Aug 2016 - Bryn Mawr Film Institute

Transcription

BRYN MAWR FILM INSTITUTE
ISSUE 46
PROJECTIONS
E.T. THE EXTRA-TERRESTRIAL
CLOSE ENCOUNTERS OF THE THIRD KIND
Film and Program Schedule
June 2016 — August 2016
BrynMawrFilm.org 610.527.9898
NEW RELEASES
Refer to BrynMawrFilm.org for definitive scheduling.
Photo Credit: Jauhien Sasnou
Film and Program Schedule June 2016 – August 2016
Bryn Mawr Film Institute is a membershipbased, non-profit 501(c)(3) center for film
exhibition and education. Contributions are
tax-deductible to the full extent of the law.
Ticket Prices
Visit BrynMawrFilm.org for ticket prices and
event information.
For group ticket sales (20 or more tickets),
visit the Box Office.
Become a Member
While you do not have to be a member to
enjoy films and classes, membership in the
non-profit Bryn Mawr Film Institute is the
best way to show your support for good
films and a cultural landmark. See the back
cover for membership information.
Theater Rentals
The theater auditoriums, Multimedia Room,
and Community Room are available for
rental and can accommodate a variety of
media formats. Detailed information is
available at BrynMawrFilm.org.
To rent these spaces, please contact
Valerie Temple at 610.527.4008 x109 or
VTemple@BrynMawrFilm.org.
Published quarterly by
Bryn Mawr Film Institute
824 West Lancaster Avenue
Bryn Mawr, PA 19010-3228 Issue 46
Template: HeleneKrasney.com
Layout: Heather Rosenfeldt
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Become a Community Partner
BMFI works with Community Partners to
create programs that use film to enhance
the educational and cultural offerings of
each group. Community Partner benefits
are structured to fit each organization’s
goals and include rent-free use of BMFI
theater spaces and meeting rooms,
promotional opportunities, teacher
education, curriculum consultation,
on-site lectures and in-theater field trips,
special screenings, film series,
and specialized events.
Onscreen and Print Sponsorships
Receive recognition for your organization
while supporting BMFI. Contact Gina
Izzo at GIzzo@BrynMawrFilm.org or
610.527.4008 x110 or visit our website at
BrynMawrFilm.org for details.
To learn how your institution, faith
community, or your child's school can
become a Community Partner, please
contact BMFI Director of Education
Andrew J. Douglas, Ph.D., at 610.527.4008
x 102 or ADouglas@BrynMawrFilm.org.
Three- and twelve-hour meters are
available in nearby municipal lots.
Two-hour metered parking is available
along Lancaster Avenue.
Current Community Partners
Academy of Notre Dame de Namur
The Agnes Irwin School
The Baldwin School
Bryn Mawr College
Cabrini College
Haverford College
The Hill at Whitemarsh
The Quadrangle
The Shipley School
Bryn Mawr Film Institute
824 W. Lancaster Avenue
Bryn Mawr, Pennsylvania 19010-3228
Theater Hotline: 610-527-9898
Business Office: 610-527-4008
BrynMawrFilm.org
Info@BrynMawrFilm.org
This section lists some of the newly released films that BMFI hopes to screen.
Our goal is to play all of these films, though we can’t guarantee it. Film start
dates will be listed on BrynMawrFilm.org as soon as they become available.
WEINER
GENIUS
DIARY OF A CHAMBERMAID
USA – 1 hr 36 min – d. Josh Kriegman
and Elyse Steinberg
UK/USA – 1 hr 44 min – d. Michael Grandage
France – 1 hr 36 min – d. Benoît Jacquot
Colin Firth stars as Max Perkins,
the legendary Scribner editor who
launched the careers of Ernest
Hemingway, F. Scott Fitzgerald, and
his most challenging auteur, Thomas
Wolfe (Jude Law).
Octave Mirbeau’s racy 1900 novel is
retold by Benoît Jacquot (Farewell,
My Queen), starring Léa Seydoux as
the cheeky Célestine, a young servant
who tends the home of an eccentric
bourgeois couple.
HUNT FOR THE
WILDERPEOPLE
LIFE, ANIMATED
Awarded Best Documentary at the
2016 Sundance Film Festival, this
chronicle of New York Congressman
Anthony Weiner’s downfall is
codirected by the disgraced
politician’s former chief of staff.
Parking at Bryn Mawr Film Institute
Limited visitor parking is available behind
the theater. These spots are designated
with yellow signs. Please see our detailed
parking map on p. 20
THE MUSIC OF STRANGERS
Monday–Friday before 5:00 pm
USA – 1 hr 36 min – d. Morgan Neville
Monday–Friday after 5:00 pm and Weekends
Free parking is available directly behind
the theater and in Bryn Mawr Trust lots
adjacent to BMFI, along S. Bryn Mawr
Avenue, (except for Diesinger & Dolan spots)
and on the other side of Lancaster Avenue.
Three- and twelve-hour meters are
available in the municipal lots (free after
6:00 pm and all day Sunday). Two-hour
metered parking is available along
Lancaster Avenue (free after 6:00 pm and
all day Sunday).
Bryn Mawr Film Institute receives state arts
funding support through a grant from the
Pennsylvania Council on the Arts, a state
agency funded by the Commonwealth of
Pennsylvania and the National Endowment
for the Arts, a federal agency. Official
registration and financial information for
Bryn Mawr Film Institute may be obtained
from the Pennsylvania Department of State
by calling toll-free, within Pennsylvania,
1-800-732-0999. Registration does not
imply endorsement.
Morgan Neville (20 Feet from
Stardom) documents Yo-Yo Ma and
the artists of the Silk Road Project, a
collective of international musicians
cultivating worldwide change through
the power of music.
New Zealand – 1 hr 33 min – d. Taika Waititi
A defiant urban youth (Julian
Dennison) and his bearish foster
uncle (Sam Neill) spark a national
manhunt when they lam to the New
Zealand brush in this wry romp from
Taika Waititi (Eagle vs Shark).
USA – 1 hr 29 min – d. Roger Ross Williams
Pulitzer Prize-winner Ron Suskind
and his autistic son, Owen, break
through communication barriers
using Owen’s savant-like literacy
of Disney films in this captivating
coming-of-age documentary.
CAPTAIN FANTASTIC
THE FOUNDER
MAGGIE’S PLAN
USA – 1 hr 58 min – d. Matt Ross
USA – d. John Lee Hancock
USA – 1 hr 32 min – d. Rebecca Miller
Following his wife’s untimely death,
Ben (Viggo Mortensen) must usher
his six children into modern society
after years of living in an isolationist’s
paradise in the Pacific Northwest
wilderness.
