Tuesday, August 23, 2011

The Third Man 8/27 @ 5pm



The Third Man
 is a 1949 British film noir, directed by Carol Reed and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Many critics rank it as a masterpiece, particularly remembered for its atmospheric cinematography, performances, and unique musical score.The screenplay was written by novelist Graham Greene, who subsequently published the novella of the same name (which he had originally written as a preparation for the screen play).Anton Karas wrote and performed the score, which used only the zither; its title cut topped the international music charts in 1950.

American pulp Western writer Holly Martins arrives in Post-World War II Vienna seeking his childhood friend, Harry Lime, who has offered him a job. Martins discovers that Lime was killed by a car while crossing the street. At Lime's funeral, he meets two British Army Police: Sergeant Paine, a fan of Martins's books, and his superior, Major Calloway. Afterwards Martins is asked to give a lecture to a book club a few days later. He then meets a friend of Lime's, Baron Kurtz, who tells Martins that he and another friend Popescu, carried Lime to the side of the street after the accident, and before he died Lime asked them to take care of Martins, and Lime's actress girlfriend Anna.
Martins goes to see Anna, and becomes suspicious that Lime's death was not an accident. The porter at Lime's apartment building says Lime was killed immediately and that three men carried the body, not two.
Martins and Anna discover the police are searching her apartment. They confiscate a forged passport and detain her. The next evening Martins visits Lime's "medical advisor", Dr. Winkel, who says he arrived at the accident after Lime was dead, and only two men, were there.
The porter offers to give Martins more information, but is murdered before Martins can see him. Escaping from a hostile crowd, Martins is taken to the book club. He makes a poor speech, but when Popescu asks about Martins's next book he says it will be called The Third Man, "a murder story" inspired by facts. Popescu says Martins should stick to fiction. Martins sees two thugs advancing towards him, and flees.
Calloway again advises Martins to leave Vienna: Martins refuses and demands Lime's death be investigated. Calloway reveals that Lime’s racket was stealing penicillin from military hospitals, diluting it, and selling it on the black market, leading to many deaths. Martins, convinced, agrees to leave.
Martins learns that Anna too has been told about Lime's crimes and is about to be sent to the Russian sector. Leaving her apartment, Martins notices someone watching from a dark doorway. A shaft of light reveals Harry Lime, alive; Martins summons Calloway, but Lime has escaped through the sewers. The British police exhume Lime's coffin and discover the body is Joseph Harbin, an orderly in a military hospital who stole the penicillin for Lime.
The next day, Martins meets with Lime and they ride Vienna's Ferris wheel, the Wiener Riesenrad. Lime obliquely threatens Martins, reveals the full extent of his ruthless callousness, and then reiterates his job offer before hurrying off.
Major Calloway then asks Martins to help capture Lime, and Martins agrees, asking for Anna's safe conduct out of Vienna in exchange, but when Anna learns this, she refuses to leave. Exasperated, Martins decides to go, but en route to the airport Calloway detours to show Martins children dying of meningitis that had been treated using Lime's diluted penicillin.
Lime arrives to rendezvous with Martins, but Anna warns him. He tries once again to escape using the sewer tunnels, but the police are there in force. Lime kills Sergeant Paine and is wounded by Major Calloway. Badly injured, Lime drags himself up a ladder to a street grating, but is unable to lift it. Martins then kills him using Paine's revolver, but only after Lime has told him "Yes" with a nod.
Martins attends Lime's second funeral. Afterwards he waits, hoping to speak to Anna, but she ignores him. WIKIPEDIA

Wednesday, August 17, 2011

The Stranger 8/20 @ 5 pm





IMDB
"As intelligent as one would expect from Welles"

