Noir City returns to Seattle, after going on the run in 2015, for a week-long program at The Egyptian titled “Film Noir from A to B.” “The satellite festivals were growing around the country at such a rate that I wanted to take a break from Seattle with the expectation that we would return there bigger and better than ever,” explains Film Noir Foundation founder and Noir City MC Eddie Muller. “My idea for coming back and retooling was to—and this is the first place in the country that I’ve done this—do “Film Noir From A to B” matching an “A” film from a particular year with a “B” film from the same year, to try and recreate a microcosm of film noir in one series. Which I have found is a pretty amusing thing to do.” One exception: Tuesday is “the Edith Head show. The wardrobes for both of those films were designed by Edith Head.” Seattle authors (and film noir obsessives) Vince and Rosemary Keenan will cohost the evening and do a book signing for their debut novel Design for Dying, which features Edith Head as a detective.
The program opens in 1940/1941 with I Wake Up Screaming (seriously one of the greatest titles ever for a film noir) and Stranger on the Third Floor, which has been called the first true film noir by many historians, and it ends with a newly-struck print of Southside 1-1000 (1950), directed by Boris Ingster, who began the fest with Stranger. It presents the Seattle premiere of two Film Noir Foundation restorations—The Guilty (1947) and Woman on the Run (1950)—and six films that are unavailable on home video (disc, streaming, or VOD)—Dr. Broadway (1942), Night Editor (1947), The Guilty, Desert Fury (1947), The Reckless Moment (1949), and Southside 1-1000. All films screened on 35mm. I wrote a preview for The Stranger here.
NWFF and Scarecrow Video present selections from Kino’s Pioneers of African-American Cinema, a box set of rare preserved and restored films from African-American filmmakers, most of them produced between 1915 and 1946. This is a members-only event for NWFF and Scarecrow $100+ members on Wednesday, July 27 at Northwest Film Forum.
The Seattle Art Museum summer film series Cary Grant for President continues with Arsenic and Old Lace (1944), directed by Frank Capra. It screens on Thursday, July 28 at 7:30pm at Plestcheeff Auditorium and is shown on 35mm. Individual tickets are available on the day of show on a first come, first served basis. Details here.
NWFF is bringing the filmmakers this week. On Friday, July 15, Lewis Klahr presents his feature-length stop motion anthology Sixty-Six (2002-2015), on Saturday, July 16, filmmaker and musicians Rob Beloved & Eleni Binge present their theater/film/comedy/music hybrid #comments along with performances by local bands Black Giraffe and Ichi Bichi, and on Thursday, July 21, Robert Greene accompanies his 2014 fiction/documentary hybrid Actress.
A new restoration of Lucio Fulci’s Lizard in a Woman’s Skin plays at Grand Illusion on Friday and Saturday. Projected from the new Mondo Macabro Blu-ray, and Mondo Macabro will be there on Saturday night.
Also at Grand Illusion this week is Industrial Musicals, a collection of rare musical promotion films produced for corporate retreats and events, curated and presented by Steve Young. One night only on Thursday, July 21.
David Lynch’s Twin Peaks: Fire Walk With Me (1992) plays at the Seattle Art Museum in a 35mm print, along with some Lynch shorts, on Wednesday, July 20.
The Seattle Art Museum summer film series Cary Grant for President continues with The Philadelphia Story (1940), co-starring Katharine Hepburn and James Stewart. It screens on Thursday, July 21 at 7:30pm at Plestcheeff Auditorium and is shown on 35mm. Individual tickets are available on the day of show on a first come, first served basis. Details here.
Framing Pictures is back and thus month the discussion promises to engage the legacies of Abbas Kiarostami and Michael Cimino (who both passed away within the past week), the life and career of Olivia De Havilland (who turned 100 last week), and more. Discussion begins on Friday, July 8 at 7pm at the screening room of Scarecrow Video on 5030 Roosevelt Way. More details at the official Facebook page.
Czech That Film Festival plays over the weekend at SIFF Film Center this weekend, opening on Friday, July 8 with The Way Out (2014), winner of seven Czech Lion Awards. It returns on Sunday to close the festival, and in between six features screen. Complete schedule here.
