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.
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?
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.
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.
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.
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.
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.
I’ve never been much for bicycles, and now I know why: according to cycling legend Jonathan (Jock) Boyer, it’s an activity predicated upon suffering – an opinion borne out by personal experience, as I invariably topple off any bike I attempt to ride. Boyer, the first American to compete in the Tour de France, no doubt knows from suffering, and is central to the story told by Rising from Ashes, an uplifting documentary about the redemptive power of pedaling opening at Rialto’s Elmwood on Friday, September 13th.
We’ve reached the telephonic point of no return: according to data collected by CTIA – the industry lobbying group supporting the wireless industry – there’s now more than one active cell phone for every man, woman and child in the United States. Unless (like me) you don’t own or carry a mobile, there’s simply no hiding from your annoying relatives or that disappointing political candidate to whom you donated $10 during the 2008 election cycle.
Quick — name an Akira Kurosawa film. Chances are one of the great director’s samurai epics will pop into your head, but Kurosawa was no one-trick pony. His kidnapping caper “High and Low” remains one of my all time favorites, and the crime drama “Stray Dog (Nora Inu),” screening at the Pacific Film Archive at 8:30 p.m. on Saturday, July 13 as part of the series “Dark Nights: Simenon and the Cinema” is, despite considerably less in the way of polish, almost as good.
Apparently, there’s something about Le Havre. In 2011, I reviewed Aki Kaurismaki’s Le Havre, a quirky and colorful drama set in the aforementioned French port city, and last year I wrote about Jean Renoir’s La Bête Humaine, a tragedy in which murder is committed on a train bound for the very same burg.
Thomas Hobbes famously described man’s lot in life as “solitary, poor, nasty, brutish, and short.” That seems like an apt way to describe Frantisek Vlácil’s Marketa Lazarová, a Czech historical epic screening at 12:30 p.m. on Sunday, April 28 at Pacific Film Archive as part of the 56th San Francisco International Film Festival – though I’d be inclined to add a few adjectives of my own, including ‘cold’, ‘dark’, and ‘claustrophobic.’
Though auteur theory was still little more than a glimmer in François Truffaut’s eye, the American public was quite familiar with Alfred Hitchcock by 1956. Perhaps the most recognizable filmmaker since Chaplin, Hitch was a weekly presence in homes from coast to coast via his CBS series Alfred Hitchcock Presents, while theatergoers had made his color remake of The Man Who Knew Too Much a huge commercial success. His career still in the ascendancy, Hitch could choose any project he desired – which perhaps explains why his next project was one of the least Hitchcockian films of them all.
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