I walked to the Music Box Theatre today and saw Project Nim. It turns out the theater is a much closer walk to my house than I thought. I picked up a flyer for Noir City 3. The program looks amazing. I can't wait.
The only problem is that my wife is talking about wanting to get a day pass to the Gathering of the Juggalos this year, which coincides with the same weekend as Noir City 3. I can't tell how serious she is.
The Prowler on the big screen for those of you in Montreal!
That sounds like grounds for a trial separation at minimum.Originally Posted by Adam Lounsbery
THURSDAY, SEPTEMBER 15 @ CASTRO THEATRE, SAN FRANCISCO
TAXI DRIVER (1976) NEW 35MM RESTORATION! | 113 min | 35mm | 3:30, 7:15
Robert De Niro channels his definitive performance in Martin Scorsese’s unsettling tour through the metropolitan madness of one Travis Bickle. Pushing the envelope, this film established Scorsese and screenwriter Paul Schrader as the most daring talents of their generation. Co-starring Cybill Shepherd, Jodie Foster, Harvey Keitel and the superlative final score by Bernard Herrmann. For this restoration, the original negatives were meticulously cleaned and transferred at 4K resolution without a single frame altered digitally.
BLAST OF SILENCE (1961) | 77 min | 35mm | 5:35, 9:20
Swift, brutal, and black-hearted, writer/director/star Allen Baron’s New York City noir Blast of Silence is a sensational surprise. This low-budget, carefully crafted portrait of a hit man on assignment in Manhattan during Christmas time follows its stripped-down narrative with mechanical precision, yet also with an eye and ear for the oddball idiosyncrasies of urban living and the imposing beauty of the city. At once visually ragged and artfully composed, and featuring rough, poetic narration performed by Lionel Stander, Blast of Silence is a stylish triumph.
Music Box Theater in Chicago is screening a series of films adapted from the novels of Graham Greene:
Oct. 22-23: This Gun for Hire
Oct. 29-30: Ministry of Fear
Nov. 5-6: Brighton Rock
Nov. 13: The Fallen Idol
Nov. 20: Our Man in Havana
Nov. 26-27: The Third Man
http://www.musicboxtheatre.com/calen..._Fall_2011.pdf
AFI Silver Theater has announced the films for Noir City DC 2 festival October 15-November 2. Multiple days and times for most films, so please check their calendar for specifics : http://www.afi.com/silver/new/nowplaying/calendar.aspx
The films:
THE MALTESE FALCON
LOOPHOLE
THEY WON'T BELIEVE ME
A DOUBLE LIFE
HIGH WALL
CRY TOUGH
ANGEL FACE
BEWARE, MY LOVELY
SUDDEN FEAR
MY NAME IS JULIA ROSS
THE DARK MIRROR
THE HUNTED
Trying to decide if it's worth a 12-14 hour drive each way to see "They Won't Believe Me"-have seen everything else.
The Big Combo and Pitfall in Los Angeles, February 8th!
I called the theatre and they confirmed all the UCLA screenings are on 35mm film. No digital projection!
Here's a full schedule...LOTS of amazing films coming up soon!
I mentioned this elsewhere, but a 35 mm print of The Brasher Doubloon screens in Chicago tonight at the Portage Theater at 7:30.
Dark Past: Film Noir by German Emigres will be screening through April 15 as a complement to a film noir course being taught by Tony Kaes at UC Berkeley. First showing was last week.