Filmmakers Chris Hegedus and DA Pennebaker and film subject Steven Wise will attend the opening night screening (Friday, July 8) of the documentary Unlocking the Cage, about the efforts of animal rights lawyer Steven Wise to challenge the legal definition of animals as “things” with no legal rights. Opens at SIFF Cinema Uptown.
The Seattle Art Museum summer film series Cary Grant for President continues with My Favorite Wife (1940), co-starring Irene Dunne and Gail Patrick. It screens on Thursday, July 14 at 7:30pm at Plestcheeff Auditorium and is shown on 35mm. Individual tickets are available on the day of show on a first come, first served basis. Details here.
The supernatural thriller The Wailing from South Korea opens for a week run at SIFF Film Center.
The new issue of Offscreen is dedicated to so-called “quiet” science-fiction. Robert Fuoco takes a close look at two startling moments from The Thing and an exhaustive look at a third—the blood test scene that never fails to freak even after multiple viewings—to show how carefully Carpenter sets up and sometimes subverts the expectations of what the director himself cheekily dismisses as “cheap tricks.” (“Rather than adding new elements to blatantly distract us, Carpenter and the film’s editor Todd Ramsay gradually remove old ones. After all, we rarely think about what we aren’t seeing, yet this growing absence of shots works just as well to guide our attention in the direction the film wants.”) Daniel Garrett considers isolation, survival, and scientific skepticism—and science-fiction as a genre—as portrayed in Z for Zachariah and The Martian. (“The striking thing about [these films] is that they clear away most of the attributes of civilization, forcing lone individuals to sustain themselves using basic intellectual rudiments and resolute spirit.”) And Randolph Jordan dissects the precise use of sound in Stalker, and how it separates and unites the worlds inside and outside the Zone. (“Tarkovsky’s use of ambiguous offscreen sound often serves to call into question that which is seen on the screen; in Stalker, the reverse is often true: by using non-ambiguous sounds attached to sources we see on the screen, he calls into question everything that lies outside of the frame.”)
“Tarzan’s exercise in nomenclature [i.e., “Me Tarzan—you Jane”] has long been used to characterize the traditional model of sexual relations, the dominant man and the subservient woman, and, in the process, to mischaracterize what must be one of Hollywood’s happiest portraits of the satisfactions to be found in convention. The six Tarzan and Jane movies starring Johnny Weissmuller and Maureen O’Sullivan produced by MGM between 1932, when the series began with Tarzan the Ape Man, and 1942, when it concluded happily with Tarzan’s New York Adventure, add up to an anatomy of a creature even rarer than those with whom Tarzan and Jane share their African escarpment: a marriage that works.” Charles Taylor sings the praises of a series that always had more erotic frisson and comic awareness than its camp-minded cultists cared to admit.
At Film Comment, Margaret Barton-Fumo commends the eclecticism of Ryuichi Sakamoto, finding surprising yet thematically appropriate ways to soundtrack his films’ themes. (“A representative sampling of Sakamoto deep in the groove of his career comes with two films he scored for Brian De Palma, Snake Eyes (98) and Femme Fatale (02)…. Poignant and neo-classical, Sakamoto’s scores for these two films stage a fine counterpoint to the director’s unrelenting cynicism.”) And Graham Fuller finds the dedicated Brechtian always peering out from inside Alan Clarke’s searing social portraits. (“Sympathetic to social misfits and family casualties (as is Loach), youths especially, and antagonistic to patriarchal institutions (the Church, governments, the courts, prisons, schools, hospitals, multinationals), he was the telly auteur as roving anarchist—not an ideologue, however, but a director who approached the cinematic space representing Britain as a hectic ontological battleground.”)
R. Emmet Sweeney is celebrating summer by going through the films of the most seasonably appropriate director, Rohmer. He kicks off with La Collectionneuse (“Daniel and Adrien have reached a state of decadence and rot, ready to concede the end of the ’60s dream. They wear ratty nightgowns while Haydée is grasping for the future.”) and Claire’s Knee (“La Collectionneuse depicts the curdling of male desire outside of Saint-Tropez, while the male protagonist of Claire’s Knee is trying to trigger his lust in an attempt to overcome it.”). Abbey Bender has pretty much the same idea, offering a gallery of the definitive Rohmer fashion, the female bathing suit. (“Rohmer swimsuits often embrace imperfection. The orange bikini bottom in La Collectioneuse bunches slightly, and the bikini that Haydée (Haydée Politoff) wears in the film’s opening rides up and twists in the back. In the world of Rohmer such imperfections add a down-to-earth allure.”) Via David Hudson.
