"Now Listen to Me... "
Just some thoughts on current happenings:
Classic film screenings from around the world this June include:
In London, United Kingdom The Prince Charles Cinema will present The Ascent (1977) Monday, June 8, Citizen Kane (1941, a 35mm print) Monday, June 8, Harakiri (1962) Monday, June 8 and Monday, June 13, Casablanca (1942, a 35mm print) Saturday, June 13, Heat (1995, a 35mm print) Saturday, June 13 and Tuesday, June 23, Sorcerer (1977, a 4K presentation) Tuesday, June 16, Vertigo (1958, a 4K presentation) Monday, June 22, Network (1976, a 4K presentation, a 50th Anniversary screening) Tuesday, June 30, and The Bad News Bears (1976) on Tuesday, June 30.
* Note: Some of the showtimes are matinees only.
Click on the film’s respective image for more information. To see June’s complete programming, click on The Prince Charles Cinema banner above.
Boy
Criss Cross
In Los Feliz (part of greater Los Angeles) California, The American Cinematheque The Los Feliz 3 Theatre will present Boy aka 少年 or Shōnen (1969, a New 4K Restoration) Thursday, June 11 and Criss Cross (1949) on Tuesday, June 16.
For more information on either of these programmes, click on the respective film image above. To see the entire month of June’s programming including other films showing at The Los Feliz 3 Theatre in Los Feliz, the Egyptian Theatre in Hollywood (also part of greater Los Angeles), and Aero Theatre in Santa Monica (also part of greater Los Angeles), click on the American Cinematheque banner.
The Third Man
In New York City, New York, Film Forum is presenting
The Third Man (1949, a Brand new 35mm print photochemically printed from original film elements) from
Friday, June 12 – Thursday, June 25
Click on the movie image for more information and on the Film Forum banner for other motion pictures playing this month.
Noir City will take place in Boston, Massachusetts from June 12 - 15.
The introduction reads:
Friday, June 12 – Monday, June 15 • Foster Hirsch in Person!
Special Introductions at Screenings on Friday, Saturday, and Sunday!
We are thrilled to welcome back our friends from the Film Noir Foundation for another edition of NOIR CITY BOSTON. This year the theme is “Face the Music” and features films that exist at the intersection of jazz and noir! Author Foster Hirsch will be on hand for special introductions all weekend long! (All descriptions courtesy of The Film Noir Foundation)
Click on the poster above for more information.
In Los Angeles, California The Beverly Cinema will present The Third Man (1949, a New 35mm print) on Friday, June 12, Saturday, June 13 and Sunday, June 14.
Click on the poster image for more information on this presentation. To see the rest of June’s schedule, click on The Beverly Cinema banner above.
In Auckland, New Zealand, Academy Cinemas is presenting Bullitt (1968) Sunday, June 14 at 1 pm only, and White Heat (1949) Sunday, June 21 at 1 pm only.
To obtain more information on any of this programme, click on the poster image. To see June’s complete schedule, click on the Academy banner above.
The Maltese Falcon
In Bergen, Norway The Cinemateket i Bergen will present The Maltese Falcon (1941, a 35mm print) on Tuesday, June 16 and Tuesday, June 23.
For more information on this film’s showing, click on the movie image above. For further information on the other films presented at The Cinemateket, click on the banner image above.
Love in the Afternoon
In Valencia, Spain, Culturarts Generalitat IVAC – La Filmoteca at the Edificio Rialto will present Love in the Afternoon (1957, a 35mm print, as part of their BILLY WILDER series) on Tuesday, June 18 and Wednesday, June 19.
Click on the film’s image for more information on this screening. To discover more of June’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 theatres across the U.S. Flashback Cinema is presenting Raiders of the Lost Ark (1981) on Saturday, June 20, Sunday, June 21 and Wednesday, June 24.
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.
Diary of a Lost Girl
In Lyon, France the Institut Lumiere is presenting Diary of a Lost Girl (1929, with Piano accompaniment by Fred Escoffier, as part of its FILM CONCERTS AND SILENT FILMS series) on Sunday, June 21 at 2:30 pm only.
