Tag Archives: Big Screen Berkeley
Summer is all but over, and it’s not quite Oscar season yet. New releases are thinner on the ground than autumn leaves in May, but fear not film fans: Pacific Film Archive has two very different but equally worthwhile motion pictures with which to tempt you this weekend.
Fistful of Dollars (Per un pugno di dollari, 1964) was the film that single-handedly kicked off the spaghetti western craze, which spawned well over 500 films before the genre petered out in the mid ’70s. Love it or hate it, it’s an important film — not least because it marked the arrival of a significant new talent (and the focus of PFA’s current series ‘Something To Do with Death’), director Sergio Leone.
Few would suggest that Fistful of Dollars (screening on Friday, Sept. 23 at 8:15 p.m.) is the equal of Leone’s classics The Good, the Bad, and the Ugly and Once Upon a Time in the West (both of which have also screened in the series). Nonetheless, it’s thoroughly entertaining, was beautifully shot in southern Spain, and (of course) includes an unforgettable original score by Ennio Morricone (actually credited on screen as the pseudonymous ‘Dan Savio’ – as with Leone, Morricone would become a household name thanks to this film).
And then there’s Clint Eastwood, who parlayed his performance as the serape’d Man With No Name into a career that still continues today. Unsurprisingly, Eastwood is pretty affectless here, but that was the gimmick: who is that masked-man-with-no-mask? What secrets lie behind the emotionless stare? When you compare his work here to that of other spaghetti stars such as Robert Woods, George Eastman, and Brad Harris, you realize how good Clint genuinely was as the man of mystery. … Continue reading »
Before the Second World War, heavily Catholic Poland was also home to most of the world’s Jewish population. That changed, of course, during the war, when at least 90% of Poland’s 3 million Jews were killed by the Nazi extermination machine, leaving only a few thousand survivors behind.
Poland is still coming to terms with the legacy left by the Jewish Holocaust’s dead millions. Director Marcin Wrona’s Demon (opening at Landmark’s Shattuck Cinemas on Friday, Sept. 16) examines that legacy, emphasizing how this historical memory has largely been left buried and forgotten by the country’s Christian majority.
Based on Piotr Rowicki’s play ‘Clinging’, Demon takes place in a decrepit southern town where the rain never seems to let up. Fashionable youngster Piotr (Israeli actor Itay Tiron) has returned from success in London to marry Zaneta (Agnieszka Zulewska), daughter of local mining magnate Zygmunt (Andrzej Grabowski). … Continue reading »
I vaguely remember bits and pieces of the J. T. LeRoy saga. Around the turn of the 21st century, LeRoy was an author of great repute and considerable mystery: he (or was it a she?) was actually a she (or was it a he?). Whatever the case, it was a great opportunity to get into some serious pronoun trouble.
Never being much interested in contemporary fiction, however, that was about it for my LeRoy memories, and once the story left the front pages (at a time when we still had front pages for stories to leave) I forgot all about it. Now comes Author: The J. T. LeRoy Story (opening at Landmark’s Shattuck Cinemas on Friday, Sept. 9), a documentary that helps me remember (and understand) what actually happened.
Laura Albert was 28 years’ old when she created her alter ego, J. T. (Jerome ‘Terminator’) LeRoy. LeRoy was the teenage son of a truck-stop prostitute; a troubled youngster infected with AIDS by one of his mother’s clients. Albert, by contrast, was a woman ashamed of her weight and scarred by the emotional and sexual abuse she’d suffered as a child. … Continue reading »
During Hollywood’s Golden Age, most major features were produced within the studio system. When you went to the theatre you could expect your show to be prefaced by such familiar logos as the Fox searchlights, the MGM lion, the Paramount peak, the Warner Brothers shield, or (if you weren’t downtown that day) perhaps the RKO radio tower or Columbia statue.
When the system began to break down in the 1960s, those trusty corporate symbols began to go by the wayside. In their stead came government funding bodies and small independent production companies, each with their own ideas about promotional artwork: now it’s not at all unusual for a movie to be preceded by four or five of these less familiar static or animated logos.
This week’s film, In Order of Disappearance (Kraftidioten, opening on Friday, Sept. 2 at Landmark’s Shattuck Cinemas), sets the bar higher still: in addition to the Berlin Film Festival bear, it begins with no less than 14 (14!) corporate logos. We’ll forgive it, though, because the narrative of this Norwegian-Swedish co-production actually does involve a long (and ever growing) list of names.