“So it’s finished. A structure to house one man and the greatest treasure of all time.” “And a structure to last for all time.” “Only history will tell.” History’s been less than kind to one of Hawks’s oddest, darkest structures, Land of the Pharaohs, though Ignatiy Vishnevetsky, without denying its occasional corniness (how could you), finds it “a perfect example of a movie organized in images, some so overwhelming that they manage to absorb its flaws.”
“In one part [of the script], Jiang described a chase through a mine with the characters riding mine carts. Frakes pointed out that the scene was cribbed directly from Indiana Jones and the Temple of Doom. Jiang insisted that it stay in. ‘He was arguing with me adamantly, like the thing he had written was Holy Scripture,’ Frakes recalls. ‘I said, “Your story doesn’t make any sense. People will see it’s a grab bag of all these movies.”’ Jiang didn’t debate; instead, Frakes says, he took Frakes down to the parking garage to show off his Lamborghini.” Mitch Moxley reports on one of the stranger movie shoots in recent years, the mermaid adventure Empires of the Deep, written and produced by a Hong Kong real estate mogul hoping to break into movies and bridge east and west, cycling through four directors (with others like Irvin Kershner courted for the project but never hired), plagued by onset cultural conflicts and funds drying up that have one of the stars sneaking off location and out of the country with the help of the American embassy, and still unreleased half-a-dozen years after having wrapped. Via Longform.
“The problem with period films is that they just look pretty. Well, that’s not interesting. I want it to look as though these people live in these spaces and wear these clothes. When we did the Emily Dickinson film in Belgium, there’s a shot where she turns around to wave goodbye to her friend. You see the edge of her dress, and it’s slightly frayed. That’s wonderful, because it’s her best dress. It’s got to be true to the period, but it’s got to have texture.” Terence Davies talks about his old familiars—nostalgia, repression, suffering, forgiveness—as filtered through Sunset Song and his upcoming Emily Dickinson film with Steve Erickson. And throws in some interesting anecdotes about budgeting to boot.
“Then we realized that we were getting into an obsessive behavior. But we enjoyed the nuance in each take. That made it very difficult to edit the film. I was working on the film shot by shot, scene by scene, character by character. I was working on the levels of hostility and civilized behavior, the mixture of those. Today, I heard an artist on NPR say that he was working some place, and was causing a bit of a disturbance. The interviewer asked, ‘Did they allow that?’ Because he was [obstructing] the exit or something. And the artist said, ‘Well, I was invited to leave.’ In effect, that’s King of Comedy. ‘They threw you out!’ ‘No, I was invited to leave.’” Martin Scorsese discusses The King of Comedy, and his unhappy realization how much he identified with Rupert Pupkin, with Simon Abrams.
“I am so shy, and, at the same time, I kind of expose myself literally to thousands of people. I don’t really understand why I do that. I need to go through therapy!” Discussing Burton, Bertolucci, and Bond, Eva Green explains to Lynn Hirschberg the paradox underlining her career even the actor can’t understand: how such a retiring, even shy, person in real life is so free being naked, emotionally and literally, in front of the camera. Via Movie City News.
Author and journalist Michael Herr wrote the memoir Dispatches, praised by many as the greatest book about the Vietnam War. On the strength of that, he wrote the narration for Francis Ford Coppola’s Apocalypse Now (1979) and collaborated with Stanley Kubrick on the screenplay of Full Metal Jacket (1987), which earned an Academy Award nomination. He later wrote personal biography of the director: Kubrick, published in 2000. Herr died at the age of 76. Bruce Weber at The New York Times.
Italian actor Bud Spencer, born Carlo Pedersoli, was a beloved star of Italian genre films. He came to the movies from sports—he was a swimmer who competed in the 1952 and 1956 Olympic games and a champion water polo player—and he shot to fame with a series of films he made with Terence Hill, beginning with God Forvives… I Don’t (1969) and taking off with Ace High (19680 and They Call Me Trinity (1970). They acted together in 18 films, from westerns to crime films to straight-out comedies, and Spencer made dozens of other films without Hill. When his film career slowed down, he turned to television in the 1980s, starring in the series Big Man, Extralarge, and Recipe For Crime. Nick Vivarelli for Variety.