Dark Past: Film Noir by German Emigrés
March 1, 2012 - April 15, 201
As Hitler’s influence grew in 1930s Germany, artists and intellectuals fled the country; whether because they were Jewish or held contrary political views, they saw their lives or livelihoods threatened by the emerging fascist reign. The German film industry was not immune to this flight and the decade witnessed the exodus of a host of important filmmakers—directors, cinematographers, screenwriters, and others. Hollywood became a haven for these hasty émigrés—by the early forties tinsel town had a thriving contingent of German-speaking filmmakers, including Otto Preminger, Max Ophuls, Douglas Sirk, Billy Wilder, Robert Siodmak, Fritz Lang, Edgar G. Ulmer, and many others. Grateful for any assignment, these veteran directors took on low-budget B-movies, turning them into highly effective, emotionally resonant, darkly dramatized mysteries and crime stories, later to be known as noirs. It’s said that the greatest contribution of this group of directors was the shadow-laden mise-en-scène with its brooding urban cityscapes distilled from German Expressionism. But as you shall see from these eight noirs by eight directors, much more than rain-spattered streets and crepuscular lighting links them. Many of these bristling features, from Max Ophuls’s Caught to Curtis Bernhardt’s High Wall, from William Dieterle’s Dark City to Otto Preminger’s Where the Sidewalk Ends, share a belief that authority is necessarily corrupt, that institutions are to be mistrusted, that what is worst in us will come to light, and, finally, that no one can shake their dark past.
Steve Seid, Video Curator
Thursday, March 1, 2012
7:00 p.m. The Dark Past
Rudolph Maté (U.S., 1948). Held hostage in a lakeside cabin by pathological thug (William Holden), Dr. Collins (Lee J. Cobb) overwhelms his captor using a single weapon, a book entitled The Criminal Mind and Insanity, in this taut siege story by director Maté, the lensman behind The Passion of Joan of Arc. (75 mins)
Thursday, March 1, 2012
8:40 p.m. Shockproof
Douglas Sirk (U.S., 1949). Sirk stylishly directs a punchy Sam Fuller script about the relationship between a parole officer and an ex-con, lovers on the run from an unforgiving society. (79 mins)
Thursday, March 8, 2012
7:00 p.m. High Wall
Curtis Bernhardt (U.S., 1948) New Archival Print! Found unconscious behind the wheel of his wrecked car, his strangled wife beside him, Steve Kenet (Robert Taylor) quickly confesses to murdering his two-timing spouse. But did he? Find out in this neurotic noir. (98 mins)
Thursday, March 22, 2012
7:00 p.m. Where the Sidewalk Ends
Otto Preminger (U.S., 1950). Dana Andrews is a tough cop who accidentally kills a suspect, then tries to cover it up by framing someone else in this world-weary noir, written by the great Ben Hecht. (95 mins)
Saturday, March 24, 2012
8:35 p.m. Strange Illusion
Edgar G. Ulmer (U.S., 1945) Archival Print! Hamlet goes Poverty Row, with a heavy dose of quack Freudianism, in Ulmer's low-budget, deliciously neurotic noir. (83 mins)
Friday, April 13, 2012
7:00 p.m. Caught
Max Ophuls (U.S., 1949) Archival Preservation Print! Barbara Bel Geddes marries Robert Ryan for his money but discovers that the dream house is a prison. A darkly ironic Cinderella story, also starring James Mason. (88 mins)
Friday, April 13, 2012
8:50 p.m. Criss Cross
Robert Siodmak (U.S., 1949). Burt Lancaster and Yvonne De Carlo are caught in a criss crossing web of obsession and betrayal in Siodmak's ill-fated noir of double-dealings and a stylishly enacted armored car heist that takes all involved to the very brink. (87 mins)
Sunday, April 15, 2012
6:15 p.m. Dark City
William Dieterle (U.S., 1950). Charlton Heston made his big-screen debut as an alienated vet turned small-time gambler pursued by the cops, a lounge singer, a widowed suburbanite, and more. Dark City is noir from its beat-up bookie joints to its grimy hotel rooms, and boasts a murderers-row of character actors like Ed Begley, Jack Webb, and Harry Morgan. (97 mins)
Dark Past: Film Noir by German Emigrés is presented as a complement to a noir course taught by Professor Tony Kaes this spring at UC Berkeley. Special thanks to Steven Hill, the UCLA Film and Television Archive; Eddie Muller, The Film Noir Foundation; Rob Stone, The Library of Congress, Motion Picture Division; The Film Foundation; and the distributors that still support 35mm prints: Paramount Pictures, Sony Pictures, Universal Pictures, and Criterion Pictures.