Set in the icy vastnesses of northernmost Scandinavia, the story revolves around snow-plough operator Nils (a podgy Stellan Skarsgård), recently named Citizen of the Year by the residents of the (fictional) town of Tyos. This is somewhat surprising, we’re told, because he’s Swedish — and apparently the Norwegians don’t particularly care for the Swedes. … Continue reading »
First, let’s get my minor complaint out of the way: the marketing for The People versus Fritz Bauer (Der Staat gegen Fritz Bauer, opening at Landmark’s Opera Plaza Cinema on Friday, Aug. 26 – no East Bay play dates are currently scheduled) leaves something to be desired. Specifically, a more accurate translation of the film’s original title would be ‘The State Against Fritz Bauer’, which is a far more accurate representation of its content.
Written and directed by Lars Kraume, Fritz Bauer tells the true story of the State of Hesse’s post-World War II Attorney General. A Jewish émigré who fled Germany for the safety of 1935 Denmark (and later, 1943 Sweden), Bauer returned (along with friend and future Chancellor Willy Brandt) to his homeland after the end of the war, determined to bring Nazi war criminals to justice at the hands of a democratized West German judicial system.
Some of those war criminals — including such infamous villains as Martin Bormann, Adolf Eichmann, and Josef Mengele — had, of course, long since fled Europe for South America. Many less prominent former Nazis, however, had settled into the business of rebuilding and governing the new bundesrepublik, insinuating themselves into the reborn country’s business, governmental, and judicial bureaucracies. … Continue reading »
Like many adults, I really enjoy a good children’s film. Now that my nest is thoroughly empty, however, I have far fewer opportunities (or imperatives!) to scope them out.
Of course, the emphasis must always be on ‘good’ – not an adjective to be applied lightly in the broad church of cinema, especially when it comes to kiddie flicks (I will never fully recover from my exposure to Baby Geniuses). So I was quite excited to see that Phantom Boy, a new animated feature from the creators of 2014’s Oscar-nominated A Cat in Paris, will open at Landmark’s Shattuck Cinemas on Friday, July 29.
Unlike A Cat in Paris, there are no anthropomorphized animals to be found in Phantom Boy. The film’s characters are (almost) uniformly human: Leo, a young boy suffering from a serious illness (presumably, though not explicitly, cancer); Tanguy, a wheelchair-bound police officer; Mary, a spunky young journalist voiced by Audrey Tautou; and a super villain with a yappy dog (non-talking variety). … Continue reading »
Generally, things are just a little bit off-kilter in the world of Michel Gondry. From Eternal Sunshine of the Spotless Mind to Be Kind Rewind (and with the notable exception of his 2012 feature, the comparatively neo-realistic The We and the I), the French filmmaker has displayed a penchant for telling stories with a slightly surreal bent.
Gondry’s latest feature brings us firmly back to his magical-realist comfort zone. Microbe and Gasoline (Microbe et Gasoil), a whimsical shaggy dog tale about two teenage outcasts and a remarkable road trip, opens at Landmark’s Shattuck Cinemas on Friday, July 15.
Daniel (Ange Dargent) is 14 years old but looks two or three years younger. Nicknamed Microbe by schoolyard bullies, the quiet, artistically talented youngster has a (presumably doomed) crush on classmate Laura (Diane Besnier).
Theo (Théophile Baquet) is new to Daniel’s school, and shows up for the first day of term riding a motorized scooter with a homemade sound system. Immediately dubbed Gasoline, Theo makes common cause with fellow nerd Daniel, and the new friends hatch a wild plan to travel across France during the summer months in a bespoke automobile. … Continue reading »
At the end of last year, I made a modest but achievable resolution: In 2016, I’d write about a few less documentaries (and a few more fictional features) than I’d written about in 2015. And so far, I think I’ve done pretty well: By my count, only four of the 33 films discussed this year in Big Screen Berkeley have been docs. Mission accomplished!
After zigging through the last six months, however, it’s now time to zag in the opposite direction. This weekend, two very different – but equally intriguing – documentaries open in the East Bay.
Zero Days (opening at Landmark’s Shattuck Cinemas on Friday, July 8) is the latest effort from Academy Award winner Alex Gibney (Taxi to the Dark Side). The film examines one facet of the West’s war against Iran’s nuclear program – a program that many Western governments insisted, despite repeated Iranian denials and evidence to the contrary, was a precursor to nuclear weapons. … Continue reading »
We’re often told that no one actually wants to see how sausage is made…but what about toilet paper? If you think you might be interested in a film examining that particular industrial process, you may want to consider taking a trip to the West Bay to check out Wedding Doll (Hatuna MeNiyar), an Israeli drama opening at San Francisco’s Roxie Theatre on Friday, July 1st (no East Bay play dates are currently scheduled).