Experimental filmmaker Peter Hutton made his first films in 1971 and continued making his films, mostly portraits of cities and landscapes in the U.S. and around the world, for more than four decades while teaching filmmaking at various colleges and working as a professional cinematographer on the documentaries of Ken Burns (a former student) among others. He passed away at the age of 71. J. Hoberman for The New York Times.
Grand Illusion revives the Japanese martial arts revenge classics Lady Snowblood (1973) and Lady Snowblood 2: Love Song of Vengeance (1974) for a week. Dates and showtimes here.
SIFF presents “An Evening with Steve De Jarnatt,” with the director presenting newly-remastered versions of his films Cherry 2000 (1988) and Miracle Mile (1989), on Wednesday, July 6 at SIFF Film Center.
Bringing Up Baby (1938), the screwball classic starring Cary Grant and Katharine Hepburn and directed by Howard Hawks, kicks off the Seattle Art Museum summer film series Cary Grant for President. It screens on Thursday, July 7 at 7:30pm at Plestcheeff Auditorium and is shown on 35mm. Individual tickets are available on the day of show on a first come, first served basis. Details here.
For one week only, the new restoration of Orson Welles’ Chimes at Midnight (1966) plays at The Uptown. Welles developed the film from a stage production drawn from Shakespeare’s “Henry VI” and “Henry V” (as well as “Holinshead’s Chronicles”) centered on Falstaff (played with bedhead and bulbous nose red with drink) and his bad-father relationship with young Prince Hal (Keith Baxter), the heir to the crown of England, is his wastrel years. “If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up,” Welles said of the film, which suffered from distribution issues, competing claims of ownership, and degraded prints almost from the time it was completed. Now it has been lovingly remastered from the negatives and Janus films (a partner with Criterion) has applied digital technology to create a new digital restoration for the U.S.
It’s a Brian De Palma weekend. The documentary De Palma, directed by Noah Baumbach and Jake Paltrow, opens at The Uptown while short retrospective Obsessions: Classic De Palma, featuring seven De Palma films, plays through Sunday at the SIFF Film Center. All tickets to the retrospective screenings are $5 and SIFF members get free admission (based on ticket availability).
The 2nd annual Twist of Pride Film Festival opens at the Egyptian Theatre on Friday, June 17 with a 20th Anniversary screening of the Seattle-produced Crocodile Tears (1996) followed by the World Premiere of Brides to Be. The festival runs through the weekend. Schedule and tickets here.
The documentary Raiders!: The Story of the Greatest Fan Film Ever Made, about the making of the legendary shot-for-shot remake of the Steven Spielberg film by a group of schoolkids with a camcorder over the course of seven years, plays through Sunday, June 19 at Northwest Film Forum.
Seattle International Film Festival audiences bestowed top Golden Space Needle Awards on Captain Fantastic, Gleason and Spy Time (among others) while juried awards singled out Girl Asleep and the documentary Death by a Thousand Cuts at the 42nd Seattle International Film Festival.
Over 420 features, documentaries and short films from more than 85 countries were screened over the 25 days (and the last day is not over as of this writing, mind you) in 15 different venues.
Matt Ross’s Captain Fantastic (US), starring festival guest Viggo Mortensen (who was honored with the Festival’s Outstanding Achievement Award in Acting over the final weekend) and shot in part in the state of Washington, took the audience award for Best Film, Javier Ruiz Caldera won the Best Director award for Spy Time (Spain), Best Actor went to Rolf Lassgård for A Man Called Ove (Sweden/Norway), and Best Actress to Vicky Hernandez for Between Sea and Land (Colombia 2016).
Best Documentary was awarded to Gleason (US), directed by Clay Tweel, and Alive & Kicking: The Soccer Grannies of South Africa (USA/South Africa), directed by Lara-Ann de Wet, took home the Best Short Film award. The Lena Sharpe Award for Persistence of Vision given to the female director’s film that receives the most votes in public balloting at the Festival, went to The IF Project (USA ), directed by Kathlyn Horan.
New to the competition awards this years is the SIFF Official Competition award, selected from 12 entries making their World, North American, or US premiere at SIFF. Girl Asleep (Australia), the debut feature directed by Rosemary Myers, was honored with the award in its inaugural year.