Michael Keaton stars as Ray Kroc,
the ambitious milkshake machine
salesman who gained control of a
small, family-owned chain of burger
joints and flipped them into the global
empire of McDonald’s.
Maggie (Greta Gerwig) reweighs
her single-motherhood plans when
she falls for a married man (Ethan
Hawke) in this romantic comedy
costarring Julianne Moore, Bill
Hader, and Maya Rudolph.
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Watch trailers for and find more information about these films at BrynMawrFilm.org.
Regular admission applies unless otherwise indicated.
FILM SERIES
Cinema of Dreams:
The Films of Steven
Spielberg
Shown in conjunction with the film course Cinema of Dreams: The Films of Steven Spielberg,
Pt. 1, (p.18), each screening will be introduced by the course’s instructor, Andrew M. Karasik.
Early Kubrick
Shown in conjunction with the film course Early Kubrick (p.18), each screening will be
introduced by the course’s instructor, Maurizio Giammarco, Ph.D.
Tuesday, June 14, 7:15 pm
THE KILLING
1956 – USA – 1 hr 25 min – d. Stanley Kubrick
Wednesday, June 1, 7:15 pm
JAWS
Sterling Hayden stars as a veteran crook planning one last heist in this hardboiled film noir
adapted by Kubrick and Jim Thompson and based on the novel Clean Break by Lionel White.
With only his second feature length effort, Kubrick already shows a mastery of the form with
the intricately executed depiction of a daring racetrack robbery gone wrong, rendered in
exquisite black and white photography from cinematographer Lucien Ballard.
1975 – USA – 2 hr 4 min – d. Steven Spielberg
“You're gonna need a bigger boat.” When a man-eating shark terrorizes the beach town
of Amity Island, its police chief (Roy Scheider), an oceanographer (Richard Dreyfuss), and
a grizzled fisherman (Robert Shaw) join forces to hunt the beast. Considered the first
blockbuster, this summer thriller was adapted by Peter Benchley (with Carl Gottlieb) from his
novel and features an iconic, Oscar-winning score by John Williams.
PATHS OF GLORY
1957 – USA – 1 hr 28 min – d. Stanley Kubrick
“The paths of glory lead but to the grave” for three World War I French soldiers who are
sentenced to death after their platoon refuses to complete a suicide mission. Based on the
novel by Humphrey Cobb, this powerful anti-war statement from director Stanley Kubrick stars
Kirk Douglas as an officer who fights to save the ill-fated servicemen.
After experiencing a close encounter with a UFO while investigating a series of large-scale
power outages, Indiana electrical lineman Roy Neary (Richard Dreyfuss) becomes obsessed
with what he saw, much to the frustration of his baffled family. Finding themselves mysteriously
drawn to Devil’s Tower in Wyoming, Neary and other survivors of the phenomena set off to find
the truth in this otherworldly masterpiece from Steven Spielberg.
LOLITA
1962 – UK/USA – 2 hr 32 min – d. Stanley Kubrick
RAIDERS OF THE LOST ARK
“How did they ever make a movie of Lolita?” queried the poster for Stanley Kubrick’s
adaptation of the controversial novel by Vladimir Nabokov about Humbert Humbert
(James Mason), a middle-aged college professor, and his unhealthy infatuation with a
fourteen-year-old “nymphet” (Sue Lyon). Shelley Winters co-stars as the doomed mother
of the flirtatious girl, who doggedly pursues Humbert without knowing the truth behind his
wayward attentions.
If adventure has a name, it must be Indiana Jones. Everyone’s favorite archaeologist fights
Nazis, shoots swordsmen, dodges boulders, and evades very deadly asps in his unrelenting
quest to find the Ark of the Covenant and prevent it from becoming Hitler’s personal plaything.
Harrison Ford stars, George Lucas plots, John Williams scores, and the audience cheers with
this first installment of the decades-spanning Indiana Jones franchise.
HAPPEN I N G S @ B M FI
To see more photos from our special events, visit our
Facebook page at facebook.com/brynmawrfilm or follow
us on Instagram @brynmawrfilminstitute.
LEFT:
Feline Fans flocked to
BMFI on April 20 to
watch cat videos galore
and play with giant cat
toys for the Internet
Cat Video Festival!
Thanks to vendors
POLYDACTYL CATS,
MAIN POINT BOOKS,
APOLLO PEAK CAT
WINE, WXYZ JEWELRY,
PHILLY PET PAGES and
MAIN LINE ANIMAL
RESCUE for helping us
have a purr-fect evening!
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Photo: Jon Seidman
Photo: LaPerria Harvin
From a screenplay by Melissa Mathison, Steven Spielberg evokes a childlike sense of wonder
in this timeless tale of friendship about a young Elliott (Henry Thomas) who, upon discovering
a friendly alien who has been stranded on earth, summons the courage to aid the extraterrestrial in returning to his world before it’s too late. A blockbuster from the outset, this
cherished sci-fi classic was selected in 1994 for preservation in the United States National Film
Registry as being “culturally, historically, or aesthetically significant.”
Photo: LaPerria Harvin
RIGHT:
From L to R: JOHN
TIMPANE of The
Philadelphia Inquirer,
BMFI president JULIET
J. GOODFRIEND, and
film critic A.O. SCOTT at
An Evening with A.O.
Scott on April 13.
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FILM SERIES
90 Years of Films
in Bryn Mawr
Variously known as the Seville Theater, the Bryn Mawr Theater, and Bryn Mawr Film Institute, the
building located at 824 West Lancaster Avenue has been home to film in Bryn Mawr for 90 years.
BMFI celebrates this rich cinematic history with the beginning of a nine-month long series that will
feature films from the theater’s past, one screening a month for every decade of its existence.
Tuesday, July 5, 7:15 pm
A STREETCAR NAMED DESIRE
BMFI board member and former Paramount Pictures Executive Vice President John Hersker
digs into the storied past of BMFI’s historic building with this illustrated lecture that details the
transformation of the property from The Seville Theater in 1926 to the years as the Bryn Mawr
Theater, and into its current form as Bryn Mawr Film Institute. With special attention given
to the era in the 1960s and 70s where the theater transitioned from showing run-of-the-mill
Hollywood films to BMFI’s now-standard arthouse fare, Hersker—who once managed the Bryn
Mawr Theater—will show that even as the building changed names, the commitment to film in
Bryn Mawr is a legacy that has lasted decades.