A slight disclaimer is in order: despite its setting, Wedding Doll isn’t entirely focused upon the production of bath tissue. In actuality, it’s the story of a developmentally disabled young woman named Hagit (Moran Rosenblatt, who bears more than a slight resemblance to Amelie-period Audrey Tautou) employed as a packager in a down-at-heel TP manufactory.
Our twenty-something heroine may still live at home with overprotective mother Sara (Assi Levy), but her job has given her a measure of independence – and she’s ready for more. Hagit envisions marrying factory owner’s son Omri (Roy Assaf), who’s pushing the old man to modernize the plant in order to keep it open and competitive. … Continue reading »
Since Nosferatu first chilled filmgoers in 1922 (sparking a lawsuit in the process), almost every conceivable variation of vampire has stalked victims across screens big and small. In addition to the traditional ‘cape and fangs’ bloodsucker, we’ve seen funny vampires, mod vampires, hopping vampires, African vampires, even X-rated vampires – but until now I don’t think there’s been a movie depiction of a vampire undergoing psychotherapy.
That particular cinematic gimmick is the selling point of Therapy for a Vampire (Der Vampir auf der Couch), a darkly comic German chiller opening at Landmark’s Shattuck Cinemas on Friday. Despite its title, however, the film is more than just a ninety minute My Dinner with Andre style confessional for hemovores.
Writer-director David Rühm immediately signals his intent: opening in a spooky graveyard, the film is a tribute to classic gothic cinema, right down to its mittel-european setting ‘somewhere near Vienna’ circa 1932. For admirers of classic Universal and Hammer horrors, this mise en scène is the big screen equivalent of comfort food. … Continue reading »
It’s time once again for the annual San Francisco International LGBTQ Film Festival (more succinctly known as Frameline40). This year the Festival further expands in the East Bay, offering five days of programming at Rialto Cinemas Elmwood.
I’ve always had a soft spot for biker movies, so when I read the précis for Ovarian Psycos (screening at 9:30 p.m. on Monday, June 20) my interest was immediately piqued. Could the film possibly be a distaff version of 1971’s legendary gay biker epic, The Pink Angels?
Alas no, but Ovarian Psycos still largely succeeds on its own terms. While the Psycos might be considered a ‘gang’ by some, they ride pedal bikes as opposed to Harleys, and are actually more of a community organization cum bicycle club serving women of color living in or near East L.A.’s Boyle Heights neighborhood.
Primarily (though not exclusively) young and Latina, the Psycos organize large-scale rides through the streets — sometimes dubbed ‘Clitoral Mass’ — in an ongoing effort to reclaim the streets for women. Their meetings also serve as open-ended opportunities to discuss issues that affect members’ daily lives — particularly male violence against women. … Continue reading »
In case you missed it, here’s a link to a fascinating Guardian story about how perceptions of masculinity differ between American and British men. As a man (and I do use the term advisedly) who’s lived in both countries, I can attest that the story’s conclusion — that American men feel ‘completely masculine’ at a rate considerably higher than do their UK counterparts — is broadly accurate.
Of course, the story does make one wonder how men in other countries would rate themselves on the ‘0-6’ scale utilized by YouGov’s study – and, judging from the male characters in Chevalier (opening at Landmark’s Shattuck Cinemas on Friday, June 10), Greek men would likely rate themselves as even more testosterone-laden than their American co-genderists. Sorry, dudes.
Set aboard a yacht somewhere in the Aegean, Chevalier tells the story of six guys (presumably six quite well-off guys, as there’s no hint of Greece’s ongoing slow-motion financial crisis) enjoying an extended at-sea stag party. Their days are occupied with fishing, scuba diving and jet-skiing; their nights with gourmet meals and mind games. … Continue reading »
Well, I may as well go for the hat trick. Having written about both The Third Man (1949) and Our Man in Havana (1959) in the past year, I really should take advantage of an opportunity (or an excuse!) to review 1948’s The Fallen Idol, the first of writer Graham Greene and filmmaker Carol Reed’s three cinematic collaborations.
Despite its two Academy Award nominations (one for Greene’s screenplay, another for Reed’s direction), The Fallen Idol is arguably the least remembered of the trio — at least in the United States (it continues to enjoy a higher profile in the UK). A newly restored print screens at Landmark’s Shattuck Cinemas beginning Friday, June 3.
Set primarily in a late Georgian townhouse in deepest Belgravia (one of London’s most expensive neighborhoods and home to many of the capital’s foreign embassies), The Fallen Idol tells the story of an unusual relationship between the son of a diplomat and the loyal family retainer. French-born, English-raised 9 year-old Bobby Henrey plays the youngster Phillipe; Ralph Richardson, Baines the butler (whose first name remains, appropriately, unspoken). … Continue reading »