Tag Archives: Pacific Film Archive
When it comes to leading ladies, I’m apparently a bit of a cad. I have no trouble telling my Alan Ladds from my Errol Flynns, but put headshots of (for example) Merle Oberon and Joan Fontaine in front of me, and, despite decades of intense movie watching, chances are no better than 50:50 that my ingénue identification skills won’t let me down.
There are, happily, exceptions: I have no trouble recognizing women who specialized in strong or assertive roles. Bette Davis, Joan Blondell, or Joan Crawford are among my favorite brassy dames – and then there’s Barbara Stanwyck, one of the greatest actresses of Hollywood’s Golden Age.
Stanwyck garnered four Academy Award nominations during her career, but never won the big prize. Perhaps her best shot came via the greatest film noir of them all, Double Indemnity (screening at Pacific Film Archive at 8:30 p.m. on Saturday, Jan. 17 as part of the series “Ready for His Close-Up: The Films of Billy Wilder”), but it was not to be: Ingrid Bergman took home the gong that year for her performance in Gaslight. … Continue reading »
GOODBYE TO THE OLD BERKELEY ART MUSEUM For 44 years, the Berkeley Art Museum at 2626 Bancroft Ave. has been a galvanizing force for culture in Berkeley and beyond. Many of the world’s greatest artists have performed or displayed their work there. But the Brutalist building designed by Mario Ciampi, and opened in 1970, is not seismically safe. It will close at the end of 2014 as BAM prepares for its move in early 2016 into a new 82,000-square foot home on Center Street designed by Diller Scofidio + Renfro. To celebrate the transition, BAM/PFA is throwing itself a goodbye party on Sunday called Let’s Go! A Farewell Revel. Starting at 11 a.m. and lasting until 5 p.m., the free celebration includes a create-your-own-museum art workshop, a dance battle by TURFinc, “vibrant vocals” from the women’s group, Kitka, a performance by pianist/composer Sarah Cahill of Gyorgy Ligeti’s 1962 composition “Poème symphonique” for 100 metronomes, and more. (Be sure to check out the Kickstarter campaign in progress to record the acoustics of the building.) The day will end with a procession from the Bancroft building through the campus to the new structure at 2155 Center St. Luckily, the forecast calls for a mix of sun and clouds. During the year it is closed, BAM/PFA will put on mobile exhibits around town. The PFA will continue to show films at its current site on Bancroft, across the street from the art museum. … Continue reading »
On her 40th birthday Audrey Martin decided to sing. As a marriage and family therapist, she had spent years helping other people work through traumas, resolve deep-seated conflicts, and discover their true selves. Along the way she had set aside her adolescent ambition for a life in music, a sublimated dream that resurfaced with her midlife milestone. Martin’s long and winding creative journey resulted in the captivating debut album Living Room (full disclosure: I wrote the liner notes). She celebrates the CD’s release Sunday afternoon at Berkeley’s California Jazz Conservatory, which played an essential role in her musical education.
“This is the culmination of 17 years of planning and effort at learning the art of jazz and bringing together music that I‘ve wanted to perform and record,” says Martin, a Berkeley resident since 1998. “It also represents an integration of my musical self and my life as a psychotherapist.” … Continue reading »
I’ve always been a little ambivalent about Stanley Kubrick. I never grokked the appeal of his science fiction epic 2001: A Space Odyssey (1968), found much of A Clockwork Orange (1971) offensive (which was probably the point, but still), and — as much as the word ‘bravura’ could have been invented to describe the filmmaking displayed within it – The Shining (1980) has always left me cold.
On the other hand, there’s the enduring black comic brilliance of Dr. Strangelove or: How I Stopped Worrying and Loved the Bomb (1964), the first-half perfection of Full Metal Jacket (1987), and the quiet, literate triumph that is Barry Lyndon (1975). Based on those three films alone, I consider myself a pretty big Kubrick fan.
The director’s early films, however, also offer rich rewards. Pacific Film Archive’s forthcoming series, ‘Eyes Wide: The Films of Stanley Kubrick’, provides film fans an opportunity to view the director’s complete works (thirteen features over a period of five decades) in (almost) chronological order. … Continue reading »
Gabrielle Selz’s ‘Unstill Life’ provides peek into the modern art world with its glamour, ambition, heartbreak
When Gabrielle Selz was growing up in New York in the 1960s, her house was filled with artists who have become icons of the time: Mark Rothko, Willem de Kooning, Helen Frankenthaler, and Alberto Giacometti.
Selz’s father was Peter Selz – then a curator of painting and sculpture at the Museum of Modern Art, a man whom the New York Times dubbed “Mr. Modern Art.” Peter Selz moved to Berkeley in 1965 to become the founding director of the Berkeley Art Museum, a position that allowed him to showcase West Coast artists. He highlighted Funk, film, and ceramicists like Peter Voulkos and Robert Arneson who were not even considered true artists at the time. Peter Selz later became project director for Christo’s Running Fence, the 24.5-mile long billowing fabric fence that ran over the Marin County hills in 1976. … Continue reading »
Summer is almost over (well, in most of the country; here in California it’s just getting started), but there’s one more seasonal treat in store before the leaves start turning vaguely less green: Pacific Film Archive’s annual free outdoor screening in the BAM/PFA Sculpture Garden. Unreeling at 8:30 p.m. on Wednesday, Aug. 27, this year’s feature is a ripe slice of ‘50s paranoia with Red Scare overtones and a terrific performance from Lee Marvin.