Vivian Leigh as Blanche DuBois and Marlon Brando as Stanley Kowalski burn up the screen in
this southern tragedy based on the Pulitizer Prize-winning play by Tennessee Williams. After
encountering a series of personal losses, delicate DuBois leaves her aristocratic background
and seeks refuge in a dilapidated New Orleans tenement with her sister and brother-in-law, but
the abuse she endures pushes the former belle to her breaking point.
Thursday, June 30, 7:15 pm
FRANCO ZEFFIRELLI’S ROMEO AND JULIET
1968 – UK/Italy – 2 hr 18 min – d. Franco Zeffirelli
Director Franco Zeffirelli adapts Shakespeare’s tragic tale of star-crossed lovers with an eye
toward naturalism by casting teenagers Leonard Whiting and Olivia Hussey as Romeo and
Juliet—roles that had been traditionally reserved for adults—and succeeds in producing the
quintessential version of arguably the greatest love story of all time.
YEARS OF FILMS IN
B R Y N M AW R
When Romeo and Juliet opened at the Bryn Mawr in 1968, it went on to run for 19 consecutive
weeks at what was then a one-screen theater, creating one of the longest streaks in the
building’s entire 90 year history.
Shown in conjunction with a Cinema Classics Seminar (see p.16), Romeo and Juliet will be
introduced by the seminar’s instructor, Maurizio Giammarco, Ph. D.
Thursday, July 14, 7:15 pm
A NIGHT AT THE OPERA
1935 – USA – 1 hr 36 min – d. Sam Wood
High society takes a skewering from the Marx Brothers with this gleeful farce about pennyante promoter Otis B. Driftwood (Groucho Marx) who schemes his way through the opera
world, helping friends and humiliating snobbish enemies along the way.
90
YEARS OF FILMS IN
B R Y N M AW R
Shown in conjunction with the film course Bearing Witness: Elia Kazan and the 1950s (p.19),
each screening will be introduced by the course’s instructor, Andrew J. Douglas, Ph.D.
EVOLUTION OF AN ARTHOUSE:
A HISTORICAL LECTURE WITH JOHN HERSKER
The lecture will take place in BMFI’s Multimedia Room and will be free of charge for all attendees.
90
Bearing Witness: Elia
Kazan and the 1950s
In the 1960s and 70s, the Bryn Mawr Theater’s regular programming often included revivals
of classic films screened as main features, and Marx Brothers films were wildly popular
selections—decades after the films first hit theaters.
Shown in conjunction with a Cinema Classics Seminar (see p.16), A Night at the Opera will be
introduced by the seminar’s instructor, Christopher Long, M.A.
1951 – USA – 2 hr 2 min – d. Elia Kazan
ON THE WATERFRONT
Marlon Brando gives one of his best performances as Terry Malloy, an accidental witness to a
brutal murder ordered by a corrupt union boss. Released in a blacklist-plagued Hollywood and
notable for the questions it raised about the ethics of naming names, this cinematic masterpiece from legendary director Elia Kazan won eight statues at the 1955 Academy Awards,
including Best Picture.
BABY DOLL
In the crumbling shell of a Mississippi mansion, frustrated cotton gin owner Archie Lee (Karl
Malden) and his virginal child-bride Baby Doll (Caroll Baker, in an Academy Award-nominated
performance) are visited by rival mill owner Vacarro (Eli Wallach), a sultry Sicilian seeking vengence after the suspicious loss of his business due to fire. Condemned by the Catholic Church
upon its release, this tightly-wound and steamy cat-and-mouse drama reteams Kazan, Malden,
and writer Tennessee Williams for the first time after A Streetcar Named Desire.
A FACE IN THE CROWD
After their success with On the Waterfront, writer Budd Schulberg reteamed with director
Elia Kazan on this blistering social satire about a raucous hayseed named “Lonesome” Rhodes
who transforms from an itinerant Ozark guitar picker into an overnight media sensation. Andy
Griffith gives the performance of his career as the unlikely superstar, whose mass appeal affords him certain liberties that go against his popular good ol’ boy persona. But will he ever be
exposed for the fraud he has become?
Thursday, August 18, 7:15 pm
THE FRENCH CONNECTION
1971 – USA – 1 hr 44 min – d. William Friedkin
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As short-tempered as he is dedicated, New York City police officer Jimmy “Popeye” Doyle
(Gene Hackman) cracks heads and takes names while trying to intercept a huge shipment of
heroin enroute from France. Directed by William Friedkin, this gritty drama features one of the
most gripping and memorable car chase sequences ever filmed.
YEARS OF FILMS IN
B R Y N M AW R
For one week in September 1972, The French Connection played at the Bryn Mawr and shared
a double bill with another Oscar winner: Robert Altman’s MASH.
Shown in conjunction with a Cinema Classics Seminar (see p.17), The French Connection will
be introduced by the seminar’s instructor, Paul Wright, Ph. D.
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FILM SERIES
Spotlight on
Ingrid Bergman
On the heels of the release of Ingrid Bergman – In Her Own Words, a documentary about the life
of the celebrated actress, BMFI screens four of the best films from Bergman’s captivating career.
Star Man: Remembering
David Bowie
Ziggy Stardust, Major Tom, the Thin White Duke. Born Davy Jones in Brixton in 1947, David Bowie played
characters throughout his life, and only some of them were in movies. BMFI remembers the multitalented
musician and artist with two iconic performances from the unforgettable icon.
Wednesday, August 10, 7:15 pm
GASLIGHT
THE MAN WHO FELL TO EARTH
1944 – USA – 1 hr 54 min – d. George Cukor
1976 – UK – 2 hr 19 min – d. Nicolas Roeg
Now in the popular idiom, the term “gaslight” was coined by this masterful psychological
thriller about a haunted woman (Ingrid Bergman) whose husband slowly manipulates her into
believing that she is going insane. Bergman earned her first Oscar for her affecting turn in
this George Cukor-directed film costarring Charles Boyer, Joseph Cotten, and an 18-year-old
Angela Lansbury in her screen debut.
In his feature film debut, David Bowie stars as an enigmatic, orange-haired humanoid alien who
travels to Earth in search of water to save his drought-stricken planet. Concealing his identity,
the companionless alien builds a huge corporate empire, but his amassed wealth does little
to alleviate his tremendous loneliness. This ambitious, visually stunning work from director
Nicolas Roeg (Performance, Don’t Look Now) co-stars Candy Clark, Buck Henry, and Rip Torn.