Last edited by Harry Fabian; 03-06-2012 at 10:02 AM. Reason: added info, fixed link
fixed the link on the above post
Film Noir Thursdays returns this week to The Historic Everett Theatre in Everett, WA
FILM NOIR in AUGUST @ THE CASTRO THEATRE, San Francisco.
Wednesday, AUGUST 1 & Thursday, AUGUST 2
THE MALTESE FALCON (1941)
THE ASPHALT JUNGLE (1950)
Saturday, AUGUST 4
Introduced by Eddie Muller
THE BIG SLEEP (1946)
WHERE DANGER LIVES (1950)
Wednesday, AUGUST 8
THE TREASURE OF THE SIERRA MADRE (1948)
KEY LARGO (1948)
Thursday, AUGUST 9
STRANGERS ON A TRAIN (1951)
THE CRYING GAME (1992)
Thursday, AUGUST 23
BABY FACE (1933)
KANSAS CITY CONFIDENTIAL (1952)
Friday, AUGUST 31 - Monday, SEPTEMBER 3
VERTIGO (1958) in 70MM
Robert Siodmak Retrospective at Film Forum - New York Times
Film Forum via Photofest
Yvonne DeCarlo and Burt Lancaster in “Criss Cross” (1949), directed by Robert Siodmak. Lancaster collaborated three times with Siodmak, below, whose name is most frequently associated with film noir.
A HOLLYWOOD director once bracketed with Alfred Hitchcock and Fritz Lang, Robert Siodmak (1900-73) is credited by some scholars with developing the German-French-American synthesis known as film noir and dismissed by others as an impersonal technician whose greatest talent was successively adapting himself to three national movie industries and whose trademark on-set joke was “It stinks — print it!”
Cynical chameleon or rootless cosmopolite? Siodmak (pronounced See-ODD-mak) is, as the film historian Jean-Paul Coursodon put it, “one of the puzzling paradoxes of the American cinema.” He’s also the subject of a rare, nine-film retrospective as part of Film Forum’s celebration of Universal Pictures that starts Friday and runs through Aug. 9. Universal is where, having made movies in Weimar Berlin and pre-World War II Paris, Siodmak reinvented himself in the 1940s as an American director, and the retrospective includes films like “The Killers,” “Cobra Woman” and “Phantom Lady.”
Along with the other mainly Jewish, Central European émigrés who found refuge in Hollywood, Siodmak infused American crime thrillers with a mix of Expressionist brio and existential fatalism. The critic Andrew Sarris once joked that Siodmak’s “American films were more Germanic than his German ones.” It could also be said that the director’s low-budget debut, the insouciant plein-aire comedy “People on Sunday” (1930), made in Berlin’s public parks with a youthful group of future exiles (including Siodmak’s then flat-mate Billy Wilder and younger brother Curt) was more French than his French productions.
Looking to escape Paris for the United States, Siodmak would claim to have been born in Memphis and subsequently taken by his parents to Germany. The New York Times, which profiled the director at the height of his success, called him “the only native-born American with a foreign accent in Hollywood.” German sources give Siodmak’s actual birthplace as Leipzig or Dresden. In any case, it was Dresden where he grew up and defied his wealthy father to find work in the movies.
Universal’s main wartime attraction was the comedy team of Abbott and Costello, but the studio had a history of hiring German talent and a tradition of atmospheric horror films. Siodmak’s first Universal releases have a marked German subtext. The eponymous vampire in the grimly flavorsome (1943), written by his brother Curt, brings a European contagion to America. More stylish than necessary, “Son of Dracula,” which is also part of the retrospective, secured Siodmak a seven-year contract. It also demonstrated that he could take fantasy seriously.
His next assignment, the flamboyantly Technicolor “ , with Maria Montez playing good and evil twins, gave this notoriously limited actress a surprisingly resonant vehicle. If there is a Siodmak touch, it is the sinister dance that the sarong-wrapped dictator of Cobra Island performs for her ecstatic subjects, who greet her writhing with an unmistakable version of the Nazi salute.
