter Lorre (M) the desperate thief in
possession of those prized "transit papers" – and Dooley Wilson Bogey’s
trusted piano player, Sam, who inspires the movie’s most famous refrain: "You
played it for her, you can play it for me …" Academy Award winner for Best
Picture, Director and Screenplay (Julius & Philip Epstein and Howard Koch).
NOTORIOUS, 1946, Walt Disney Co., 101 min. "Notorious
woman of affairs…Adventurous man of the world!" read the tagline. Director Alfred
Hitchcock’s crackerjack espionage thriller set in South America during WWII is
also an intoxicating love story that mirrors the personal subterfuge and emotional
upheaval amongst the three major characters. Hard-nosed Allied agent Cary Grant
convinces Ingrid Bergman, the beautiful, disillusioned daughter of a supposed
traitor, to marry, then spy on a wealthy friend of her father (Claude Rains) who is
leading Nazi Germany’s search for weapons-grade uranium in Brazil. The catch is Grant
and Bergman are in love with each other, something that supplies additional suspense in
this already-tense nailbiter. Grant and Bergman’s love scene near the climax is one
of the most rapturously delirious ever committed to film.
An Egyptian Theatre Exclusive!
JUNE
JULY
Friday, July 22 – 7:30 PM
Cinema Classics – Steven Spielberg
Double Feature
RAIDERS OF THE LOST ARK,
1981, Paramount, 115 min. Archaeologist Harrison Ford battles occult-obsessed Nazis
and former girlfriend Karen Allen as he attempts to wrest the Ark of the Covenant
from the lost Egyptian city of Tanis. Brilliant, non-stop adventure from director Steven
Spielberg and producer George Lucas that mixes 1930’s-style matinee
thrills with the ominous threat of Hitler’s henchmen controlling one of
history’s most powerful objects. With terrific support from Paul Freeman as
Indy’s suave nemesis Belloq, Ronald Lacey as the sinister Nazi officer Toht, and John
Rhys-Davies as Indy’s right-hand man Sallah. Imaginatively written by Lawrence
Kasdan (based on Lucas and Philip Kaufman’s original story), aided by a typically
stirring John Williams score, one of his very best. Even if you’ve seen
RAIDERS a dozen times – come back and see it again!
CLOSE ENCOUNTERS OF THE THIRD
KIND, 1977, Columbia, 135 min. "We Are Not Alone …" Director Steven
Spielberg’s thrilling, suspenseful and somehow very "human" speculation
on the possibility of alien contact with mankind was one of the most surprising
blockbusters of the 1970’s. Richard Dreyfuss does a terrific job of anchoring
the film as an unhappily married Everyman who’s suddenly possessed – along with
hundreds of others – with visions of a strange tower rising up. And then the colored
lights start appearing in the night sky … The passages of the massive alien ships
appearing over the desert – told almost entirely without dialogue – are among
the radiantly beautiful in all of Spielberg’s career. With Francois Truffaut, Teri
Garr, Melinda Dillon, Bob Balaban. An Egyptian Theatre Exclusive!
Saturday, July 23 – 5:00 PM
Cinema Classics
DAYS OF HEAVEN, 1978, Paramount, 95
min. Director Terence Malick’s lyrical tone poem set at the turn of the 20th
century tracks impoverished Chicago couple, Richard Gere and Brooke Adams as
they migrate to the Texas Panhandle and masquerade as brother and sister to find farm
work. When their smitten, terminally ill boss (Sam Shepard) proposes to Adams, the
couple see an eventual way out of their poverty if Adams accepts. But after the marriage,
Shepard seemingly recovers, and a set of tragic complications gradually unfold. Gorgeous,
thoughtful and at times achingly romantic, this ambitious working class epic set the
standard for Malick’s future films – passionate, moody and serene meditations on
the human condition set in a tragic dimension. Nestor Alemendros won the Oscar for Best
Cinematography. Co-starring Linda Manz. An Egyptian Theatre Exclusive!