Independently produced by Sam Spiegel, "The Stranger" is a fascinating work by Orson Welles, only flawed by its anti-Nazi preaching, though I guess this judgmental posture was common in movies released after World War II. Even a more praised movie as Roberto Rossellini's "Rome: Open City" contains such discourses. Welles' visuals are something else. Under the influence of Expressionism (a very appropriate treatment for a story about German "legacy"), his images are elegant, and his mise-en-caméra is as intelligent as one would expect from him. From the first time we see the investigator (from his nape), to the following sequence as a Nazi arrives in Mexico and is followed through eerie streets full of shadows, the peculiar tone is set, even if most of the action takes place in a sunny Connecticut town and the story is told directly. Though the movie follows the dictates of so-called zero-degree style, there are indications in Welles' direction to the strangeness of the subject: slightly out of focus shots; bizarre positions of characters' faces in a frame, suggesting dislocation, or a very unconvincing "I will" said by the wife in her wedding ceremony. In one of the most upsetting scenes, Welles keeps the suspect's face out of frame during most of the dialogue, first as his long shadow approaches his wife in bed, and she describes a nightmare, until his hand offers her a lit cigarette. Welles also constructs long takes with few camera movements (as opposed to his famous opening shot in "Touch of Evil"): the conversation between the Nazi comrades in the forest and the subsequent killing in broad daylight, while birds sing and young athletes run around; and a checkers game with the investigator sitting with his back to the camera, creating expectation as he constantly turns to watch the clock in the church. On the other hand, the energetic final confrontation is fragmented in shots from all the main characters' point of view. After this movie, Welles worked again for a major studio, when the following year he did "The Lady from Shanghai" for Columbia, another great movie with a memorable final sequence. Again he was misunderstood (especially for his handling of his star and wife Rita Hayworth) and had to wait ten years until he made "Touch of Evil" for Universal. In my opinion, Welles was most of the time on target, and he did not make only one masterpiece. He did quite a few. "The Stranger" may not be in that category, but it's pretty close.

Tuesday, August 9, 2011

The Lady From Shanghai 8/13 @ 5PM



The Lady from Shanghai is a 1947 film noir directed by Orson Welles and starring Welles, his estranged wife Rita Hayworth and Everett Sloane. It is based on the novel If I Die Before I Wake by Sherwood King.

Michael O'Hara (Orson Welles) meets the beautiful blonde Elsa (Rita Hayworth) as she rides a horse-drawn coach in Central Park. Shortly thereafter three hooligans waylay the coach, Michael rescues her and escorts her home. Michael reveals he is a seaman and learns Elsa and her husband, the famous disabled criminal defense attorney Arthur Bannister (Everett Sloane), are newly arrived in New York City from Shanghai. They are on their way to San Francisco via the Panama Canal. Michael, attracted to Elsa despite misgivings is persuaded to sign on as an able seaman aboard Bannister's yacht.
After setting sail, they are joined on the boat by Bannister's law partner, George Grisby (Glenn Anders), who proposes that Michael "murder" him in a plot to fake his own death and collect the insurance money for himself. He promises Michael $5,000 and explains that since he wouldn't really be dead and thus there would be no corpse, Michael couldn't be convicted of murder (reflecting corpus delicti laws at the time.) Michael agrees to this, intending to use the money to run away with Elsa, with whom he's begun a relationship. Grisby has Michael sign a confession.

On the eve of the crime, Sydney Broome, a private investigator who has been following Elsa on her husband's orders, confronts Grisby. Broome has learned of Grisby's plan and that he is actually intending to murder Bannister, frame Michael for the crime and escape suspicion by pretending to have also been murdered. Grisby shoots Broome and leaves him for dead. Unaware of what has happened, Michael proceeds with the night's arrangement and sees Grisby off on a motorboat before shooting a gun into the air to draw attention to himself. Meanwhile, a severely injured Broome goes to Elsa for help and warns her that Grisby is intending to kill her husband.
Thinking the plan is done with, Michael calls to inform Elsa but is surprised to find Broome on the other end of the line. Broome's dying words are to warn Michael that Grisby was setting him up. Michael rushes to Bannister's office in time to see Bannister is alive but that the police are removing Grisby's body from the premises. The police instantly find evidence that Michael was the killer, including his confession, and take him away.
At trial, Bannister has offered to act as Michael's attorney and feels the case is more likely to be won if he pleads justifiable homicide, due to all the evidence against his client. As the trial progresses Bannister learns of the extent of his wife's relationship with Michael and ultimately takes pleasure in his suspicion that they will lose the case. Bannister also indicates that he knows the real killer's identity. Michael is able to escape from the courtroom by feigning a suicide attempt before the verdict is to be announced. Elsa follows and she and Michael hide out in a theater in Chinatown. Elsa calls some Chinese friends to meet her. As Michael and Elsa wait and pretend to watch the show, Michael discovers that she had killed Grisby. Elsa's Chinese friends arrive and take Michael, unconscious, to an abandoned Fun House. When he wakes, he realizes that Grisby and Elsa had been planning to murder Bannister and frame him for the crime, but that Broome's involvement ruined the scheme and obliged Elsa to kill Grisby for her own protection.
The film features a surreal climactic shootout in a hall of mirrors, the Magic Mirror Maze, in which Elsa is mortally wounded and Bannister is killed. Heartbroken, Michael leaves presuming that events which have unfolded since the trial will clear him of any crimes. Wikipedia