Directed in 1955 by Edward Dein (Curse of the Undead, The Leech Woman), the independently produced Shack Out on 101 is a zippy 80-minute programmer starring Marvin as Slob, short order cook at a seedy California burger bar owned and operated by gruff World War II vet George (Keenan Wynn). George doesn’t like Slob, but he’s the only cook he could find to work at his dive, located in a remote, nameless coastal section of Southern California. … Continue reading »
It’s summer time, so I’m sure you’ll forgive me for writing about something other than my usual assortment of depressing foreign dramas, grim documentaries, and art-house snoozers. How does a comedy sound this week – and an American one at that?
Despite being one of the country’s most respected repositories of film history, Pacific Film Archive isn’t averse to having a little fun from time to time. How else to explain their decision to host ‘Rude Awakening: American Comedy, 1990-2010’, a series incorporating such decidedly lowbrow fare as Borat and Knocked Up? … Continue reading »
Word on the street for many years has been that Wojciech Has’s 1965 feature Rekopis znaleziony w Saragossie (The Saragossa Manuscript) was musician Jerry Garcia’s favorite film. Rumor also has it that Garcia loved the film so much that he purchased a print and donated it to Pacific Film Archive, stipulating only that he could screen it there any time he liked.
Is any of this true? I’m far from sure, but I’ve always held Garcia’s perhaps apocryphal passion for the film against it, as there are few things in life I enjoy less than listening to The Grateful Dead. However, with the film screening at the Archive at 7:00 p.m. on Saturday, June 14 as part of the series ‘Martin Scorsese Presents Masterpieces of Polish Cinema’, it’s time for a reassessment. Presumably Jerry will not be in attendance. … Continue reading »
It’s almost spring time in the East Bay (and, not too surprisingly, the rest of the Northern Hemisphere as well), which means two things are about to happen: the Oakland Athletics will drop their Opening Day game (can the team extend its already impressive nine-season losing streak to an unprecedented tenth, setting a new Major League record?), and the Asian American Film Festival (officially known as CAAMFest 2014) is about to put in its annual appearance at Pacific Film Archive.
This year’s Berkeley component of the Festival kicks off at 7:00 p.m. on Friday, March 14 with Farah Goes Bang, a comedy about a young campaign volunteer desperately trying to lose her virginity while working tirelessly to get John Kerry elected President in 2004. Nikohl Boosheri stars as the title character, an Iranian-American lass spending her days criss-crossing the battleground state of Ohio in search of votes and love. Despite its less than promising premise – is there anything or anyone less exciting than John Kerry? – the film won the Nora Ephron Prize at last year’s Tribeca Film Festival. … Continue reading »
We know it as neo-realism, but in India it was called Parallel Cinema – a movement to provide an alternative to the musicals and romantic comedies that have long been the staple of the Indian film industry. Parallel Cinema’s leading light (and the sub-continent’s most famous filmmaker) was Satyajit Ray, an artist belatedly recognized by the Academy of Motion Picture Arts and Sciences with an honorary Oscar only weeks before his death in 1992.
Trained in the fine arts, Ray began his journey into film-making in London, where a viewing of Vittorio de Sica’s Ladri di biciclette (The Bicycle Thief) inspired him to pick up a camera and make his first film, 1955’s award-winning Pather Panchali. De Sica’s hugely influential neo-realist classic helps kick off Pacific Film Archive’s series ‘The Brilliance of Satyajit Ray’ at 7:00 p.m. on Thursday, Jan. 23. The extensive retrospective continues through August. … Continue reading »
Throughout his remarkably prolific but all too brief career, German auteur Rainer Werner Fassbinder directed numerous films focused on strong female characters. Features such as The Bitter Tears of Petra von Kant, The Marriage of Maria Braun, Veronika Voss, and Lola displayed Fassbinder’s strong affinity for stories about women, so it comes as no surprise to learn the filmmaker was a big fan of two femme-themed nouvelle vague classics screening at Pacific Film Archive on Friday, Nov. 22 as part of the series Fassbinder’s Favorites.
First up at 7:00 p.m. is Jean-Luc Godard’s 1962 drama Vivre sa vie: Film en douze tableaux (My Life to Live: A Film in Twelve Scenes). Anchored by a mournful (if sparsely applied) Michel Legrand score, the film stars Anna Karina (then married to Godard; the couple would divorce in 1967) as Nana, a stylish young mademoiselle forced, by economic necessity, to take up the world’s oldest profession. … Continue reading »
Which big screen version of Jack Finney’s classic novel ‘Invasion of the Body Snatchers’ is your favorite – the original 1956 black and white adaptation, 1978’s full color remake, or Abel Ferrara’s 1993 iteration? You’re probably expecting me to say that the first-out-of-the-gate Don Siegel-helmed feature is the best, and I won’t lie – it’s definitely close to the top of my list of fave sci-fi films.
Ever eager to confound expectations, however, I must admit to enjoying all three – and I have a special fondness for the San Francisco-set ’78 version, screening outdoors on the Crescent Lawn at Oxford Street (between Center and Addison) at 7:30 pm on Friday, Sept. 27 as part the Endless Summer Cinema program that being hosted by Berkeley Art Museum/Pacific Film Archive and the Downtown Berkeley Association. Admission is free.
Directed by Philip Kaufman (The Wanderers, The Right Stuff) and written by W. D. Richter (Brubaker), 1978’s Body Snatchers naturally reflects the times in which it was made. Whereas Siegel’s original (adapted for the screen by Oakland-born Daniel Mainwaring!) focused on timely ‘50s issues such as small-town social conformity and Red Scare paranoia (or, one might argue, clear-eyed realism), Kaufman’s is more interested in the changing nature of personal relationships in the wake of the sexual revolution. … Continue reading »