Shown in conjunction with a Cinema Classics Seminar (see p.16), Gaslight will be introduced
by the seminar’s instructor, Lisa DeNight.
Shown in conjunction with a Cinema Classics Seminar (see p.17), The Man Who Fell to Earth
will be introduced by the seminar’s instructor, Christopher Long, M.A.
MURDER ON THE ORIENT EXPRESS
LABYRINTH
1974 – UK – 2 hr 8 min – d. Sidney Lumet
With Albert Finney taking on the role (and mustache!) of Belgian sleuth Hercule Poirot,
Sidney Lumet adapts Agatha Christie’s twist-filled murder mystery with an all-star cast of
suspects, including Lauren Bacall, Sean Connery, John Gielgud, Vanessa Redgrave, and
Anthony Perkins.
Ingrid Bergman won an Oscar for Best Actress in a Supporting Role for her portrayal of
Greta Ohlsson, a Swedish missionary traveling to Europe on a fundraising trip who may have
a motive for murder.
1986 – USA/UK – 1 hr 40 min – d. Jim Henson
When Sarah (a young Jennifer Connelly) accidentally invokes the Goblin King to steal her baby
brother, she must battle her way through his labyrinthine kingdom to rescue young Toby. In this
fantastical musical adventure, a crystal-ball-juggling, mullet-sporting, black-leather-clad David
Bowie embodies the Goblin King, while the rest of the gruesome characters are played by
puppets produced by the legendary Jim Henson Creature Shop.
Shown in conjunction with a Cinema Classics Seminar (see p. 17), Murder on the Orient
Express will be introduced by the seminar’s instructor, Gary M. Kramer.
CACTUS FLOWER
1969 – USA – 1 hr 43 min – d. Gene Saks
Commitment-phobic bachelor dentist Dr. Julian Winston (Walter Matthau) pretends to be
married to avoid getting involved, but finds himself in a prickly situation when he finally wants
to take the plunge with his bubbly, young girlfriend (Goldie Hawn) and he has to dig up a
wife to divorce! When he convinces his lovelorn nurse (Ingrid Bergman) to step into his wife’s
imaginary shoes, laughs blossom in this cheeky comedy adapted by I. A. L. Diamond from the
blockbuster stage play by Abe Burrows.
CASABLANCA
1942 – USA – 1 hr 42 min – d. Michael Curtiz
Nightclub owner Rick (Humphrey Bogart) must battle his cynicism and choose between love
and WWII politics when a long-lost sweetheart walks into his gin joint, husband in tow. Snappy
dialogue, one memorable scene after another, and the iconic ending make this a true classic.
Shown in conjunction with a Cinema Classics Seminar (see p. 17), Casablanca will be
introduced by the seminar’s instructor, Andrew M. Karasik.
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CINEMA SELECT
Watch trailers for and find more information about these films at BrynMawrFilm.org.
Sunday, June 5, 11:00 am
LOONEY TUNES SHORTS
CARTOON EXTRAVAGANZA WITH LOU DICRESCENZO
In between searching for unique finds at Bryn Mawr’s Clover Market, stop in for some
animated fun with Bugs, Daffy, and the whole Looney Tunes gang! This two-hour open house
program of classic cartoons is free for all.
Film historian and preservationist Lou DiCrescenzo returns to BMFI for another night of
animated fun as he screens eleven classic shorts from his enormous collection of 35mm original
process Technicolor prints. Laugh it up with Popeye, Elmer Fudd, Tweety Bird, Mr. Magoo, and
other cartoon kooks as they show off their best stuff, on the big screen!
Founded in 2010, the Clover Market is a seasonal open-air market featuring over 100 vendors
with antiques and collectibles, vintage jewelry and clothing, finely crafted handmade items, and
original art. After June’s event, the Clover Market returns to Bryn Mawr for monthly sessions in
the fall. For more information, please visit www.theclovermarket.com.
STEVEN REA: HOLLYWOOD CAFÉ
Bob Hope and Lana Turner in
Bachelor in Paradise.
The Philadelphia Inquirer film critic Steven Rea comes to BMFI in support of his new book,
Hollywood Café: Coffee with the Stars, a delightful compendium of vintage photographs of
stars from classic Hollywood—including Grace Kelly, Charlie Chaplin, and Audrey Hepburn—
partaking in a universal indulgence: coffee! In the theater, Rea will discuss Hollywood’s coffee
addiction with a series of film clips, movie stills, and candid shots, all featuring these stars
savoring cups of joe. Rea will also sign books before and after the presentation, and patrons
will enjoy delicious java from Hothouse Coffee.
The Cat Concerto (1946)
Lou DiCrescenzo has been collecting original films and projection equipment for over 40
years. Through Lou’s efforts and generosity, many rare and formerly lost films have been saved
and donated to the Library of Congress, where they have been copied and now are available
for viewing and study. Lou has also donated or lent silent-era projection equipment to the
Museum of the Moving Image in Astoria, New York and the Universal Orlando theme park in
Florida. Films from Lou’s extensive collection have been presented at numerous festivals in the
US, such as the Benzwood Silent Festival, and the Festival of Dance in London, where Lou was
also an honored guest and lecturer.
PROGRAM OF SHORTS:
“No Barking”
“The Wild Chase”
“Mickey’s Birthday Party”
“The Goofy Gophers”
“Phoney Baloney”
“Glee Worms”
“Taxi-Turvey”
“Magoo’s Homecoming”
“The Brave Engineer”
“Rabbit Romeo”
“The Cat Concerto”
“A Hound for Trouble”
“Back Alley Oproar”
EVERYBODY SING! THE KING AND I
1956 – USA – 2 hr 13 min – d. Walter Lang
Dance your way over to BMFI’s screening of the Rodgers and Hammerstein classic, featuring
unforgettable numbers such as “Getting to Know You” and “Shall We Dance.” See this beloved
movie musical—starring Yul Brynner as the King of Siam and Deborah Kerr as his children’s
feisty teacher—on the big screen and have interactive fun with emcee Kathy O’ Connell, host
of WXPN’s Kids Corner.
SECRET CINEMA: OLD FILMS ABOUT OLD FILMS ABOUT…
Since 1992, the Secret Cinema has been the Philadelphia area's premiere floating repertory
cinema series, bringing hundreds of unique programs to nightclubs, bars, coffee houses,
museums, open fields, colleges, art galleries, bookstores, and sometimes even theaters and
film festivals. Drawing on its own large private film archive, as well as other collections, the
Secret Cinema attempts to explore the uncharted territory and the genres that fall between
the cracks, with programs devoted to educational and industrial films, cult and exploitation
features, cartoons, rare television, local history, home movies, erotic films, politically incorrect
material, and the odd Hollywood classic, as long as it exists on real celluloid–Secret Cinema
screenings never use video/digital projection.