Tuesday, July 26, 2011

The Misfits 7/30 @ 5 pm


This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most part at the time it came out it is clear now that this film was at least five of six years ahead of it's time. It fits in more comfortably with films of the late 60's and early 70's. The screenplay by Miller is one of his most striking works. A story of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film's beautiful cinematography by Russell Metty stands out as superb artistry at the demise of the black and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the story plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the end of the wild mustangs. Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to watch. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply moving portrait of Guido who has lost his wife, his way, and his humanity. He shines in his scene with Monroe where he asks her to save him. When she can't to at least say `Hello Guido'. Thelma Ritter is, well, Thelma Ritter in yet another of her excellent character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.....

Review on IMDB
by MGMboy 
(San Francisco) see the rest at:
http://www.imdb.com/title/tt0055184/

2 other links of interest:

Thursday, July 21, 2011

Name of the Rose 7/23 @ new time: 5PM


Last week we saw the Terence Malick film: The New World predicated by a discussion and interest in Malick's most recent and somewhat controversial film: Tree of Life; see a preview of that film and a link to a review below.






The Name of the Rose is the first novel by Italian author Umberto Eco that you may want to check out at the Gardiner Library. It is a historical murder mystery set in an Italian monastery in the year 1327, an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. First published in Italian in 1980 under the title Il nome della rosa, it appeared in English in 1983, translated by William Weaver.

Source: Wikipedia


San Diego : Harcourt Brace Jovanovich, 1983.
ISBN: 
0151446474
 

Thursday, July 14, 2011

Film: The New World 7/16



Terrence Malick directed Tree of Life out in theaters now and these other films:
2005 The New World (written by)
 
2002 Bear's Kiss (screenplay - uncredited)
 
1998 The Thin Red Line (screenplay)
 
1978 Days of Heaven (written by)
 
1974 The Gravy Train (as David Whitney)
 
1973 Badlands (written by)
 
1972 Pocket Money (screenplay / as Terry Malick)
 
1972 Deadhead Miles (written by)
 
1971 Drive, He Said (uncredited)

Tuesday, July 12, 2011

Film Books at the Gardiner Library

The library has a wonderful collection of film books that were generously donated by the Rinaldo family. A few I've singled out for this week are below.


Setting the Scene: The Great Hollywood Art Directors FILM 791.43 SENN

Robert S. Sennett


Synopsis:
Setting the Scene: The Great Hollywood Art Directors pays tribute to those who make everyone else's work come alive, surveying the careers of the greatest Hollywood art directors from the silent era to the present, examining their work in detail. After a brief history the role the art director played in the Hollywood studio system, Setting the Scene looks at particular art directors' careers, their productions and sets, analyzing how art direction contributes to the success of the finished film. The book covers such memorable films as The Birth of a Nation and Batman.


Behind the scenes of The Blackguard (1925, dir. Graham Cutts) Art direction by Alfred Hitchcock

When Hitchcock arrived on the set of The Blackguard, the great German director F.W. Murnau was filming The Last Laugh nearby on the UFA lot. Hitchcock either engaged Murnau in conversation, or overheard him tell others: “What you see on the set does not matter. All that matters is what you see on the screen.”
Hitchcock never missed an opportunity to quote this remark, which became a cornerstone of his own approach: The reality didn’t matter if the illusion was effective. He then emulated Murnau by hiring a slew of dwarves to stand far from the camera in The Blackguard, creating an artificial perspective for a crowd scene.
  FILM 791.430 B HIT
-excerpted from Patrick McGilligan’s
Alfred Hitchcock: A Life in Darkness and Light