Click on the film image above for more information on this screening. Click on the Institut logo for all of the films showing this month.
In theatres across the U.S., Fathom Entertainment is presenting Ocean’s Eleven (2001, a 25th Anniversary presentation) on Sunday, June 21 and Wednesday, June 24.
Click on the poster image for more information on this screening. To see more scheduling, click on The Fathom Events banner above.
The Most Dangerous Game
In San Francisco, California, The Roxie Theatre will present The Most Dangerous Game (1932, as part of their Wild, Weird, Wicked: Films From Before the Code series) on Tuesday, June 23.
For more information on this showing, click on the movie image above. For more information on the other films being presented at The Roxie, click on the theatre picture.
In Culpeper Virginia, The Library of Congress at the National Audio-Visual Conservation Center, Packard Campus Theater is presenting The Elephant Man (1980, a 35mm print) on Thursday, June 25.
Click on the poster image for more information on this film’s screening. To see the rest of June’s schedule, click on the Packard Campus image above.
In Sydney, Australia The Ritz Theatre will present The Matrix (1999, a 35mm print) on Friday, June 26.
Click on the film image for more information on this screening. For other films playing at The Ritz Theatre, click on the banner above.
In Detroit, Michigan The Redford Theatre will present Sorcerer (1977, as part of their ‘Bleak Week’ series) on Saturday, June 27.
Click on the top image for more information. To see the entire month’s programming, click on The Redford Theatre banner above.
In Como (part of greater Perth) Western Australia, The Revival House will present King Kong (1933, a 35mm print) on Sunday, June 28 at 2 pm only.
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 Hollywood (part of greater Los Angeles) California, The Vista Theater will present The Wild Party (1929, a 35mm print) on Sunday, June 28 at 10 am only.
To discover more about the screening of The Wild Party or the other films playing this month at the Vista Theater, click on either of the above images.
These are the reviewed films showing on Turner Classic Movies in the U.S. for the remainder of this month:
The first TCM film to see is Fritz Lang’s 1952 Clash by Night which is reviewed as a DVD recommendation here. The clash will occur Monday, June 8 at 5 pm PDT.
Robert Ryan, Marilyn Monroe
Stirling Hayden does not portray the criminal mastermind (that honour goes to actor Sam Jaffe) in this next TCM recommendation: The Asphalt Jungle (1950), previously recommended here. His role, however, in a bold and daring jewel heist, is crucial both as a participating character and to the drama itself. The score will take place Monday, June 8 at 8:30 pm PDT.
(From left) Sam Jaffe, Sterling Hayden, Anthony Caruso, James Whitmore
1967's Hotel was taken, like 1970's Airport, from a novel by Arthur Hailey and is the far better crafted of the two films. This proficient and underrated motion picture was previously reviewed here and will open its doors Tuesday, June 9 at 12:30 pm PDT.
(From left) Rod Taylor and Richard Conte
This next TCM recommendation is made for its John Williams composed score more than anything else. Close Encounters of the Third Kind (1977) has been reviewed here, and will be shown Tuesday, June 9 at 5 pm PDT.
Cinematography by Vilmos Zsigmond
Film noir has few representatives as dourly defeatist or as forcefully communicative on the subject of human relations than 1945's Scarlet Street, previously reviewed here. Edward G. Robinson as Christopher Cross will take his fateful walk down that dark and foreboding street Friday, June 12 at 5 pm PDT.
As in Hotel, a previous TCM recommendation this month, Rod Taylor again headlines the intriguing “Mission Impossible” prototype espionage thriller 36 Hours (1964), previously reviewed here. The hour to watch will take place Saturday, June 13 at 1:15 pm PDT.
(From left) Rod Taylor, James Garner, Eva Marie Saint
I’ve written a few words on The Towering Inferno (1974), both the film and its soundtrack here. The screen will heat up Wednesday, June 17 at 5 pm PDT.