Secret Cinema makes its first appearance at BMFI with this unique program of rare short
subjects on the theme of filmmaking and film history. Providing several self-reflexive glimpses
of film history, made when its story was only partially written, the shorts range from a
comprehensive tour of a silent film studio to a promotional film for home movie cameras, all
shown using 16mm!
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AIRPLANE!
1980 – USA – 1 hr 28 min – d. Jim Abrahams and David Zucker
A former pilot with a fear of flying is the only hope to land a jumbo jet that is forced into chaos
when a bout of food poisoning debilitates its crew. Leslie Nielsen’s deadpan delivery brings big
laughs in this uproarious parody of the Airport franchise and other ‘70s disaster flicks.
With price of admission, patrons will be served one mixed drink by BMFI stewardesses. Surely,
you won’t want to miss this high-flying event, but don’t call me Shirley!
$15 for general admission, $12 for BMFI members
Thursday, September 1, 7:00 pm
LAWRENCE OF ARABIA
1962 – UK – 3 hr 38 min – d. David Lean
In this stunning film, Peter O’Toole plays the unconventional war hero, T.E. Lawrence, who
rallied the Arabian desert tribes against the Turks during WWI. The film’s remarkable
cinematography continues to be a landmark in filmmaking, and can only be fully appreciated
on the big screen. BMFI closes out the summer season with an annual screening of this epic
masterpiece co-starring Alec Guinness.
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Not all of our events are listed here.
Visit BrynMawrFilm.org for information about last-minute additions and changes.
MASTER PROGRAM SCHEDULE
June:
1
28 Tuesday, 7:15 pm
Wednesday, 6:30 pm
LOLITA
Cinema of Dreams: The Films of Steven Spielberg course begins
30
Wednesday, 7:15 pm
Thursday, 6:30 pm
Cinema Classics Seminar: FRANCO ZEFFIRELLI’S ROMEO AND JULIET
JAWS
2
5
Thursday, 7:00 pm
Evolution of an Arthouse: A Historical Lecture with John Hersker
Sunday, 11:00 am
LOONEY TUNES SHORTS
Sunday, 1:00 pm
Opera: TURANDOT
6
Monday, 9:15 pm
7
Open Screen Monday
Tuesday, 6:30 pm
Early Kubrick course begins
8
Wednesday, 7:15 pm
9
Thursday, 7:00 pm
Steven Rea: Hollywood Café
12
Sunday, 1:00 pm
3
Sunday, 1:00 pm
Art & Architecture: PAINTING THE MODERN GARDEN: FROM MONET TO MATISSE
5
Tuesday, 6:30 pm
Bearing Witness: Elia Kazan and the 1950s course begins
Tuesday, 7:15 pm
A STREETCAR NAMED DESIRE
7
Thursday, 7:00 pm
Everybody Sing! THE KING AND I
10
Sunday, 1:00 pm
Opera: JONAS KAUFMANN:
AN EVENING WITH PUCCINI
Tuesday, 7:15 pm
14
Thursday, 6:30 pm
Monday, 9:15 pm
Cinema Classics Seminar:
Thursday, 7:15 pm
22 Wednesday, 7:15 pm
17
Sunday, 1:00 pm
26
12
Sunday, 1:00 pm
Lincoln Center – Great American
Dance Series: ALVIN AILEY
AMERICAN DANCE THEATER
MIXED PROGRAM
Tuesday, 7:15 pm
31
A FACE IN THE CROWD
1
Lincoln Center – Great American Dance Series: ROMEO AND JULIET – SAN FRANCISCO BALLET
18
Thursday, 6:30 pm
Cinema Classics Seminar: THE FRENCH CONNECTION
21
Sunday, 1:00 pm
Sunday, 1:00 pm
Art & Architecture: TEATRO ALLA SCALA: THE TEMPLE OF WONDERS
Monday, 9:15 pm
Thursday, 7:00 pm
Theater: ROMEO AND JULIET
Sunday, 1:00 pm
Theater: ROMEO AND JULIET
10
Wednesday, 6:30 pm
GASLIGHT
Wednesday, 7:15 pm
GASLIGHT
Thursday, 6:30 pm
Thursday, 7:15 pm
14
Sunday, 1:00 pm
Wednesday, 7:15 pm
Cartoon Extravaganza
Wednesday, 7:00 pm
Thursday, 7:00 pm
AIRPLANE!
11
Thursday, 7:15 pm
3
7
THE FRENCH CONNECTION
Open Screen Monday
Wednesday, 6:30 pm
4
17
August:
Opera: WERTHER
ON THE WATERFRONT
PATHS OF GLORY
Sunday, 1:00 pm
12
Tuesday, 7:15 pm
24
28
July:
Tuesday, 7:15 pm
21
Secret Cinema
26
14
RAIDERS OF THE LOST ARK
Thursday, 7:00 pm
FRANCO ZEFFIRELLI’S
ROMEO AND JULIET
Open Screen Monday
21
Wednesday, 7:15 pm
BABY DOLL
11
15
Thursday, 7:15 pm
Art & Architecture: RENOIR – REVERED AND REVILED
THE KILLING
Tuesday, 7:15 pm
19
Lincoln Center – Great American Dance Series: BALLET HISPANICO – CARMEN MAQUIA: CLUB HAVANA
24
Wednesday, 7:15 pm
CACTUS FLOWER
25
Thursday, 7:15 pm
28
Sunday, 1:00 pm
LABYRINTH
Art & Architecture: ST. PETER’S AND THE PAPAL BASILICAS
31
Wednesday, 6:30 pm
Wednesday, 7:15 pm
Cinema Classics Seminar: CASABLANCA
CASABLANCA
Ongoing Programs
Going Gaga
Every Wednesday, the early matinee screening
is intended for moms (and dads too!) with small
babies in tow. These Going Gaga screenings
feature one of the films that we are currently
showing in the evenings, but theater lighting and
volume are slightly altered to provide parents
with a more baby-friendly environment.
Open Screen Mondays
FREE EVENT
Bryn Mawr Film Institute invites area filmmakers
to screen their films at our theater. Just bring your
film in DVD format, and we’ll run it on the BIG
SCREEN! Admission, as well as praise (or criticism)
from your peers, will be offered FREE of charge.