Seductive Cinema: The Art of Silent Film
FILM 791.4309 CARD

James Card

From Publishers Weekly


In this lively, opinionated, delightful chronicle of the silent film era, film historian Card deflates the "near-hysterical devotion" to D. W. Griffith, arguing that his Biograph movies were not revolutionary in comparison with European silents. Moreover, asserts Card, the oft-repeated claim that Griffith invented the closeup and film editing is false; that honor here goes to British filmmaker James Williamson. Card, a pioneer collector and founder of the George Eastman film archive, praises the underrated pretalkie achievements of King Vidor and Cecil B. DeMille, while panning director Josef von Sternberg's "incredible lapses." Studded with glimpses of Clara Bow, Joan Crawford, John Barrymore, Greta Garbo, plus dozens more, and marvelously illustrated with photos and stills, this engaging blend of criticism, history, autobiographical reminiscence and film lore will captivate even those with only a passing interest in the silents.
Copyright 1994 Reed Business Information, Inc.

Friday, July 8, 2011

Black Orpheus 7/9

Black Orpheus (Portuguese: Orfeu Negro) is a 1959 film made in Brazil by French director Marcel Camus. It is based on the play Orfeu da Conceição by Vinicius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice, setting it in the modern context of a favela in Rio de Janeiro during the Carnaval. The film was an international co-production between production companies in Brazil, France and Italy.
The film is particularly renowned for its soundtrack by two Brazilian composers: Antônio Carlos Jobim, whose song "A felicidade" opens the film; and Luiz Bonfá, whose "Manhã de Carnaval" and "Samba of Orpheus" have become bossa nova classics.
See more : http://en.wikipedia.org/wiki/Black_Orpheus




two good links to explain the myth of Orpheus and Eurydice:

http://www.greekmyths-greekmythology.com/orpheus-and-eurydice/

http://www.greeka.com/greece-myths/orpheus-eurydice.htm

Monday, June 6, 2011

The Wind Will Carry Us

Saturday 6/4 we watched the 1999 Iranian film: The Wind will Carry Us and had a lively discussion afterwards about the film style, which lacked the usual Western dramatic interaction and involved the camera following around a central character. It enlightened us to aspects of rural Iranian culture.
A group of photographers or filmmakers (engineers) wait to document a mysterious ceremony that will follow an ailing old woman's death. The old woman is a relative of the central character
and during the wait he observes and is intrigued by the simpler way of life in the remote village.


Children of Paradise came up as a choice for a future time
. It may have to be broken up into two showings because it is 2 hours and 43 minutes long or we will decide to start earlier.

Below is a scene from the 1945 film classic: 


Storyline:

This tragic tale centers around the ill-fated love between Baptiste, a theater mime, and Claire Reine, an actress and otherwise woman-about-town who calls herself Garance. Garance is loved by three other men: Frederick, a pretentious actor; Lacenaire, a conniving thief; and Count Eduard of Monteray. The story is further complicated by Nathalie, an actress who is in love with Baptiste. Garance and Baptiste meet when Garance is falsely accused of stealing a man's watch. Garance is forced to enter the protection of Count Eduard when she is innocently implicated in a crime committed by Lacenaire. In the intervening years of separation, both Garance and Baptiste become involved in loveless relationships with the Count and Nathalie, respectively. Baptiste is the father of a son. Returning to Paris, Garance finds that Baptiste has become a famous mime actor. Nathalie sends her child to foil their meeting... IMDB Written by kevin kraynak

Monday, May 9, 2011

Jean Cocteau

LIST OF FILMS



Jean Cocteau was a poet, novelist, dramatist, designer, and filmmaker. Saturday we watch La Belle e La Bête with the original film score and then part of the film with the Philip Glass Opera, which gave it a totally different and beautiful perspective. As we see in the clip above and in the film we watched, mirrors were often magical objects in Cocteau's films.

Saturday, April 23, 2011

Moliere

The 2007 film "Moliere" paid homage to plays: "Tartuffe" and "Le Bourgeois Gentilhomme." It was directed by Laurent Tirard. Starring Romain Duris, Fabrice Luchini, and Laura Morante.