Saturday, July 23 – 8:00 PM
Cinema Classics
THE EXORCIST, 1973, Warner Bros., 132
min. With Ellen Burstyn. Director William Friedkin adapted William Peter
Blatty’s bone-chilling novel into the American horror film of the 1970’s
-- where Catholic priests Jason Miller and Max von Sydow go head-to-head
with the unholy one, inhabiting the body of Linda Blair. This is the extended
Version You’ve Never Seen. "I auditioned five hundred girls and went with
Linda because I felt she was the most intelligent, most pulled-together youngster I had
ever met." – Friedkin.
An Egyptian Theatre Exclusive!
Sunday, July 24 – 5:00 PM
Cinema Classics – 2 x Robert Redford
ALL THE PRESIDENT’S MEN,
1976, Warner Bros., 138 min. "We're about to accuse Haldeman, who only happens to be
the second most important man in this country, of conducting a criminal conspiracy from
inside the White House. It would be nice if we were right." With the recent
revelations about the true identity of "Deep Throat," what better time is there
to take another look at director Alan J. Pakula’s engrossing account of the
investigation into the cover-up of the break-in at the Watergate Hotel? Robert Redford
and Dustin Hoffman star as Washington Post reporters Bob Woodward and Carl
Bernstein, who doggedly follow the elusive trail of evidence, with Jason Robards in
a great, crusty turn as Post editor Ben Bradlee, and Hal Holbrook as that
mysterious man in the parking garage …
THE STING, 1973, Universal, 129 min. Dir.
George Roy Hill. Young gambler-on-the-run Robert Redford teams up with wisecracking
old hand Paul Newman, and together they hatch a brilliantly complicated scheme to
take revenge on vicious mobster Robert Shaw. Wonderfully acted and directed, with a
crackerjack script by David S. Ward, superb cinematography by Robert Surtees, and an
astounding evocation of Depression Era Chicago by art director Henry Bumstead. An
Egyptian Theatre Exclusive!
Thursday, July 28 – 7:30 PM
Cinema Classics – Hitchcock Double
Feature:
PSYCHO, 1960, Universal, 109 min. Coming
off comparatively big budget NORTH BY NORTHWEST, director Alfred Hitchcock decided
he wanted to make a nice little, low budget B&W film for a change of pace. PSYCHO was
the result, and the shock waves are still reverberating. Lovely Phoenix embezzler, Marion
Crane (Janet Leigh), is forced to take refuge from a rainstorm off the beaten track
of a lonely California highway. Unfortunately, she checks in at the Bates Motel, presided
over by young Norman Bates (Anthony Perkins), a strange fellow living with his
mother in the nearby mansion. Hitchcock used the small crew from his popular TV show for
this hair-raising example of California Gothic, and it still remains one of the most
influential thrillers ever made, leaving its mark on everything from TEXAS CHAINSAW
MASSACRE to SILENCE OF THE LAMBS. With Vera Miles and John Gavin.
REAR WINDOW, 1954, Universal, 112 min.
"See It! - If your nerves can stand it after PSYCHO!" That was the
tagline for the 1962 re-release of one of director Alfred Hitchcock’s most
rigorously structured, most nailbiting thrillers. Adapted from a short story by noir
master Cornell Woolrich, REAR WINDOW stars James Stewart as L.B. Jeffries, an ace
photographer bound to a wheelchair after breaking his leg on assignment. Despite receiving
visits from his high-fashion sweetheart, Lisa (Grace Kelly), Jeffries is bored and
soon resorts to spying on his tenement neighbors through a telephoto lens. Suddenly, he
has cause to regret his indiscretion – it seems the ailing wife of a traveling
salesman neighbor (superb heavy Raymond Burr) has taken an abrupt trip. Or has she
really, as Jeffries believes, been hacked up into small pieces and disposed of by her
hulking spouse? "The experience is not so much like watching a movie, as like ...
well, like spying on your neighbors. Hitchcock traps us right from the first."
– Roger Ebert, Chicago Sun Times.
An Egyptian Theatre Exclusive!