(From left) Paul Newman, Steve McQueen
Next up is Alfred Hitchcock's dazzling thriller, Foreign Correspondent (1940), previously reviewed here. His main character’s precarious globe trotting assignment will begin Friday, June 19 at 12:30 pm PDT.
Joel McCrea
John Huston's Reflections in a Golden Eye 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 Saturday, June 20 at 12:45 pm PDT.
Elizabeth Taylor, Brian Keith
Bonnie and Clyde is a seminal gangster saga heavily influenced by the French iconoclast Jean-Luc Godard. A prior review here includes a special contribution from Bob DiMucci who informatively reports on some of the film's critical responses at the time of its release. Following that, are my personal recollections at the age of 12 upon seeing this radically-new expeditious approach to American cinematic storytelling. The Barrow Gang will strike Saturday, June 20 at 2:45 pm PDT.
Faye Dunaway
Unlike the previous cinematic representation of infamous outlaws, Butch Cassidy and the Sundance Kid is a film I have been fairly critical of. 1969’s western, previously reviewed here, is showing Tuesday, June 23 at 7:15 pm PDT.
(From left) Paul Newman, Robert Redford
Many experts have claimed that this next TCM recommendation is the first identifiable film noir made in the U.S. and released during the category's classic time period (1940 - 1959): Boris Ingster's 1940 Stranger on the Third Floor. Viewers can glean just how many of noir's stylish traits are inherent in this film by reading my brief review here. If you're a noir fan and have never seen this little RKO gem, be a stranger no more Friday, June 26 at 8:30 am PDT.
Noir photographic artistry care of Nicholas Musuraca
"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 Friday, June 26 at 5 pm PDT.
Still another TCM film-noir offering of considerable quality is 1948's Moonrise, reviewed here, and occurring Friday, June 26 at 8:30 pm PDT.
Also on TCM’s agenda is the Neo-noir Bullitt (1968), one of Steve McQueen’s most iconic characterisations. Reviewed here, Bullitt will speed its way onto TCM Saturday, June 27 at 12:45 pm PDT.
Preston Sturges masterfully wrote and directed Sullivan's Travels (1941), a prior Blu-ray endorsement here. The fun-filled journey will begin Saturday, June 27 at 5 pm PDT.
Joel McCrea, Veronica Lake
Moving to a totally different part of the cinematic landscape we have Jean-Luc Godard’s most fascinating dissection on the filmmaking industry, Contempt aka Les mepris (1963), a previous TCM recommendation here, and appearing Saturday, June 27 at 7 pm PDT.
Brigitte Bardot, Michel Piccoli
One of the first films to deal with homosexuality in a mature and sophisticated manner was the 1961 British suspense film Victim, reviewed here and showing on TCM Monday, June 29 at 12:30 pm PDT.
Dirk Bogarde
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 spirited and multi-talented actress Monica Potter, who turns 56 on June 30th.
Notable film roles include those seen in Con Air (1997), The Very Thought of You (1998), Without Limits (1998), Patch Adams (1998), Head Over Heels (2001), Along Came a Spider (2001), Saw (2004), and The Last House on the Left (2009). Regular TV viewers may best know Potter from Boston Legal (2004-2005, as Lori Colson), Parenthood (2010-2015, as Kristina Braverman) and Wisdom of the Crowd (2017-2018, as Alex Hale).
The Soundtrack recommendation of the month is James Newton Howard's celestial score to 1990's life and death thriller Flatliners.
Dramatically speaking, this film is appropriately titled. Flatliners resembles an ultra high-concept experiment about a group of medical students wanting to experience the afterlife before being revived. Seasoned filmgoers will easily anticipate all of the basic narrative developments before anything of interest happens. Of course there is the expected “dissension in the ranks” trope as to how far they should go with their experiment but, other than that, there aren’t nearly enough distinguishing traits between them to revive the story itself. Setting aside the requisite ethereal light show with faux-generic spiritual overtones, whether or not any of these dumb kids survive is of no consequence to this viewer. In 2017, proof that the dead can be resuscitated was achieved when a remake was launched named… (you guessed it) Flatliners.