Also new is the SIFF Ibero-American Competition, for films having their US premiere during the Festival that do not yet have US distribution. The inaugural winner is You’ll Never Be Alone (Chile ), the feature debut from Chilean writer-director Alex Anwandter.
The New Directors Competition winner is Sand Storm (Israel), directed by Elite Zexer; the New American Cinema Competition winner is Middle Man (USA), directed by Ned Crowley; and the Documentary Competition winner is Death By a Thousand Cuts (Dominican Republic/Haiti/USA), directed by Juan Mejia Botero and Jake Kheel.
The Short Film awards went to Killer (USA, directed by Matt Kazman) for live action, These C*cksucking Tears (USA, directed by Dan Taberski) for documentary, and Carlo (Italy, directed by Ago Panini) for animation.
The complete press release, which includes runners-up and jury statements, is featured below. Keep Reading
It’s the final weekend of SIFF and Viggo Mortensen is coming to celebrate it. There are newly added screenings (including a second venue for the closing night film, The Dressmaker), visiting filmmakers, and more. You can survey the highlights at Parallax View’s SIFF overview and the comprehensive SIFF 2016 Guide.
The monthly film discussion “Framing Pictures” reconvenes in the screening room at Scarecrow Video at 7pm on Friday, June 10, with your hosts Robert Horton, Bruce Reid, and Richard T. Jameson. The discussion this month engage Orson Welles’s Chimes at Midnight (coming to SIFF Cinema on June 24, after a single screening at SIFF 2016), Jean Renoir’s first sound feature La Chienne (coming to Criterion next week), and Brian De Palma (a new documentary on the filmmaker opens on June 24, along with a short retrospective), and the floor is open to other timely subjects as well. It’s a free event so come join the discussion. Scarecrow is located in the U-District at 5030 Roosevelt Way N.E.
Silent Movie Mondays returns to the Paramount Theatre on Monday, June 13 (the day after SIFF 2016 closes) with the original Chicago (1927), produced by Cecil B. DeMille (who knew something about sex and showmanship) and starring Phyllis Haver as the cheerfully mercenary Roxie Hart. It’s the first in a three-film series celebrating the Flapper Era. The series continues with The Flapper (1920) with Olive Thomas on June 20 and Why Be Good (1929) with Colleen Moore, and all feature accompaniment on the Mighty Wurlitzer. Doors open at 6pm, films begin at 7pm. More on the Paramount page.
Viktoria, the debut feature from Maya Vitkova, charts three generations of women in the final years of the People’s Republic of Bulgaria and the early years of the new government, plays through Sunday, June 12 at NWFF.
Queer Fan Nights continues at NWFF with the Anna Nicole Smith feature To the Limit (1995) on Thursday, June 16 at 8pm (Happy Hour in the lobby at 7pm), co-sponsored by Three Dollar Bill Cinema.
Viggo Mortensen is honored with the Seattle Film Festival Award for Outstanding Achievement in Acting. The introspective, soft-spoken actor will be interviewed in an onstage Q&A at A Tribute to Viggo Mortensen on Saturday, June 11 at the Egyptian, followed by a screening of his latest film Captain Fantastic, which premiered at Sundance earlier this year and was just honored with the Best Director prize for writer/director Matt Ross from the Un Certain Regard section of Cannes. Ross will also attend the screening of the film, which repeats (sans onstage interview) on Sunday, June 12, at 2:30pm, Uptown.
Frank & Lola, a romantic noir thriller starring Michael Shannon and Imogen Poots, is directed by Matthew Ross (not to be confused with Captain Fantastic director Matt Ross), who will attend the screening. Saturday, June 11, 7pm. Pacific Place
Jocelyn Moorhouse will attend the SIFF Closing Night Gala The Dressmaker, based on the novel by Rosalie Ham and starring Kate Winslet, Liam Hemsworth, Judy Davis, and Hugo Weaving, at The Cinerama. It is sold out and on standby and a second show has been added at 6:30pm, Pacific Place Cinemas (does not include a director appearance or closing night party).