Submissions are limited to 10 minutes in length.
First Monday of every month,
9:15 pm to 11:00 pm
Birthday Parties
In association with the Saturday Kids Matinee
series, Bryn Mawr Film Institute offers birthday
party packages (starting at $300) for children
aged 2-12. The rental includes tickets to the kid’s
matinee, free popcorn and use of the Multimedia
Room or Community Room after the film. Email
ZConnor@BrynMawrFilm.org to inquire about
date availability.
September:
1
Thursday, 7:00 pm
LAWRENCE OF ARABIA
19
Monday, noon
Film History Discussion Series: 1945-Present course begins
24Saturday
Art House Theater Day
Film Discussions
FREE EVENT
BMFI staff or volunteers regularly lead informal
discussions of one of the main attraction films
currently being screened. The group meets for an
hour after selected screenings. No pre-registration
is required, and the film to be discussed is noted
on BMFI's website several days before the
discussion. Free with your ticket stub from the film!
Check BrynMawrFilm.org for specific times.
Opera: REQUIEM
13
TURANDOT
Music by Giacomo Puccini – Directed by Marco Arturo Marelli – Conducted by Paolo Carignani
Performed at the Bregenzer Festspiele – Starring Mlada Khudoley, Riccardo Massi, Guanqun Yu,
Manuel von Senden, Michael Ryssov, Andrè Schuen – 2 hr 3 min
Sunday, June 5, 1:00 pm
JONAS KAUFMANN: AN EVENING WITH PUCCINI
OPERA
Music by Giacomo Puccini – Directed by Brian Large – Conducted by Jochen Rieder – Performed at Teatro
Alla Scala di Milano – Starring Jonas Kaufmann – 2 hr 9 min
Sunday, July 10, 1:00 pm
WERTHER
Jonas Kaufmann: An Evening with Puccini
Music by Jules Massenet – Directed by Benoît Jacquot – Conducted by Antonio Pappano – Performed at
the Royal Opera House in London – Starring Vittorio Grigolo, Joyce DiDonato – 3 hrs
A proud sponsor
of BMFI’s operas
REQUIEM
General Public.......... $20.00
BMFI Members.......... $18.00
Students with ID........$10.00
RENOIR: REVERED AND REVILED
ART & ARCHITECTURE
STAGE ON SCREEN
Tickets available now at the
Box Office and BrynMawrFilm.org
Painting the Modern Garden: Monet
to Matisse. The Artist’s Garden in
Argenteuil (A Corner of the Garden with
Dahlias), 1873. Oil on canvas 24 × 32 1/2
in 61 × 82.5 cm. National Gallery of Art,
Washington D.C
Directed by Phil Grabsky - 1 hr 27 min
Dr. Martha Lucy, Author of Renoir in the Barnes Foundation, Deputy Director for Education
and Public Programs, and Curator for the Barnes Foundation, will introduce the screening.
Pierre-Auguste Renoir is known and loved for his impressionist paintings of Paris. Renoir,
however, grew tired of this style and changed course. This stunning film – based on the
remarkable collection of 181 Renoirs at the Barnes Foundation in Philadelphia – examines the
direction he then took and why it provokes such extreme reactions right up to today.
PAINTING THE MODERN GARDEN: MONET TO MATISSE
Directed by David Bickerstaff - 1 hr 32 min
From the exhibition walls to the wonder and beauty of artists’ gardens like Giverny and
Seebüll, this film takes a magical and widely travelled journey to discover how different
contemporaries of Monet built and cultivated modern gardens to explore expressive motifs,
abstract color, decorative design and utopian ideas.
TEATRO ALLA SCALA: THE TEMPLE OF WONDERS
1 hr 30 min
Music by Giuseppe Verdi – Directed by Henri-Georges Clouzot – Conducted by Herbert von Karajan –
Performed at Teatro Alla Scala di Milano – Starring Luciano Pavarotti, Nicolai Ghiaurov, Leontyne Price,
Fiorenza Cossotto – 1 hr 25 min
Built between 1776 and 1778, the year of its inauguration, the Teatro alla Scala in Milan has
drawn major artists from the international music scene, turning immediately into the theatre of
reference, the one every artist aspires to, the Mecca of music, and to this day, performing at
the Scala means consecrating a career in the eyes of the world.
Featuring a very young Pavarotti and the masterful conducting of Herbert von Karajan, this
1967 concert includes some of Verdi’s most electrifying and beautiful compositions. From
the terrifying magnitude of the immediately recognizable “Dies Irae” to the radiant hope of
“Ingemisco”, the intensity of Verdi’s work is undeniable.
Sunday, August 14, 1:00 pm
SAINT PETER’S AND THE PAPAL BASILICAS OF ROME
The Papal Basilicas of Rome is a unique film that combines history, spirituality, architecture and
art. It takes its cue from the Extraordinary Jubilee proclaimed by Pope Francis, which will see
the faithful from all over the world pour into Rome in their millions, to cross the threshold of
the Papal Basilicas and obtain a plenary indulgence.
LINCOLN CENTER – GREAT AMERICAN DANCE SERIES:
ALVIN AILEY AMERICAN DANCE THEATER MIXED PROGRAM
Performed at David H. Koch Theater in New York City - 1 hr 41 min
ROMEO AND JULIET
Written by William Shakespeare – Directed by Kenneth Branagh and Rob Ashford – Performed by the
Kenneth Branagh Theatre Company at the Garrick in London – Starring Richard Madden, Lily James,
Derek Jacobi, Meera Syal
Ballet Hispanico’s Kimberly Van Woesik
and Christopher Hernandez in Club
Havana. © Paula Lobo
14
The Kenneth Branagh Theatre Company Live cinema season continues with a new vision of
Shakespeare’s heartbreaking tale of forbidden love. Branagh and his creative team present a
modern passionate version of the classic tragedy.
Choreography by Helgi Tomasson – Music by Sergei Prokofiev - Performed at the War Memorial Opera
House in San Francisco - 2 hr 17 min
A longstanding feud between Verona’s Montague and Capulet families brings about
devastating consequences for two young lovers caught in the conflict.
BALLET HISPANICO’S CARMEN.MAQUIA AND CLUB HAVANA
Performed at the Mesa Arts Center in Mesa, Arizona - 1 hr 43 min
THEATER
DANCE
SAN FRANCISCO BALLET’S ROMEO & JULIET
Kenneth Branagh co-directs with Rob Ashford, reuniting with the stars of his celebrated film
of Cinderella, Richard Madden and Lily James, as Romeo and Juliet. Also featuring Sir Derek
Jacobi as Mercutio and Meera Syal as The Nurse.