There’s another sort of reference to Hitler — and an equally delirious musical interlude — in Siodmak’s next movie. The killer in “Phantom Lady” (1944) is a megalomaniacal artist who links himself with the great criminals of history. Produced by the Hitchcock assistant Joan Harrison, “Phantom Lady” associated Siodmak with one of Hollywood’s leading filmmakers. “Something was bound to happen when a former Alfred Hitchcock protégée and a former director of German horror films were teamed on the Universal lot,” Bosley Crowther wrote in The New York Times, “something severe and unrelenting, drenched in creeping morbidity and gloom.”
And it did happen: “Phantom Lady,” in which spunky Ella Raines assigns herself to save a man framed for the murder of his wife, has a nightmarish quality and dreamlike flow that transcends the banality of its script. The movie’s chiaroscuro soundstage Manhattan often resembles the demonic Berlin of a Weimar silent film, but Siodmak was also alert to the possibilities of musical montage, most emphatically in the feverishly Raines attends in an after-hours jazz club.
“Christmas Holiday” (1944) — in which Siodmak was tasked with providing Universal’s stellar ingénue, Deanna Durbin, an adult role, namely a chanteuse in a New Orleans bordello — is a noir as odd as its title. It’s an intricately lighted gothic romance that casts Gene Kelly as a neurotic tough guy and makes near-surreal use of Wagner’s “Leibestod.” Siodmak was next given a pair of overly genteel films that, if not noir, were predicated on the noirish situation of a respectable man — Charles Laughton in “The Suspect” (1944) and George Sanders in “The Strange Affair of Uncle Harry” (1945) — driven by love to domestic homicide.
Then Siodmak was on loan to RKO for the lurid thriller “The Spiral Staircase” (1946). A week after this hit shocker opened, The New York Times reported that Siodmak was “disturbed by the many recently published references to him as ‘a second Alfred Hitchcock.’*” His next Universal film, “The Dark Mirror” (1946), a doppelgänger mystery starring a twinned Olivia de Havilland, only reinforced that idea of Siodmak as a director of clever psychological thrillers. But Siodmak’s third release of 1946 was something else.
The luxuriantly bleak epitome of mid-’40s pessimism, “The Killers” confirmed the visual primacy of Siodmak’s style (particularly as realized by the cinematographer Elwood Bredell, who shot both “Christmas Holiday” and “Phantom Lady”) while revealing a new harshness of tone. Elaborating through flashbacks on the laconic Ernest Hemingway story of a doomed ex-boxer and the hit men sent to dispatch him, “The Killers” is a sort of deadly bolero in which the newcomer Burt Lancaster alternately awaits death and desperately pursues an elusive femme fatale (Ava Gardner in her first leading role).
Siodmak received an Oscar nomination for directing which also garnered nominations for screenplay, score and editing — “The Spiral Staircase” and “The Dark Mirror” got nominations as well — and contemporary reviews of “The Killers” rarely fail to cite the director’s touch. The connoisseurs James Agee and Manny Farber were both impressed. Agee praised Siodmak’s “journalistic feeling for tension, noise, sentiment and jazzed-up realism.” Farber credited Siodmak with the movie’s “stolid documentary style” and “gaudy melodramatic flavor” while noting “the artiness (most noticeable in the way scenes are sculpted in dark and light).”
Siodmak was on loan to 20th Century Fox for
With its quasi-documentary use of Bunker Hill in Los Angeles and the flat expanse of the San Fernando Valley, as well as the novelist Daniel Fuchs’s slangy script, “Criss Cross” is Siodmak’s most American film. It also signaled a thwarted shift in his interests. The director made an unsuccessful movie with Hollywood’s resident naturalist, the producer Louis De Rochemont, and worked with Budd Schulberg on what would become “On the Waterfront.” (Dumped from the project, Siodmak successfully sued the producer Sam Spiegel for $100,000.)
Having gone abroad to direct Lancaster in “The Crimson Pirate” (1952), Siodmak jumped ship to remain in Europe, making movies in Britain, West Germany and France. Cosmopolitan to the end, he capped his career with a pair of West German-Italian epics: “Pyramid of the Sun God” (1965), adapted from a novel by Karl May, and “The Last Roman” (1968). In between, he directed “Custer of the West” (1967) in Cinerama and Spain, from a script by two blacklisted Hollywood writers.
