Just some thoughts on current happenings:

Classic film screenings from around the world this September include:

In Lyon, France the Institut Lumiere continues with

MERYL STREEP a series of films with the iconic star Thursday, August 28 to Sunday, October 5, 2025.

Click on the respective image above for more information on this series. Click on the Institut logo for all of the films showing this month.

In London, United Kingdom The Prince Charles Cinema will present Dr. Strangelove (1964, a 35mm print) Wednesday, September 10, Harakiri (1962) Friday, September 12, Apocalypse Now [Final Cut] (1979) Friday, September 13, Taxi Driver (1976, a 35mm print) Sunday, September 14, Hard Eight (1996, a 35mm print) Friday, September 19, Ocean’s Eleven (2001, a 35mm print) Wednesday, September 24, Inception (2010, a 35mm print) Monday, September 29, Amadeus (1984, a 4K presentation) Friday, September 26, and Casablanca (1942, a 35mm print) on Tuesday, September 30.

* Note: Some of the showtimes are matinees only.

Click on the film’s respective image for more information. To see September’s complete programming, click on The Prince Charles Cinema banner above.

In San Francisco, California, The Roxie Theatre will present Night Moves (1975, a 35mm print) Wednesday, September 10, Roman Holiday (1953) Saturday, September 13 and Thursday, September 18, and Ikiru (1952) on Saturday, September 20 and Sunday, September 21.

* Note: Some of the showtimes are matinees only.

For more information on each film’s showing, click on the appropriate movie image above. For more information on the other films being presented at The Roxie, click on the theatre picture.

In Santa Monica (part of greater Los Angeles) California, The American Cinematheque Aero Theatre will present In a Lonely Place (1950, as part of this film’s 75th Anniversary) Wednesday, September 10, and Tombstone (1993, as part of their ‘Starring Val Kilmer series’) on Friday, September 19.

For more information on either of these programmes, click on the appropriate film image above. To see the entire month of September’s programming including other films showing at the Aero Theatre in Santa Monica, The Los Feliz 3 Theatre in Los Feliz (also part of greater Los Angeles), and The Egyptian Theatre in Hollywood (also part of greater Los Angeles), click on the American Cinematheque banner.

In Como (part of greater Perth) Western Australia, The Revival House will present Pulp Fiction (1994, a 35mm print) on Thursday, September 11.

Click on the poster image for more information on this screening. To see the other films showing this month, click on the theatre banner above.

In Sydney, Australia The Ritz Theatre will present Wake in Fright (1971, as part of their ‘This is Celluloid: a Year of 35mm and 70mm Screenings’) Friday, September 12, Re-Animator (1985, as part of their ‘Cult Classics’ series) Saturday, September 13, and King Kong (1933, as part of their ‘Classic Matinees’) on Saturday, September 20 at 2 pm only and Monday, September 22 at 11 am only.

Click on the respective film image for more information on these screenings. For other films playing at The Ritz Theatre, click on the banner above.

In Los Angeles, California The Beverly Cinema will present From Russia with Love (1963, an I.B. Technicolor 35mm print) Saturday, September 13 and Sunday, September 14, and High Noon (1952, a 35mm print) on Saturday, September 27 and Sunday, September 28.

* These showtimes are matinees only.

Click on the respective poster image for more information on either of these presentations. To see the rest of September’s schedule, click on The Beverly Cinema banner above.

In theatres across the U.S. Flashback Cinema is presenting Inception (2010) on Sunday, September 14 and Wednesday, September 17.

Click on the poster image for more information on this screening. To see the entire month’s programming, click on The Flashback Cinema banner above.

In Vancouver, British Columbia, The Cinematheque is presenting

KUROSAWA AKIRA RESTORED

From September 15 – November 2, 2025

The programme reads:

“The influence of Kurosawa Akira (1910–1998), one of cinema’s paramount figures, has remained outsized and evergreen some seventy-five years after Rashomon effectively introduced the West to Japanese film. While various mid-century directors have watched their cachet dwindle over the decades, Kurosawa’s has held exceptionally strong, unruffled by the shifting winds of appreciation. His name-making masterpieces of the 1950s, Seven Samurai and the aforementioned Rashomon, for instance, each fortified their standing amid the top 50 films of all time in Sight and Sound’s latest decennial poll. Seven Samurai was anointed the greatest ever foreign-language (i.e. non-English) film by balloters of a 2018 BBC poll—three other Kurosawa pictures cracked the upper 80—while Spike Lee’s 2025 transplanting of High and Low to modern-day NYC proves the storied tradition of making over Kurosawa for Western markets hasn’t lost its appeal or potential for greatness. (Among the most famous, The Magnificent Seven, A Fistful of Dollars, and, yes, Star Wars.)