Friday, July 29 – 7:30 PM
Cinema Classics:
BREAKFAST AT TIFFANY’S,
1961, Paramount, 115 min. Dir. Blake Edwards. With George Peppard, Mickey
Rooney. "I've got to do something about the way I look. I mean a girl just can't
go to Sing Sing with a green face," – so sighs Audrey Hepburn’s
girl-about-town Holly Golightly, breezing ever-so-gently through the real world with
hardly a ripple. Adapted from Truman Capote’s bestselling romance by director Blake
Edwards (THE PINK PANTHER, THE PARTY) and writer George Axelrod, and featuring what is
arguably Henry Mancini’s greatest score, highlighted by the lovely,
bittersweet "Moon River." Post-screening Cocktail
party and pre-screening Fashion Show co-presented with the Art
Deco Society LA and the LA Conservancy
Modernism Committee featuring fashions by Peggy Hunt and Jeanette Alexander.
Introduction to the screening by Producer Dick
Shepherd, Casting Director Marvin Paige and Actress Miriam Nelson.
An Egyptian Theatre Exclusive!
Saturday, July 30 – 5:00 PM
Cinema Classics – A Tribute to Actor
Brock Peters:
TO KILL A MOCKINGBIRD,
1962, Universal, 129 min. Adapted from the Pulitzer Prize-winning novel by the reclusive
Harper Lee (who recently re-appeared in public after a decades-long absence), TO KILL A
MOCKINGBIRD stars Gregory Peck in his Oscar-winning role as Atticus Finch, a
Southern lawyer who takes on the job of defending a black man (Brock Peters, in a
wonderful, understated performance) unjustly accused of raping a white woman. Beautifully
directed by Robert Mulligan and written by Horton Foote (also an
Oscar-winner), who capture the profound childhood joys and terrors at the heart of this
classic story. And watch out for Boo Radley … With Mary Badham, Phillip Alford,
Robert Duvall. Actor Brock Peters to appear at screening,
schedule permitting. DUE TO UNFORSEEN CIRCUMSTANCES, BROCK PETERS WILL NOT BE IN
ATTENDANCE.
An Egyptian Theatre Exclusive!
Saturday, July 30 – 8:15 PM
Cinema Classics – Billy Wilder + Jack
Lemmon Double Feature:
THE APARTMENT, 1960, UA (Columbia),
125 min. Dir. Billy Wilder. Jack Lemmon ingratiates himself with his
corporate colleagues by lending out his apartment for their extra-marital affairs –
but his promotion plans backfire when he falls head-over-heels for boss Fred
MacMurray’s new gal-pal Shirley Maclaine. Oscar-winner for Best Picture,
Director and Screenplay (Wilder and I.A.L. Diamond). Introduction to the screening by Actress Hope Holiday.
SOME LIKE IT HOT, 1959, UA
(Columbia), 120 min. Cross-dressing musicians Tony Curtis and Jack Lemmon take
it on the lam from the Chicago mob, while luscious Marilyn Monroe falls for a
playboy who’s a playgirl … Director Billy Wilder’s insane blend of
sexual confusion and flawless slapstick gave his three stars arguably the best comic roles
of their careers. Biggest on-set problem? Keeping Curtis and Lemmon from looking too good
in women’s clothes. An Egyptian Theatre Exclusive!
Friday, November 25 – Sunday, November 27
With the support of the French Film & TV Department of the
French Consulate, Los Angeles.
3 Nights Only! In Glorious 70 mm.!!
PLAYTIME, 1967, Janus Films, 126 min.
Dir. Jacques Tati. If you missed our previous sold-out screenings, this may
be your last chance to see the fully restored Jacques Tati masterpiece PLAYTIME,
which was conceived originally as a 70mm viewing experience, then lost for over 30 years
(there were only 35mm prints left of a cut version), and finally rescued by Tati's
daughter Sophie Tatischeff and Jerome Deschamps. Monsieur Hulot must contact an American
official in Paris, but he gets lost in a stylish maze of modern architecture filled with
the latest technical gadgets. Caught in a tourist invasion, Hulot roams around Paris with
a group of American tourists, causing chaos in his usual manner. The star of the film: the
city built by Tati and called Tativille/Taticity. From surprise to surprise, it’s an
exquisite and divine experience! François Truffaut, writing to Jacques Tati about
PLAYTIME, said simply, "A film from another planet."
Friday, November 25 – 7:00 & 9:30 PM
Saturday, November 26 – 2:00, 7:00 & 9:30 PM
Sunday, November 27 – 5:00 & 7:30 PM |