Their story is now legend. In 1982, twelve-year-old friends Chris Strompolos, Eric Zala, and Jayson Lamb started shooting a shot-for-shot remake of Raiders of the Lost Ark on a borrowed VHS camcorder in their small Mississippi town. Chris played Indiana Jones, Eric directed and played Belloq, and Jayson manned the camera, edited the footage, and brainstormed the special effects. They spent every summer vacation for seven years completing the film (every scene except one: the fight around the airplane with spinning propellers), by which time they had fallen out and weren’t even speaking to one another. Completed in 1989, it was practically forgotten until VHS copies started making their way to film buffs and movie collectors. Filmmaker Eli Roth brought a copy for an unannounced screening at the 2002 Butt-Numb-a-Thon and the underground legend exploded. In the years since, Chris and Eric traveled around the country for special screenings of their fan film.
Raiders! The Story of the Greatest Fan Film Ever Made, directed by Jeremy Coon and Tim Skousen and inspired by the book by Alan Eisenstock, will be the closest most people will get to seeing that astounding piece of DIY spectacle—the film was never meant to be seen outside of the friends who made it and what twelve-year-old thinks to get a waiver from the creators of the original film? It features clips from the film and outtakes from the production that show not only the spirit of the endeavor but the potentially life-threatening situations the boys put themselves through to do the shoot, as well as new interviews with the Chris, Eric, Jayson, their parents (God bless the mothers of these kids, who believed in their dreams, even if they worried about their methods), and other members of the cast and crew. And it’s built around the crazy impulse to finish the film decades later. Chris and Eric raised money in a Kickstarter campaign to get that last scene. It turned out to be just as dangerous an undertaking as the most reckless things they did as kids.
Picking some highlights from MOMA’s ongoing retrospective of Universal pictures from the ’30s, Imogen Sara Smith looks at three films apiece from a pair of directors deserving greater attention. The cinematic flair of Edward L. Cahn enlivens three explosive portraits of society collapsing: Law and Order, Afraid to Talk, and Laughter in Hell. (“In these films it’s as though people are so consumed by the fight to survive, or by the determination to forget their worries, that they have no time for private emotions. Society itself is so anxious, so hysterical, so compulsively bitter, that it takes the place of individual psyches. Everyone is part of one big nervous breakdown.”) While Seed, Back Street, and Only Yesterday have Smith marveling at John M. Stahl’s invisible manipulation of emotions and his facility with shifting empathy among his characters. The female ones at least; John Boles remains mostly a dull cad in all three. (“The three rarely screened Stahl films form a set of variations on a theme, female devotion and self-sacrifice. They treat this theme with unusual nuance and ambivalence, both accepting the great loves—whether maternal or romantic—to which the women give their lives, and looking with a cool and even cynical eye at how little they get in return.”
“What’s established in a film like Au Hasard Balthazar is a teeter-totter rhythm, an oscillation between the film you’re watching and another taking place over your shoulder, sliding into view with a lithe camera movement, or a cut that elides the passage of time. In short, what often comes across in reviews as stiff, boring art movies are exactly the opposite: not empty but teeming, not cold but visceral, not dry but saturated.“ With Au Hasard Balthazar hitting 50, Jamie N. Christley praises how Bresson’s total command keeps slipping the film’s message, and even its ostensible ever-enduring protagonist, out of our grasp. And Leigh Singer compiles a gallery of Bresson’s key techniques, screenshots of potent dissolves, blank faces, and so many expressive hands. Via Movie City News.
With a new collection of their writings and MOMA mounting the first complete retrospective of their films, Jean-Marie Straub and Danièle Huillet are the subjects of a pair of pieces at Artforum. P. Adams Sitney offers the overview on a career that never compromised or offered an easy way in for the viewer. (“One sometimes gets the impression that they were forever challenging themselves to find texts that made complacent resolutions less and less amenable, and then to offer them up to cinema so nakedly that their skeletal structure could not be eluded.”) And James Quandt tries to fitSicilia! in with the couple’s musical films. (“Aside from a folk song and the Beethoven string quartet that introduces and ends Sicilia!, the film avoids nondiegetic music, but it is itself structured as a chamber work in four movements, and the idiosyncratic delivery of the baroque dialogue often hits the ear as discordant ariettas and semi-recitatives.”) Film Comment, meanwhile, offers an excerpt from the aforementioned collection, a letter from Huillet to Nuances magazine on the impossibility of viewing artpieces at museums hanging them up behind occluded glass. (“It was horrible: each painting was now under armored glass, and often damaged in the process (new little cracks, etc.). When we protested this madness, saying that it’s better to risk a—rare—act of madness than to make the paintings invisible—reflections, etc.—and surely damage them, we were told, grudgingly: It was a requirement of the insurance….”)