Accounting for the enduring popularity of Kurosawa is a game of pie-chart percentages. How big a portion should be calculated for his unparalleled craft, his cross-cultural touchstones (Shakespeare, Dostoevsky, John Ford, Dashiell Hammet), his virtuosic reinvention of the chambara (sword fighting) genre, his legendary Mifune Toshiro collaborations—heck, the abiding high-regard for Japanese cinema, tout court?! What requires less speculation is the knowledge that, thanks to the efforts of studio Toho and distributor Janus Films, Kurosawa’s legacy is keeping pace with the times.

Following the release of a restored Seven Samurai last year (a sensation here at The Cinematheque), eight more digitally refurbished Kurosawa films are now available. Two—Stray Dog and High and Low—we cherry-picked early to coincide with our summer noir series. The six others are presented in this “Restored” program, a collection of indispensable Kurosawa classics that, with the exception of humanist drama Ikiru, all draw from the director’s iconic jidaigeki (period piece) output and feature leading man Mifune at the apex of his formidable acting prowess.”

Click on the respective image above for more information on this series.

For all of the films scheduled this month at The Cinematheque, click on the theatre banner above.

Eddie Muller will host Noir City in Detroit, Michigan this month from September 19 - 21.

The introduction reads:

Turner Classic Movie host and Film Noir Foundation President Eddie Muller returns with a selection of crime classics, half in rare 35mm film prints, with a focus on women related to his book Dark City Dames.

For more details, click on the image above.

In New York City, New York, Film Forum is presenting:

100 YEARS OF PETER SELLERS

Friday, September 19 – Thursday, October 2

The programme reads:

A two-week tribute to one of cinema’s greatest comedic talents, this series spans Sellers’ career, from his early work in Britain like Alexander Mackendrick’s THE LADYKILLERS (1955) and his BAFTA Award-winning role in I’M ALL RIGHT JACK (1959), to his Hollywood triumphs in THE PINK PANTHER series and his Oscar®-nominated role in Hal Ashby’s BEING THERE (1979). 18 of Sellers’ feature films are included in the program — with 35mm prints of DR. STRANGELOVE (1964, Sellers’ second Oscar®-nomination), CASINO ROYALE (1967), A SHOT IN THE DARK (1964), WHAT’S NEW PUSSYCAT? (1965), and more–plus Sellers’ and Richard Lester’s Oscar®-nominated experimental short The Running Jumping & Standing Still Film (1959).

Click on the film image for the programming of this series and on the Film Forum banner for other motion pictures playing this month.

In Bergen, Norway The Cinemateket i Bergen will present The Getaway (1972) on Friday, September 26 at 2 pm only and Sunday, September 28.

For more information on this film’s showing, click on the movie image above. For further information on the other films being presented at The Cinemateket, click on the banner image above.

In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Edificio Rialto will present The Stranger aka Lo straniero (1967, as part of their MASTROIANNI CENTENNIAL series) on Wednesday, September 24 and Sunday, September 28.

Click on the film’s image for more information on this screening. To discover more of September’s programming including other films playing in Valencia, Spain at the Edificio Rialto, Castelló, Spain at the Raval Theatre and the Paranimf of the Universitat Jaume I, and in Alicante Spain at the Arniches Theatre, click on the banner image above.

In Auckland, New Zealand, Academy Cinemas is presenting Brief Encounter (1945) on Tuesday, September 30.

To obtain more information on any of this programme, click on the respective poster image. To see August’s complete schedule, click on the Academy banner above.

These are the reviewed films showing on Turner Classic Movies in the U.S. for the remainder of this month:

John Huston's Reflections in a Golden Eye (1967) is a film I have mixed feelings about. The rather strange inhabitants of these southern Gothically-tinged surroundings may remain underdeveloped but the performances from its superbly chosen cast compensate by genuinely conveying their characters' frustrations and desires making this an engrossing film-watching experience. It is a previous TCM recommendation here, and is worth eyeing Sunday, September 7 at 11:15 am PDT.

(From left) Marlon Brando, Elizabeth Taylor, Brian Keith

"And then I saw her - coming out of the sun. And I knew why Whit didn't care about that 40 grand."

Out of the Past (1947), is one of film noir's finest and most highly recommended here. She will arrive Tuesday, September 9 at 10:15 am PDT.

After directing Colorado Territory (1949), Raoul Walsh’s very next film retained all of that film’s energy and even added some for White Heat (1949), previously reviewed here. TCM's screen will heat up Wednesday, September 10 at 11 am PDT.

“Yes, I can be very cruel. I have been taught by masters.”