Severely re-edited for release in the United States, “Custer” appeared as the director’s final puzzlement. Reviewing it in The New York Times, Renata Adler saw signs that “somebody meant to try something fairly ambitious.” Custer appeared as “a thoroughly modern man who would have liked Camus” — an enigmatic fatalist, not unlike Siodmak.
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Times and days for screenings at Noir City: Chicago 4 August 17-23 are set
I'm looking forward to to NOIR CITY: CHICAGO 4, and spending time with some old celluloid friends as well as making a few new ones.
August brings classic film series to Buffalo's Delaware Park - The Daily News Online
BUFFALO — The Parkside Community Association’s “Movies in the Meadow” film series brings classic films to Delaware Park.
This year ‘s line-up includes examples of film noir, Hitchcock mystery, romance, family fare, and comedy.
Each Friday in August, movies are scheduled to start as soon as it’s dark enough to be seen, between 8 and 8:30 p.m. The location is directly in front of the Parkside lodge in Delaware Park, near the intersection of Parkside and Florence.
Admission is free, though donations in support of the mission of the PCA are always appreciated.
The schedule:
- Tonight: “Casablanca,” 8:30 p.m. start.
- Aug. 10: “Rear Window,” 8:25 p.m.
- Aug. 17: “It Happened One Night,” 8:15 p.m.
- Aug. 24: “Willy Wonka and the Chocolate Factory,” 8:04 p.m.
- Aug. 31: “Young Frankenstein,” 7:55 p.m.
In the event of rain, the shows will be at nearby Parkside Lodge.
For more information, call the PCA at (716) 838-1240 or go to www.parksidebuffalo.org.
Other film events of interest:
Aug. 7
Movie Night - “The Lorax” — Screening of the animated film “The Lorax” begins at 6 p.m. For more information, call (585) 494-1120. Byron-Bergen Public Library 13 South Lake St. Bergen, NY 14416
Aug. 8
Classic Horror Movies Series — The most-haunted place in Genesee County hosts a summer film series featuring classic horror movies. Admission applies. For more information and restrictions, go to www.rollinghillsasylum.com. The schedule: Aug. 8, “White Zombie”; Aug. 12, “Horror Express”; Aug. 19, “The Brain that Would Not Die”; Aug. 22, “Track of the Moon Beast”; and Aug. 29, “Invasion of the Bee Girls.” Rolling Hills Asylum 11001 Bethany Center Rd. East Bethany, NY 14054
Aug. 9
Movie Night — Movie nights are planned the first four Thursday nights in August. Movies will be “Up,” “Wall-E,” “Despicable Me” and “Toy Story 3.” Times to be announced. Bring a comfortable blanket to sit on with your kids. Snacks will be provided. For more information, call (585) 343-4011. Northgate Free Methodist Church 350 Bank St. Batavia, NY 14020
Movie Night — Films offered every 2nd and 4th Thursday from 6:45 to 8:15 p.m. For information, call (585) 948-9900. Haxton Memorial Library 3 North Pearl St. Oakfield, NY 14125
Classic Film Series — Classic films are shown 7 p.m. every Thursday. The free screenings typically include two feature films or feature films and collections of shorts. For a complete schedule, call (585) 237-3517, e-mail info@artswyco.org, or go to www.artswyco.org. Arts Council for Wyoming County 31 South Main Street Perry, NY 14530
Aug. 10
Fun Fridays Film Screening — “Willy Wonka and the Chocolate Factory” (1971, G, 100 mins) will be screen from noon to 2 p.m. Screening for children in kindergarten through grade 6.* For information, call (585) 768-8300 or go to www.woodwardmemoriallibrary.org. Woodward Memorial Library 7 Wolcott St. Le Roy, NY 14482
Aug. 14
Books on Film - “Holes” — Watch “Holes” (2005, PG) on the big screen. Based on the book “Holes” by Louis Sachar. Scheduled from 1 to 3 p.m. For children in grades 4, 5 and 6. Part of the library’s summer reading program. For information or to register, call (585) 768-8300 or go to www.woodwardmemoriallibrary.org Woodward Memorial Library 7 Wolcott St. Le Roy, NY 14482