“Canon City is an art film made on the terms of an unpretentious hardboiled procedural—a breathless true-crime piece in which Hadley’s delivery of the word “dreaming” lands perfectly on a dissolve from a real cell block to a prison cell set.” Ignatiy Vishnevetsky plunks for Crane Wilbur’s prison-escape film, which, with the invaluable help of John Alton, straddles blunt docudrama and the heightened use of “spaces that double as metaphors,” as one of Poverty Row’s great triumphs.
“Maybe even more than MGM anticipated, it was perfect Depression-era escapism: one of those thirties movies that take place in drawing rooms where the ceilings are about twenty feet high, where men are always in formal wear and women, even in the afternoon, wear floor-length lounge gowns and speak in that bright, quick, affected accent that no real American ever used.” Charles McGrath recounts how Van Dyke’s brisk engagement, a script that expanded upon Hammett’s witticisms, and impeccable casting (including a change in Asta’s breed) made The Thin Man less a whodunit than a classic screwball comedy of marriage draped around a murder mystery.
The 42nd Annual Seattle International Film Festival opens on Thursday, May 19, with the opening night gala presentation of Woody Allen’s Café Society (in its North American premiere), and closes 24 days later on Sunday, June 12 with Jocelyn Moorhouse’s The Dressmaker. In between there are (at last count) 181 feature films, 75 documentary features, 8 archival films, and 153 short films. All told: 421 films representing 85 countries (as of opening night).
Here is Parallax View’s coverage and guide to SIFF resources from around the web. We will update a few times a week.
The 42nd Seattle International Film Festival opens on Thursday, May 19 with a gala screening of Woody Allen’s Café Society, direct from Cannes where it was the opening night event. That would generally be considered a coup for SIFF but the glitz is tarnished thanks to allegations of child abuse by Allen against the children of Mia Farrow. The controversy isn’t new but was effectively swept under the rug by a willing media until Ronan Farrow turned the spotlight back on his biological father and called out the media for letting the accusations slide as the film opened at Cannes. Nicole Brodeur writes about it at The Seattle Times, and I recommend Matt Zoller Seitz’s personal essay on his struggle to grapple with the art of Allen versus the actions of the artists. As for Seattle, neither Allen nor any of the stars will be attending the film.
What does any of this have to do with the film? Maybe nothing, maybe everything, depending on how you separate your engagement with popular art from the artists who create it. But by putting the film in the opening night spot, SIFF has made a statement of sorts whether it meant to or not. It was announced weeks before the embers of the controversy were fanned back to life, but those embers were always there, even if we (and I include myself) were willing to conveniently forget about it.
The festival really begins on Friday, May 20 as movies play in eight venues radiating out from Seattle Center to Capitol Hill, Ballard, and Bellevue. On Thursday it adds Renton and Friday it leaves Ballard for Shoreline, with Kirkland and Columbia City taking part later. But for now, let’s take a look at some of the highlight in this first week.
[Originally published in Movietone News 32, June 1974]
At least half of Seattle knows by now that the Seattle Film Society did not show AnimalCrackers as originally announced for May 18. They know because at least half of Seattle was planning to come see AnimalCrackers at St. Mark’s Cathedral. This is what happened.
AnimalCrackers is the one among the thirteen films of the Marx Brothers that has not been in general release for years. Like its predecessor Cocoanuts, it was based on—it virtually is—a stage show the boys did late in the Twenties. The original producer was Paramount Pictures, the studio that produced all of the first five Marx films (Cocoanuts, AnimalCrackers, MonkeyBusiness, Horsefeathers, DuckSoup). Paramount no longer distributes its post-silent, pre-1950 films; they were picked up for nontheatrical distribution and TV leasing by Universal MCA. Because of some hassle involving the copyright on the preexisting stage material, Universal has never troubled to clear the way toward officially rereleasing AnimalCrackers. Hence its increasingly conspicuous absence on the repertory circuit otherwise wellnigh glutted with Marx Brothers movies.