Olivia de Havilland is The Heiress (1949), previously reviewed here and appearing again on TCM Wednesday, September 10 at 5 pm PDT.

“What a story! Everything but the bloodhounds snappin' at her rear end.”

All About Eve (1950) is really all about the spoken word and is a prior TCM recommendation here. She will make her appearance Wednesday, September 10 at 7 pm PDT.

TCM is showing Guess Who’s Coming to Dinner (1967) on Friday, September 12 at 7 pm PDT. This is a film I’ve been rather dismissive of in my brief review which can be read here. On the plus side, all of the able-bodied cast members deliver solid performances.

Here’s a nifty little noir from the ‘50s featuring a hard cop who, understandably, goes soft for a dame and thus turns to the dark side in Roadblock (1951), previously examined here. It’s showing Saturday, September 13 at 3:30 pm PDT.

The Treasure of the Sierra Madre (1948) has Humphrey Bogart portraying perhaps his darkest and most psychologically troubled character. Watching his slow transformation from an honest and idealistic adventurer to a tormented, paranoid psychotic is one of the art's most stunning, dramatically forceful experiences, perfectly matched to a magnificent and fatalistically ironic conclusion. My further thoughts on The Treasure of the Sierra Madre are here. This cinematic treasure can be discovered Saturday, September 13 at 5 pm PDT.

(From left) Walter Huston, Humphrey Bogart, Tim Holt

Dark Passage (1947) is a wildly engrossing film noir that combines the best of romance with the best of noir in the best location for both: San Francisco. Previously endorsed as a Blu-Ray release here, Bogart will make his dark (rite of) passage Tuesday, September 16 at 7:15 am PDT.

That’s Humphrey Bogart as Vincent Parry standing at the crossroads of Greenwich Street (behind him leading to Coit Tower) and Hyde where he will soon board the Hyde cable car. This will take him to its final stop: the turntable turnaround at Powell Street and Market (seen below).

Despite its ridiculously hard to follow plot, this next recommendation's wildly entertaining detective yarn is worth waking up for.

Previously reviewed here, The Big Sleep (1946) will awaken Tuesday, September 16 at 1:30 pm PDT.

What better way for film lovers to celebrate cinema's diversity after watching a serious detective drama like the previous selection, than to partake in the light-hearted, almost make-believe world of a Princess' Roman Holiday (1953)? One can indulge in this delightful fairy tale, previously reviewed here, Wednesday, September 17 at 8 pm PDT.

After World War II, many returning servicemen were disillusioned to find jobs were scarce and their wives’ (or girlfriends’) faithfulness even scarcer. The Best Years of Our Lives (1946) addresses this reality head on when the Dana Andrews character finds it impossible to please either his previous employer or trophy wife upon his return to civilian life. Perhaps for this narrative distinction, authors Borde and Chaumeton referred to The Best Years of Our Lives in their highly respected book “Panorama of American Film Noir 1941 - 1953”, the first to be published on the subject.

Dana Andrews holding the Mayo… Virginia Mayo that is

The film portrays no crime, the focus is not on Andrews’ experiences alone, and he comes out better off at the end without his superficial but admittedly gorgeous wife, which for myself, collectively place this film well outside of noir’s dark and gloomy world of illegal activity. Previously, I highly praised The Best Years of Our Lives for its exceptional musical score composed by Hugo Friedhofer in the first part of a series entitled Top Ten: Motion Picture Music Treasures. This emotionally powerful tour de force will commence Thursday, September 18 at 6 pm PDT.

Next is a sterling example of how to present complex and enthralling characters, all of whom develop naturally while still holding our intense fascination: Citizen Kane (1941).

A previous TCM recommendation here, this American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Tuesday, September 23 at 3 pm PDT.

In our Facebook chat room (all readers are welcome to join here), Citizen Kane came under significant fire for being boring and overrated. It seemed the best defence enthusiasts could muster was based primarily on the film’s technical achievements which prompted me to make the following response:

"Citizen Kane is, for myself, aside from all of the technical razzle-dazzle, an insightful, exploratory look into the human psyche. The relationships are chronicled with immense creativity and dynamism, having personalities rich in intellectual and emotional development, and yet remain consistent with each individual's temperament. It's not simply Welles' flashy style to admire here... it is how ingeniously he fuses those techniques into his narrative's progression that serves to enhance such a passionate overview of his characters while providing a thorough understanding of their experiences from each one's unique perspective, particularly in how some view their past.