SEE WIKIPEDIA




The 1925 Murnau film version below looks interesting!







Wednesday, April 20, 2011

Possible movies for next Saturday 4/23



"The Wind Will Carry Us"
Irreverent city engineer Behzad comes to a rural village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.






The plot of "Moliere" was actually loosely based on two of his plays, 'Le Bourgeois Gentilhomme' and 'Tartuffe'.


Saturday, April 16, 2011

Director Sergei Paradjanov and "The Color of Pomegranates"

Tonight we watched a fascinating 1969 Armenian film, filled with incredible imagery called  "The Color of Pomegranates" directed by Sergei Paradjanov.

New York Times movie review





"Hagop Hovnatanian" a short film directed by Paradjanov:




Sergei Paradjanov


Saturday, April 9, 2011

Il Postino


Tonight, in celebration of National Poetry month,we watched the 1994 film: Il Postino, which tells a fictional story in which the real life Chilean poet Pablo Neruda forms a relationship with a simple postman who learns to love poetry. It stars Philippe Noiret, Massimo Troisi, and Maria Grazia Cucinotta and was directed by Michael Radford. The screenplay was adapted by Anna Pavignano, Michael Radford, Furio Scarpelli, Giacomo Scarpelli, and Massimo Troisi from the novel Ardiente Paciencia by Antonio Skármeta. Skármeta himself had previously adapted his novel for the screen in 1985 as Ardiente Paciencia (English translation: "Burning Patience") in keeping with our literature and film theme as well.

Massimo Troisi

Massimo Troisi died just twelve hours after the completion of filming due to a heart problem that he reportedly refused to have corrected while the movie was still in production. Troisi was nominated for an Oscar for Best Actor for the role -- only the sixth actor to be so honored posthumously.

April 2011: National Poetry Month

Tuesday, April 5, 2011

Coming Sat May 7, 6-8pm (tentative)

The gala premiere of our new projector and screen!


Film: Jean Cocteau's La Belle et la Bête beautifully shot in B&W



Sunday, March 27, 2011

3/26/2011 Short Film: Envirez-vous /Black Narcissus (1947)



Rumer Godden
We started off our film night watching a tribute to upcoming "National Poetry Month" with a video interpretation of Charles Baudelaires' poem: Envirez-Vous, and then continued with another film based on the work of author Rumer Godden http://www.rumergodden.com/ in keeping with our Literature and Film theme. Please check out her website to view Godden's many works. She was a prolific writer and many of her books became films:


In This House of Brede (1975)
Battle of the Villa Fiorita, The (1965)     
Greengage Summer, The (1961)
Innocent Sinners (1958)              
River, The (1951)
Enchantment (1948)
Black Narcissus (1947)

TV Films
Peacock Spring
Kizzi
Tottie
 

Black Narcissus:


Directors:
Writers:
Rumer Godden (novel), Michael Powell
Music: Brian Easdale
Cinematography: Jack Cardiff
 Stars:
Deborah Kerr, David Farrar and Flora Robson




Generally the group felt the film was interesting but no where near as beautiful or sophisticated as "The River" and dated in its portrayal of racial attitudes. The character of "Mr. Dean" wore shorts through most of the movie while it was obviously freezing, which we found incongruous.

Synopsis:
Sister Clodah is dispatched with four other nuns to establish a new convent far in the Himalayas. It's a difficult journey and their new house is a ramshackle old building on the edge of a cliff that had been abandoned by a religious Brotherhood many years before. They soon establish a school and an infirmary though the local General's agent, Mr. Dean, warns them against treating the deathly ill as they would no doubt be blamed if the patient doesn't recover. The location, the culture and the mountain air all begin to have a strange effect on the Sisters. Sister Clodagh, who is also on her first assignment as Sister Superior, begins to remember a romance she had as a young woman before entering the sisterhood. Another however, becomes obsessed with Mr. Dean, which leads to tragedy.  Written by garykmcd IMDB

Monday, March 21, 2011

dramatic short

"Lovefield combines elements of HORROR, SUSPENSE and DRAMA to create a story that takes the audience on a roller coaster ride of emotions." YouTube

Note the music's power in determining our interpretation of what we think is happening.







also check out : http://www.ifcfilms.com/