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SERIES TWO FOR THE ROAD THE RIVER’S EDGE MORNING GLORY Allan Dwan THE RIVER’S EDGE 1957, 87 min, 35mm Ray Milland stars as an anxious thief on the lam, fleeing to Mexico after lifting a million dollars from a U.S. bank. He solicits the help of border guide Anthony Quinn to lead him through the California wilderness and to freedom – there’s only the small matter of Quinn’s exasperated wife Debra Paget, who just so happens to be Milland’s ex-girlfriend. Shooting on location and in CinemaScope, the madly prolific Dwan transforms this crime-melodrama quickie into another of his terrific B-movies. Sarris grouped the film alongside the director’s SILVER LODE and THE RESTLESS BREED, and said they “represent a virtual bonanza of hitherto unexplored classics. …[I]t may very well be that Dwan will turn out to be the last of the old masters.” –Sat, February 23 at 5:00 and Sun, February 24 at 7:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Tay Garnett THE SPIELER 1928, 62 min, 35mm. Con men Flash and Luke (character actor extraordinaire Alan Hale and stuntman Clyde Cook) try to elude the cops by taking jobs at Cleo’s (Renee Adoree) carnival. When the charismatic Flash falls hard for the ravishing Cleo, he vows to help her mission of running a respectable show, but scheming pickpocket Big Flash (the great heavy Fred Kohler) has other plans in mind. Garnett’s suspenseful and evocative second feature “[suggests] that [his] personality is that of a rowdy vaudevillian, an artist with the kind of rough edges that cause the overcivilized French sensibility to swoon in sheer physical frustration” (Sarris). –Sat, February 23 at 7:00 and Sun, February 24 at 9:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Phil Karlson THE BROTHERS RICO 1957, 92 min, 35mm Adapted from a Georges Simenon story, this no-nonsense noir classic from crime movie master Karlson (THE PHENIX CITY STORY) stars Richard Conte as Eddie, the oldest Rico brother and a former mob accountant pulled back into a world of crime by his younger siblings. “Karlson’s best film. […] [He] was most personal and most efficient when he dealt with the phenomenon of violence in a world controlled by organized evil. […] Unfortunately, an American director gets nowhere making films like THE BROTHERS RICO. The cosmopolitan genre prejudices are too strong” (Sarris). –Fri, March 22 at 7:00, Mon, March 25 at 9:00, and Sun, March 31 at 4:45. Joseph H. Lewis MY NAME IS JULIA ROSS 1945, 65 min, 35mm Short on money while receiving medical attention in London, American Julia Ross takes a job as secretary for the eccentric Hughes family. She falls into a deep sleep at the Hughes estate, only to awaken in a different house with another woman’s name and a psychotic fiancé. After years spent toiling on small B-pictures, Lewis (GUN CRAZY) was finally given a chance at a bigger production by Columbia’s Harry Cohn, and this resulting gothic thriller proved to be his breakthrough: “In 1945, MY NAME IS JULIA ROSS became the sleeper of the year. From that point on, the director’s somber personality has been revealed consistently through a complex visual style” (Sarris). –Fri, March 22 at 9:00, Wed, March 27 at 7:15, and Sat, March 30 at 7:15. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Robert Mulligan BABY THE RAIN MUST FALL 1965, 100 min, 35mm Following his success on TO KILL A MOCKINGBIRD, Mulligan re-teamed with producer Alan J. Pakula, writer Horton Foote, and composer Elmer Bernstein for another Southern-set drama, an adaptation of Foote’s play. Steve McQueen is “particularly memorable” (Sarris) as an ex-con, country singer, and emotional trainwreck struggling to do right by wife Lee Remick and his young daughter and stay on the law’s good side. A literate, patient, and sincere character study, filled with what Sarris called the director’s “behavioral beauties.” –Sat, March 23 at 5:00, Tues, March 26 at 9:00, and Sun, March 31 at 6:45. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Gerd Oswald FURY AT SHOWDOWN 1957, 75 min, 16mm Shot in just a week by the great Wilder and Preminger cinematographer Joseph LaShelle, Oswald’s taut and tense Western stars John Derek as a gunslinger looking to settle down to a quiet life of cattle ranching. But when an old foe has his brother killed, he’s forced to strap on his guns once again. “Oswald has shown an admirable consistency, both stylistically and thematically, for a director in his obscure position. A fluency of camera movement is controlled by sliding turns and harsh stops befitting a cinema of bitter ambiguity. …Oswald has been making distinguished American films that are never reviewed in the fashionable weeklies and monthlies that feed off the fashionable and well-publicized projection room circuit” (Sarris). –Sat, March 23 at 7:15, Wed, March 27 at 9:00, and Sun, March 31 at 9:00. Lowell Sherman MORNING GLORY 1933, 74 min, 16mm. Katherine Hepburn stars – in only her third film appearance – as a small-town actress who comes to New York with dreams of Broadway stardom, but must first navigate the affections of theater manager Adolphe Menjou and playwright Douglas Fairbanks, Jr. Sherman, coming off his own successful acting career, rehearsed the script extensively and shot the film in sequence, guiding Hepburn to her first Oscar win. “Sherman deserves an esoteric niche all his own for the behavioral glories of Katherine Hepburn in MORNING GLORY…. His civilized sensibility was ahead of its time, and the sophistication of his sexual humor singularly lacking in malice” (Sarris). –Sat, March 23 at 9:00 and Thurs, March 28 at 7:15. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– John M. Stahl HOLY MATRIMONY 1943, 87 min, 35mm Eager to escape the limelight, a celebrated but reclusive painter (Monty Woolley) fakes his own death and assumes the identity of his recently deceased valet, only to discover the valet was engaged to be married via a matrimonial agency…and already had a wife. Stahl – perhaps best known for his melodramas that would be remade by Douglas Sirk – had, according to Sarris, “a startling quality of consistency from 1932 on. …[His] strong point was sincerity and a vivid visual style.” Featuring an Oscarnominated script by Nunnally Johnson (THE GRAPES OF WRATH, THE DIRTY DOZEN), this rarely-screened comedy was described by Sarris as “a success by any standards.” –Sun, March 24 at 5:00 and Fri, March 29 at 7:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Frank Tashlin BACHELOR FLAT 1962, 91 min, 35mm In “Tashlin’s best film” (Sarris), bone-obsessed British archaeologist Terry-Thomas takes a house for the summer in Malibu while his fiancée Helen travels to Paris, only to find a gaggle of adoring young co-eds at his doorstep and a troublesome Dachshund next door. Then Helen’s daughter Tuesday Weld appears… “Tashlin is impressively inventive, particularly with gadgets and animals,” Sarris wrote, but he especially admired in BACHELOR FLAT a sweetness and sympathy he found lacking in the director’s other ribald satires. –Sun, March 24 at 7:00 and Sat, March 30 at 9:00. 21
WICHITA 22 SARRIS, CONT’D Jacques Tourneur WICHITA 1955, 81 min, 35mm “Everything Goes in Wichita” – that is, until Joel McCrea’s former buffalo hunter Wyatt Earp foils a bank robbery and is recruited to be the town marshal. Earp reluctantly takes the job looking to bring order into the lawless cattle town, but when he starts confi scating fi rearms from the rowdy cowpunchers, the local leaders decide he’s gone one step too far. Sarris wrote that Tourneur fi ls brought “a certain French gentility to the American cinema,” and this dynamic Western – with its stunning CinemaScope compositions – offers plenty of the director’s refi ned sensibility. With Vera Miles and Lloyd Bridges. –Sun, March 24 at 9:00, Tues, March 26 at 7:00, Thurs, March 28 at 9:00, and Sat, March 30 at 5:15. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Rowland West ALIBI 1929, 91 min, 35mm After he’s released from prison, charismatic thug Chester Morris returns to life with his old gang and his fi ancée, the police chief’s daughter. But when a warehouse robbery goes awry, the law’s eyes fall on Morris, and he must quickly establish a solid alibi. West’s atmospheric fi rst talkie – fi lmed exclusively at night – brings the shadowy German expressionist style to the gangster melodrama, replete with Art Deco sets from the legendary designer William Cameron Menzies. “West is one of the forgotten fi gures of the early thirties. […] ALIBI remains to be seen and saved from the limbo of legend” (Sarris). –Mon, March 25 at 7:00 and Fri, March 29 at 9:00. SERIES / SPECIAL SCREENINGS CHRISTMAS ON EARTH BARBARA RUBIN AND ‘CHRISTMAS ON EARTH’ Barbara Rubin (1945-80) was a fi lmmaker, writer, and scenester who began working for Jonas Mekas at the <strong>Film</strong>-Makers’ Cinematheque in 1963. That same year she made the landmark two-projector fi lm CHRISTMAS ON EARTH. Originally titled COCKS AND CUNTS, CHRISTMAS ON