I think those who look to a film like Citizen Kane for superficial entertainment qualities are apt to miss out on the profound relationship developments inherent in the narrative. These are rich, multilevel characters with complex emotions responding to their ever changing circumstances. To appreciate the kind of sophisticated delineation of individuality requires a substantial investment on the viewer's part, some may not be accustomed to giving. This is perhaps due to the overwhelming number of lesser cinematic fare providing simple and identifiable personas easy to assimilate as well as instantly gratifying resolutions to their conflicts. Others may be dismissive toward films like this one because they don't like seeing what are perceived as negative traits recognisable in themselves and/or other important people in their lives, plus the fact that, just like in real life, Citizen Kane’s populace tend to suffer through them rather than being provisioned with artificial heroic triumphs. Many films offer an escape from reality. Citizen Kane confronts us with it. Both types have value but when such an enlightening story is told with so much drive, innovation and passion, it transcends both categories.”

One of the most intelligent and illuminating documentaries ever produced is Robert Epstein's 1984 feature The Times of Harvey Milk previously reviewed here and making another rare showing on TCM Friday, September 26 at 11:30 am PDT.

(From left) Harvey Milk, George Moscone, Dan White

TCM is featuring a film starring Rod Taylor and well worth seeing: 36 Hours (1964), previously reviewed here. The hour to watch will occur Saturday, September 27 at 11:15 am PDT.

(From left) Rod Taylor, James Garner, Eva Marie Saint

Both tension and fear are at their zenith in Cape Fear (1962), previously reviewed here, with Robert Mitchum once again playing southern bred evil incarnate as he did in 1955’s The Night of the Hunter. Viewers prepared to be terrified can visit Cape Fear Saturday, September 27 at 3 pm PDT.

(From left) Gregory Peck, Robert Mitchum

Blake Edwards' whimsical, charming and finally endearing little comedy was previously recommended as a video release here. The Party (1968) starts on TCM Monday, September 29 at 5 pm PDT.

TCM's current monthly schedule can be confirmed by clicking on any of the above TCM related images. To confirm the correct Pacific Daylight (West Coast) showtime information, subtract 3 hours from the Eastern Daylight (East Coast) showtime listed on TCM’s schedule.

This month's Happy Birthday shout-out goes to the talented American composer Theodore Shapiro who turns 54 on September 29th.

He has lent his considerable musicianship to creatively enhancing the motion pictures Six Ways to Sunday (1997), On the Ropes (1999), State and Main (2000), Heist (2001, a personal favourite), Old School (2003), Starsky & Hutch (2004), Fun with Dick and Jane (2005), The Devil Wears Prada (2006), Idiocracy (2006), Blades of Glory (2007), Tropic Thunder (2008), Marley & Me (2008), We’re the Millers (2013), The Secret Life of Walter Mitty (2013), Central Intelligence (2016), Bombshell (2019), The Eyes of Tammy Faye (2021), and The Roses (2025) among others. In addition, he’s composed the music for 19 episodes of the TV series Severance (2022 - 2025).

The Soundtrack recommendation of the month is John Barry's thunderous score to the fourth installment in the James Bond series, 1965's Thunderball.

in almost the same fashion as the series’ previous film, 1964’s Goldfinger, Thunderball references the main evil-doer of the piece, not directly by name but in the way it identifies Emilio Largo’s lust for power. Fans can take notice of the ever increasing budget, especially noticeable in the exotic locations on display, its lavish production design including a spectacular underwater battle staged at the film’s conclusion. The increased expenditure helps compensate for the series’ concurrent familiarity of tropes, not to mention its rather outlandish comic book-like heroes and villains, the latter now having advanced their objectives to a global scale. Thunderball not only charts a move toward formula, the filmmakers have seemingly embraced this more extravagant approach to chronicling Bond’s espionage activities, at least compared to what is, even now, considered to be the super spy’s most down-to-earth exploit: 1962’s From Russia with Love. Even so, Thunderball contains a bevy of beauties (Claudine Auger and Luciana Paluzzi among them) Bond witticisms (delivered to perfection by star Sean Connery), opulence (abetted by Ken Adam’s set designs) and exhilarating physical confrontations (Peter Hunt’s kinetic editing a huge plus) all of which add to the intrigue’s immersive effect. Another distinguishing factor is Bond’s investigative skills being more thoroughly utilised than in his previous cinematic assignments, further eliciting our engagement.

Composer John Barry has also enlarged his presence orchestrally speaking. His customarily bravura musical soundscape dominates the narrative with breathtaking themes, perfectly underscoring each and every encounter, all the way from epic to intimate.

La-La Land Records, Metro-Goldwyn-Mayer and Universal Music Enterprises are presenting this 60th Anniversary remastered and expanded 2-CD limited edition (only 5,000 units produced) of John Barry’s original motion picture score. More information, including ordering from La-La Land Records, can be obtained by clicking on the accompanying image.

(To be continued… ) A.G.

The Cinema Cafe

"Now Listen to Me..."