15
To register, visit BrynMawrFilm.org or call
610.527.4008 x108
To register, visit BrynMawrFilm.org
or call 610.527.4008 x108
CINEMA CLASSICS SEMINARS
Join us for one (or more)
of these stand-alone
classes built around some
of the wonderful classic
films BMFI is showing
this summer. Students
will enjoy an informative
lecture before the
screening and a guided
discussion after it. In
addition, your ticket to
see the classic on the big
screen, as well as popcorn
and a drink, are included.
Seminars begin at 6:30
pm. Fee: $25 for BMFI
members, $30 for
non-members. To register,
visit BrynMawrFilm.org or
call 610.527.4008 x108
Thursday, June 30
Thursday, July 14
Wednesday, August 10
Thursday, August 11
Thursday, August 18
FRANCO ZEFFIRELLI'S
ROMEO AND JULIET
GASLIGHT
Taught by Lisa DeNight, Discussion
Moderator, BMFI
MURDER ON THE
ORIENT EXPRESS
THE FRENCH
CONNECTION
CASABLANCA
Taught by Christopher Long, M.A.,
Film Critic and Author
THE MAN WHO FELL
TO EARTH
Taught by Christopher Long, M.A.,
Film Critic and Author
Taught by Gary M. Kramer, Film
Critic and Author
Taught by Paul Wright, Ph.D.,
Cabrini College
After Duck Soup (1933) failed to
connect with critics, the Marx
Brothers left Paramount for
MGM. Would their brand of
anarchic humor survive studio
head Irving Thalberg's plan to
anchor their zaniness with a
more traditionally structured
narrative and even a love story?
For A Night at the Opera (1935),
at least, the answer was “yes.”
Join us for a one-night seminar
on Gaslight (1944), George
Cukor's utterly unnerving
portrayal of a young wife
wrestling with childhood
trauma and assiduously led
to the precipice of insanity by
her scheming husband. Ingrid
Bergman won her first Academy
Award for her magnificent turn
in this second of two big-screen
adaptions of the 1938 play of the
same name by Patrick Hamilton
(Rope).
The most straightforward
aspect of The Man Who Fell to
Earth (1976) is that David Bowie
plays an alien. That's practically
typecasting. In virtually every
other fashion, director Nicolas
Roeg (Don’t Look Now) presents
an immensely strange, often
perplexing, and endlessly
fascinating adaptation of the
science-fiction novel by Walter
Tevis (author of The Hustler and
its sequel, The Color Of Money)
that defies easy description.
Gaslight—so indelible that it
entered the cultural lexicon as
a verb—does, in some respects,
gel with the 1940s film noir
movement, where the human
capacity for malevolence and
manipulation runs deep, and
deception seeps into intimate
sources of ostensible safety,
such as the home, the people
and things that fill it, and
the bond between spouses.
Bergman's exquisite descent
into addled paranoia by her
husband’s hand is perfectly
heightened by the film’s
incrementally stifling set
design, and highly controlled,
yet emotionally expressive,
cinematography. Come for
the rich opportunities to
mine the formal elements and
psychological layers of this
film, and stay for young Angela
Lansbury's film debut as a
deliciously cheeky Cockney
maid.
Thomas Jerome Newton
(Bowie) is a rail thin, orangehaired man on a mission, though
the exact nature of that mission
doesn't become apparent for
some time, if at all. Enlisting
the assistance (and sometimes
hindrance) of a patent attorney
(Buck Henry), a womanizing
former professor (Rip Torn), and
a hotel maid (Candy Clarke),
Newton builds a multinational
technological corporation with
designs on . . . well, no spoilers
here. Shot mostly in New
Mexico and edited in Roeg's
signature elliptical style, the
film suggests that the strangest
aliens of all are right here on
Earth, and that of all the fates
that might befall Newton, the
most tragic would be to become
all too human. After all, when
Thomas Jerome Newton fell to
Earth, he fell a long, long way.
Join us—and an all-star cast—for
a stand-alone class built around
Sidney Lumet’s 1974 adaptation
of Agatha Christie’s sparkling
whodunit, Murder on the Orient
Express. This first filmed version
of the classic Hercule Poirot
mystery has since been joined
by a 1992 radio play, a 2001
made-for-TV movie, an episode
of the television series Poirot,
and another feature film to be
released next year. What is it
that makes this cold-blooded
tale of murder aboard the title
train so appealing?
Forty-five years after its
release to critical and popular
acclaim, William Friedkin’s
Oscar-winning masterpiece,
The French Connection
(1971), remains as bracing and
influential as ever. While the
film is usually remembered
for its dangerously executed,
spectacularly kinetic car chase
under the elevated tracks of
Brooklyn, it is also a case study
in artfully sustained tension and
the slow burn of the crime film
genre at its best.
Taught by Maurizio Giammarco,
Ph.D., Temple University
Roger Ebert proclaimed that
Franco Zeffirelli's Romeo and
Juliet (1968) is the most exciting
film of Shakespeare ever made:
“Not because it is greater drama
than Laurence Olivier's Henry
V, because it is not. Nor is it
greater cinema than [Orson]
Welles' Falstaff. But it is greater
Shakespeare than either because
it has the passion, the sweat,
the violence, the poetry, the
love and the tragedy in the most
immediate terms I can imagine.”
Ebert and countless others have
felt this way because Zeffirelli's
adaptation broke new ground by
drawing upon cinematic realism
for its impact.
For example, the casting
broke with tradition and was
more faithful to the text by
having the lead roles played by
teenagers, Leonard Whiting and
Olivia Hussey. In addition, the
climactic duel between Tybalt
and Mercutio is not done in a
flamboyant, swashbuckling style,
but instead with loose fencing
amidst a crowd of hooting young
men, allowing Zeffirelli to craft
a scene that subtly progresses
toward its inevitably disastrous
conclusion.
For these reasons and more,
Zeffirelli's film establishes
a bridge between earlier
Shakespearean films, such as
Olivier's Richard III, and the more
realistic interpretations of the
Bard, such as Kenneth Branagh's
Henry V. As Ebert noted, and
audiences have echoed, “[Romeo
and Juliet] is a deeply moving
piece of entertainment, and that
is possibly what Shakespeare
would have preferred.”