As it happens, the accompanying musical score is another matter entirely, containing all of the vitality, suspense, and spiritual wonderment otherwise MIA. James Newton Howard’s “in high demand” score was only made recently available (legitimately that is) from Intrada Records and can be ordered from the manufacturer by clicking on the accompanying image.
This month's 4K Ultra HD + Blu-ray recommendation is Mulholland Drive (2001).
(From left) Naomi Watts, Laura Harring
Cinematic storytellers who embark on a dreamlike journey and yet hope to arrive at a destination of acute poignancy, face a difficult challenge. Most filmmakers rely on a grounded understanding of their characters, carefully developed over time, in order to deliver the kind of substantive conclusion that signifies a meaningful journey’s end: one that resonates long after the lights go up. In the latter category, The Asphalt Jungle (1950) provides that gratifying, albeit rare, example of lasting enlightenment.
On the other hand, when filmmakers construct an abstract narrative, they typically obfuscate how their persons of interest respond to more theoretical encounters. It’s difficult to care, or care as much, about people and places less understood… at least compared to what their creators might have preferred. 1958’s Vertigo is not considered by most to be nearly as intangible as say Un Chien Andalou (1929), Orpheus (1950), or even 2001: a Space Odyssey (1968). Nevertheless, much like the film I’m about to address, Vertigo basks in a world of uncertainty. False identities, inordinate desire, and enhanced illusory qualities abound. When Vertigo’s final image hits like a thunderbolt, personifying the story’s themes and nature in an almost impossible to achieve attainment of personal and intellectual fulfilment, we cinephiles know this is an artistic milestone to be reckoned with.
It’s therefore fitting that Vertigo was a major inspiration for David Lynch’s 2001 masterpiece Mulholland Drive. Like Hitchcock, Lynch is able to elicit a profound and lasting emotional response at the conclusion of his central character’s unorthodox journey. Mulholland Drive shares Vertigo’s dichotomic imaginary/reality construct but this is far from a remake. Lynch has reinvented both his characters and their odyssey. He ups the ‘surreal’ ante by positioning his subjects in a milieu recognisably his own, inserting flashbacks and delirious imaginings. Unlike the filmmaker’s other strange cinematic creations, however, Mulholland Drive’s puzzle-like complexity of thought and behaviour extends to its heroine: an identity that further intensifies as we piece together her story.
Mulholland Drive’s grand design is meticulously thought out and confidently presented. Nothing seems arbitrary, haphazard, forced or embellished. Even the silences are perfectly timed. Like Vertigo, the bewildering occurrences are later explained to some degree. Nevertheless, audiences must pay close attention in order to seperate fantasy from reality and secure a credible timeline. This is so they might fully immerse themselves in the consequential value of exactly who and what they are witnessing.
Lynch is both the sole writer and director and therefore deserves the lion’s share of credit for successfully marrying his signature off-kilter universe with an intimate exploration of human dreams, desires, and despair. He skilfully adds just the right touch of humour and homoeroticism and includes a rather scathing critique of the Hollywood dream factory. Peter Deming’s cinematography and Angelo Badalamenti’s score aid immeasurably to the film’s hypnotic effect.
Naomi Watts portrays the Hollywood ingénue and her transformative performance is mesmerising. Lynch, like Hitchcock did with Vertigo’s James Stewart, pushes her dramatic range to the limit and we are both artists beneficiaries. Particularly captivating is an acting audition Watts performs in, uniquely enhanced by Lynch and his crew’s most unsettling atmospherics. Mulholland Drive illustrates cinema’s ability to amalgamate feelings and intellect in the most creative way imaginable.
(Out of 5 Treasure Chests)
June’s recommended 4K Ultra HD (All Region) + Blu-ray (Region A) package is Mulholland Drive issued by Criterion. For more information including ordering from Amazon.com, click on the image below.
A.G.