EARTH is a work of sexual tableaux vivants, gay and straight. Consisting of two separate reels projected one inside the other, with color gels further enhancing the images, and accompanied by a contemporary rock radio soundtrack, it was originally projected onto the Velvet Underground as they performed during Andy Warhol Up-Tight, an early version of the Exploding Plastic Inevitable events. Rubin was a born matchmaker who allegedly brought together the Velvet Underground and Warhol, Bob Dylan and Allen Ginsberg, and, according to John Cale, Edie Sedgwick with Warhol. She was at the center of it all but left New York at the end of the 60s, and became heavily involved in Orthodox Judaism, She died during childbirth in France in 1980. CHRISTMAS ON EARTH was one of the 60s underground movies responsible for unraveling American censorship laws, and to celebrate this legacy, Boo-Hooray is publishing a limited-edition book of images from the fi lm, supplemented by an extended biographical essay and bibliography by art historian Daniel Belasco. In conjunction with the publication of this book, as well as an exhibition at Boo-Hooray featuring still images and ephemera relating to the fi lm, <strong>Anthology</strong> will host a screening featuring CHRISTMAS ON EARTH (1963, 29 min, 16mm), as well as Jonas Mekas’s TO BARBARA RUBIN WITH LOVE (2006, 7 min, video), and other special surprises! For more info regarding the book and exhibition, please visit: boo-hooray.com –Wed, January 9 at 7:30. THREE OF A FEATHER BROOKLYN- MONTREAL: VIDEOZONES This screening is the inaugural event of the Brooklyn- Montreal exhibition exchange project. It serves to launch the project by introducing it to a wider New York public, and as such it will be the only related event to take place in Manhattan. Information concerning subsequent events, including exhibition openings on January 11, 12, and 13 in Williamsburg, Dumbo, and Bushwick, can be found by visiting www.brooklynmontreal.com VIDEOZONES, a compilation of video works by seven Montreal artists and six Brooklyn artists, is a unique exploration of the formal and narrative dimensions of the moving image, with sound, time, archival material, landscape, and performance serving as compositional blocks. The short videos address a wide range of subjects from politics to popular culture, cinematic imagination, and poetic imagery, some emphasizing form and others narrative or content. The selection is curated by Boshko Boskovic, Brooklynbased independent curator/Residency Unlimited Program Director, and the Montreal collective La Fabrique d’expositions (Marie-Eve Beaupré, Julie Bélisle, Louise Déry, and Audrey Genois), in partnership with Interstate Projects, Brooklyn, where the works will subsequently be shown following this premiere. The inaugural event will include a reception and screening. Many of the artists will be present along with the curators. Celia Rowlson-Hall THREE OF A FEATHER 2011, 6 min, video Olivia Boudreau LA BRÈCHE 2012, 3 min, video Jacynthe Carrier PARCOURS 2012, 5 min, video Rosemarie Padovano PALOMA 2012, 4 min, video Pascal Grandmaison SOLEIL DIFFÉRÉ 2010-12, 4.5 min, video Sophie Bélair-Clement INTERLUDE 1974- 2012, 4.5 min, video Tatiana Istomina HAPPY MOSCOW PART 1 2012, 5 min, video Elisa Kreisinger & Marc Faletti MAD MEN: SET ME FREE 2011, 3 min, video Frédéric Lavoie LA VIE APRÈS LA MORT 2012, 4 min, video Marko Markovic AMERICAN SPRING 2012, 6.5 min, video Robert Boyd TOMORROW PEOPLE 2012, 6 min, video Aude Moreau SORTIR 2011, 4.5 min, video Michel De Broin CUT IN THE DARK 2010, 4.5 min, video Total running time: ca. 70 min. –Thurs, January 10 at 8:00.
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Page 3 and 4: 2 ESSENTIAL CINEMA CHUMLUM THE GREA
Page 5 and 6: 4 MAN WITH A MOVIE CAMERA / THE FIL
Page 7 and 8: ROCK/STRING 6 AFA PRESERVATIONS SPE
Page 9 and 10: ASLEEP EARLY SHORT FILMS: ALONE 196
Page 11 and 12: IMAGINARY FRIEND SHOW & TELL, CONT
Page 13 and 14: MIDNIGHT CARNIVAL SANDY REDUX, CONT
Page 15 and 16: LEFT AND REVOLUTIONARY CINEMA: THE
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Page 19 and 20: 18 EMPEROR TOMATO KETCHUP A TRIBUTE
Page 21: SACRIFICE / GISEI 60s-70s JAPAN, CO
Page 25 and 26: 24 MY MARS BAR MOVIE ENCORE SCREENI
Page 27 and 28: 26 SPECIAL SCREENINGS / NEWFILMMAKE
Page 29 and 30: FEATURE PRESENTATION Eugene Ioannou
Page 31 and 32: 30 ANTHOLOGY’S TWO THEATERS ARE A
Page 33 and 34: 32 ADACHI, MASAO, Feb 26, p. 20 AGE
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