Aug. 15
Cinema in the Square — A monthly series of film screenings are offered on the third Wednesday of the month from June to August. All films are G or PG. Movies begin at dusk. Bring a chair or blanket for seating. Admission is free. Rain dates are the fourth Wednesday. The schedule: Aug. 15, “Gulliver’s Travels,” starring Jack Black. For more infomration, call (585) 344-0900 or go to www.downtownbataviany.com . Jackson Square 12 Center Street Batavia, NY 14020
Aug. 23
Classic Film Series - Dance films — Fred Astaire and Eleanor Powell are featured in the delightful “Broadway Melody of 1940” as part of the Arts Council for Wyoming County’s classic film series. Cole Porter supplies the music, including “Begin The Beguine,” which features Astair and Powell in a legendary tap duet. Show time is 7 p.m. Admission is free. For information, call (585) 237-3517. Arts Council for Wyoming County 31 South Main Street Perry, NY 14530
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Humphrey Bogart's son, Stephen Bogart, will be hosting an annual Humphrey Bogart Film Festival starting next May. The location will be in Key Largo, Florida. Also of note, the restored African Queen is docked in Key Largo as well. The theme for the first festival will be Film Noir and fans can vote on the films they most want to see (from a list of 14). Other events and activities are being planned. Check out the Official web site for more info and updates.
Smith Rafael Film Center - San Rafael, California
Presented by David Thomson
Sunday, November 18, 7:00 PM
LAURA (1944)
Sunday, November 25, 7:00 PM
THE THIRD MAN (1949)
The Bogart Film Festival has announced its lineup for the fest May 2-5 in Key Largo:
The Petrified Forest
High Sierra
The Maltese Falcon
The Big Sleep
Dark Passage
The Treasure of the Sierra Madre
Key Largo
In a Lonely Place
In addition, there are going to be a few other noir and several neo-noir screened as well. Check out the schedule here: http://bogartfilmfestival.com/filmfestival/
Humphrey Bogart Film Festival Unveils Lineup (Exclusive) - Hollywood Reporter
Warner Home Entertainment
Fans of Humphrey Bogart may have an extra reason to visit Florida this May, when the first inaugural festival honoring the iconic actor takes place.*Hosted by Stephen Bogart, the actor's son with Lauren Bacall,*the Humphrey Bogart Film Festival runs May 2-5, 2013 in Key Largo, Fla.
STORY: Humphrey Bogart Film Festival to Launch in 2013
As previously reported, festival organizers will choose a theme each year and this year’s is film noir, The Hollywood Reporter has learned exclusively. It will trace Bogie’s indelible impact on the genre by screening the following films:
The Petrified Forest
High Sierra
The Maltese Falcon
The Big Sleep
Dark Passage
The Treasure of the Sierra Madre
Key Largo
In a Lonely Place
Noted critic and film historian Leonard Maltin will also give a presentation on Bogart’s contribution to the genre.
PHOTOS: Fall Movie Preview 2012: Major New Releases From Spielberg, Jackson, Tarantino, the Wachowskis, Burton and More*
Other Bogart classics screened will include The African Queen, for which Bogart took home an Oscar, as well as Casablanca. The festival will open with a reception and an outdoor screening of Key Largo.
To round out its film noir theme, non-Bogart staples of the genre will be screened, including Double Indemnity and Sunset Boulevard, as well as*more recent entries such as*Memento, Brick, and Drive.
The festival was created by The Humphrey Bogart Estate and the Key Largo Chamber of Commerce and will feature a formal Bogart Ball, displays of Bogart memorabilia and the chance to take a ride on the fully-restored African Queen. Many of the classics will be screened outdoors.
Tickets can be purchased and hotel arrangements can be made at bogartfilmfestival.com.
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