On December 30 at 7:00 and January 1 at 6:00 the Museum of the Moving Image, in Astoria, will present a restored 35mm print of Stanley Kubrick’s 1975 film “Barry Lyndon.” The presentation is part of “See it Big,” the museum’s screening series of movies meant to be seen on a big screen. (more…)
Category Archives: Classics
“Scarecrow,” the 1973 road movie directed by Jerry Schatzberg, will be having a run at Film Forum from May 17 – 23. The film stars Al Pacino (fresh off “The Godfather”) and Gene Hackman, both in their primes.
“Scarecrow” will be shown in a clean, beautiful, anamorphic (really wide screen) print which, for me, was a revelation. I first saw “Scarecrow” many years ago when I taped it off of channel 5 at 2:00 am using the EP (lowest picture quality, but more time on a VHS tape) setting on my VCR. The film’s original wide screen dimensions were blown up to fill the space of square shaped TVs. In other words I was losing 50% of the picture. Now that home video users are used to the concept of letterboxing this problem has become less and less frequent. Commercial breaks were thrown in for good measure but, despite all of this, I liked the film. Now, seeing “Scarecrow” in its correct, widescreen aspect ratio, I can properly appreciate Schatzberg’s use of long takes as the characters amble about aimlessly toward objectives that they are probably not going to achieve, dwarfed by the wide open spaces through which they travel. Read the rest of this entry
Director Fritz Lang came to America, from Germany, in 1934. The story he liked to tell, which may be true or which he may have told because it made for a good story, is that Joseph Goebbels, the Third Reich’s Minister of Propaganda, met with him to talk about Lang making movies for the Third Reich. Lang said he accepted the offer but that, following the meeting, he caught the next train to Paris, eventually making his way to America.
Back by popular demand, following sold out screenings at its recent “Spaghetti Westerns” series, Film Forum presents director Sergio Leone’s Spaghetti Western masterpiece “The Good, the Bad and the Ugly” (1966) in a restored DCP (Digital Cinema Package) version. TGTBTU will run from August 29 – September 4.
If you have not seen TGTBTU on the big screen all I can say is “go.” It is tremendous fun and one of my favorite movies. Plus, Film Forum’s screening is a rare opportunity to experience it under ideal circumstances. DCP means is that TGTBTU will be screened in high definition video, projected from a hard drive, as opposed to a traditional 35mm film print. Read the rest of this entry
“The Battle of Algiers” (1965), director Gillo Pontecorvo’s documentary like recreation of Algeria’s struggle against 130 years of French rule, during the years 1954 – 1957, will have a run at Film Forum from July 6 – 12. It is valid to think that the Film Forum’s timing in showing “The Battle of Algiers” so close to July 4 is a patriotic gesture. There are definite parallels to be drawn between the American Revolution and the situation in Algeria. They are both stories about colonies rebelling against governing bodies. In fact, as fate would have it, there is only a one day difference in the respective dates of independence. July 5 marks the 50th anniversary of Algerian Independence, which did not actually happen until 1962. As a result one could have two legitimate interpretations for the Film Forum’s screening, although the comparisons do not stop there. The story is one that, while the players may change, history seems doomed to repeat. Read the rest of this entry
On June 22, 25 and 27 at 12:15, the Film Society of Lincoln Center will present a digitally restored showing of Stanley Kubrick’s 1975 film “Barry Lyndon.” The presentation will be in DCP (Digital Cinema Package) which is becoming the industry standard for projection of new and classic films. DCP uses cutting-edge technology to scan 35mm film negatives into digital files and then plays them back, from a computer hard drive, at stunning 2K or 4K resolution. The result is sound and image that rivals or surpasses even the best quality 35mm prints.
I am often asked to name my favorite movie, a formidable question considering how many movies I have seen. I always come up with the same answer, “Barry Lyndon.” I first saw “Barry Lyndon” at the age of 13 when my parents took me to see it during its opening week at the Ziegfeld Theatre in Manhattan. The Ziegfeld, along with the Paris, and thankfully the Film Society’s Walter Reade Theatre, is one of the last of the city’s great single screen movie theatres. I had never seen a movie like “Barry Lyndon” before and I certainly had never seen a movie theatre like the Ziegfeld. If you have not seen a movie there, go. Read the rest of this entry
Movie star Richard Gere was in attendance on June 13 when the Academy of Motion Picture Arts and Sciences presented a 30th anniversary screening of Gere’s star making turn in 1982’s “An Officer and a Gentleman.” The screening took place in the Academy’s beautiful screening room at the Lighthouse at 111 East 59 Street, in New York.
Following the screening Gere took the stage where he was interviewed by Dave Carter. Carter is the official Red Carpet Greeter for the Oscars, as well as a prolific journalist and author in his own right. Carter pointed out that “An Officer and a Gentleman” was the third top grossing movie of 1982 behind “E.T.” and “Tootsie.” “If that’s not the definition of a word of mouth phenomenon I don’t know what is,” Carter told the audience.
Gere, who was charming, down to earth and gracious, said it was the first time in 30 years that he had actually watched the entire film of “An Officer and a Gentleman.” Gere said that he does not like to watch his movies but that he was very moved by the experience. He explained that, “I remember everything about making this movie, everything you can’t see, what we went through to make the movie and the initial meetings we had and the time of my life when we did this. I’m being flooded. It’s very emotional.”
“Ruggles” is a “fish out of water” story with Laughton as the fish. Laughton’s Marmaduke Ruggles is a proper English butler traveling with his employer, Lord Burnstead (Roland Young), in 1908 Paris. Burnstead loses Ruggles in a poker game to loud talking (and dressing) uncouth American millionaire Egbert Floud (Charlie Ruggles, no relation to the eponymous title character). Egburt, forever henpecked and disapproved of by his nouveau riche, high society wannabe wife Effie (Mary Boland), takes Ruggles under his wing. Za Su Pitts appears as Ruggles romantic interest, Mrs. Judson. Read the rest of this entry
From November 3 – 13 the Film Society of Lincoln Center presented a film series called Hollywood’s “Jew Wave.” The series highlighted films made between 1968 and 1977, a period during which Jewish movie stars took Hollywood by storm. The stars included Barbra Streisand, Elliott Gould, Dustin Hoffman, George Segal, Woody Allen, Richard Dreyfus, Zero Mostel, Gene Wilder and others. The Jewish quotient was also reflected in the subject matter of the films: “Funny Girl” (1968), “The Apprenticeship of Duddy Kravitz” (1974), “Annie Hall” (1977) and “The Heartbreak Kid” (1972), to list just some of the films included in this series.
On November 9 the series showed one of my favorite movies, “Lenny” (1974), starring Dustin Hoffman and Valerie Perrine. “Lenny” was directed by Bob Fosse and nominated for six Oscars. Read the rest of this entry
On Monday October 10, the New York Film Festival showed a restored print of Charlie Chaplin’s 1925 silent feature “The Gold Rush,” with musical accompaniment provided by members of the New York Philharmonic, under the direction of conductor and composer Timothy Brock. The event took place at Alice Tully Hall.
I had not seen “The Gold Rush” in many years and did not consider it to be one of Chaplin’s stronger films. However, seeing the film in such a sparkling print, on a huge screen and accompanied by members of a world class orchestra made all the difference. The magical thing about seeing a silent movie with great musical accompaniment, is that moment when image and music become one and, for a while, you forget that there are even musicians playing a score. By the way, “silent” movies were never silent. At best they were accompanied by an orchestra and, at the lower end, by a single pianist. Read the rest of this entry