16
With Zeppo leaving the act to
become an agent, the Marx
Brothers were down to three
(or four if you count their
ever-reliable “straight man,”
Margaret Dumont). Groucho,
Chico, and Harpo were still a
force sufficient to take on the
world of opera, deflating (or
knocking cold) every stuck-up
snob unfortunate enough to
cross their paths, while also
making sure two young, aspiring
singers (Kitty Carlisle and Allan
Jones, in early roles) found both
love and success along the way.
From the “Sanity Clause” to the
most crowded ship's stateroom
in maritime history, A Night at
the Opera features some of the
boys' most memorable film gags
and clicked in a big way with
Depression-era audiences eager
for a good laugh. Come spend a
night with the Marx Brothers to
find out why.
It is more than just the complex
plot of revenge and subterfuge.
Lumet’s Murder on the Orient
Express is a faithful adaptation—
deemed one of the best based
on Christie’s work—as well as
a handsomely staged period
piece, beautifully paced and
superbly acted. Albert Finney
earned an Oscar nomination
for his turn as Poirot, and Ingrid
Bergman received the Best
Supporting Actress prize for
her work as Miss Greta Ohlsson,
a Swedish missionary.
For those new to Murder on the
Orient Express, this intriguing
film will keep armchair
detectives guessing right up
to the end. For fans already
familiar with the story, we will
investigate the construction and
adaptation of the Christie novel,
as well as the various elements
that make this diabolical thriller
so evergreen.
With its cat-and-mouse
confrontation between Gene
Hackman’s obsessive narcotics
detective and Fernando Rey’s
suave European drug kingpin,
The French Connection boasts
iconic performances. As a key
artifact of American cinema’s
most recent “golden age,” the
movie also oozes 1970s-era
angst about institutions and
urban decay—preoccupations
that resonate with the disquiet
of our own troubled times, and
throw into sharp relief both a
film industry in transition and a
culture in crisis.
Taught by Andrew M. Karasik, Film
Producer, 30th Street Entertainment
Many critics have described
Casablanca (1942) as a film that
comes as close to perfection
as any in history. Attempts to
recreate that perfection—see
Sydney Pollack’s Havana
(actually, don’t)—or to
“improve” upon it (the film was
infamously colorized by Ted
Turner in the 1980s) have not
only been poorly received by
critics, but have enraged its
fans the world over. As Roger
Ebert often noted, there have
been better films made than
Casablanca, but no film is more
loved than Casablanca. Even
Pauline Kael—a contrarian film
critic if there ever was one—
acknowledged that despite
its perceived unoriginality,
Casablanca has a special
quality. “[It] is far from a great
film,” she wrote in a review,
“but it has a special appealingly
schlocky romanticism.”
Perhaps part of that “schlocky
appeal” lies in what Casablanca
does possibly better than
any other movie: It tells a
story, albeit one that is not
particularly profound or
remarkably unique. After all, as
the lyrics of “As Time Goes By”
cannily remind us, “it's the same
old story, a fight for love and
glory.” While this revisiting of
familiar narrative territory was
standard practice in Hollywood,
what director Michael Curtiz
(The Adventures of Robin Hood,
Yankee Doodle Dandy, Mildred
Pierce) did better than most
was stay out of the way of a
fast-moving story. As Umberto
Eco wrote, Casablanca “unfolds
with almost telluric force, the
power of Narrative in its natural
state, without Art intervening to
discipline it.”
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FILM COURSES
$100 members; $125 non-members
unless otherwise noted. Tuition includes
digital readings; printed copies are $10.
To register, visit BrynMawrFilm.org or call
610.527.4008 x108
Cinema of Dreams: The Films of Steven Spielberg, Pt. 1
Bearing Witness: Elia Kazan and the 1950s
Taught by Andrew M. Karasik, Film Producer, 30th Street Entertainment
Taught by Andrew J. Douglas, Ph.D., Director of Education, BMFI
“I dream for a living.”
Hollywood in the 1950s was pushing bounds and running scared, and no single
filmmaker was more central to both impulses than Elia Kazan. The industry tested the
limits of film content in large part due to a combination of European influences and
domestic competition, most notably from television. Kazan, along with Tennessee
Williams, led the charge with a pair of steamy, Southern-set films: A Streetcar Named
Desire (1951) and Baby Doll (1956).
—Steven Spielberg
By any measure, Steven Spielberg is one of the most successful directors in the history
of cinema. Few filmmakers are more widely known, or have work that is more widely
recognized, and no director since Alfred Hitchcock has so consistently bridged the
yawning chasm that all too often exists between commercial triumph and critical acclaim.
But to truly understand Spielberg’s genius, one must appreciate his mindset as a
filmmaker. When Spielberg says he “dream[s] for a living,” it reveals a view of his role
as filmmaker that is rather different than most, and his films—particularly his initial
blockbusters—thoroughly reflect this alternative outlook. To experience Spielberg’s
early work is to step into a realm of cinematic wonderment in which imagery unfurls
before us as though we have just closed our eyes and slipped into a dream. Indeed,
the subject matter of these films is the very stuff that dreams—both good and
bad—are made of: a killer shark stalking a seaside town; an obsession with a close
encounter; globe-spanning adventures in search of hidden treasures; and a young boy
befriending an outsider and learning to cope with an imperfect world.
Close Encounters of the Third Kind (1977)
Class meets at BMFI:
4 Wednesdays, June 1, 8, 15, 22,
6:30 pm to 9:30 pm
Class screenings will take place
in the theater.
Spielberg’s voice, in his early work, in particular, stands in stark contrast to the
cynicism of New Hollywood that permeated the films of Robert Altman, Mike
Nichols, and Alan J. Pakula, among others. It hearkens back to a sunnier time of
can-do heroes and cliffhanger serials, unwittingly offering an antidote to the venom
surrounding the Vietnam War and Watergate.
Yet, at the same time some filmmakers felt sufficiently emboldened to challenge
censors in the industry and beyond, large swaths of Hollywood were cowed by the
zealous investigations of the House Committee on Un-American Activities (HUAC).
Among creative talent, ideological lines were drawn and seldom crossed, though Elia
Kazan was a rare, notable, and especially controversial exception. In all likelihood
neither as altruistic as he declared, nor as sinister as others proclaimed, Kazan’s
testimony made him a pariah to many for decades to come.
Yet, regardless of what one thinks of this episode, it was the reputed inspiration
for two of the era’s most politically potent films, made by Kazan in collaboration
with writer and fellow friendly witness Budd Schulberg: On the Waterfront (1954)
and A Face in the Crowd (1957). While the allegorical nature of Waterfront, with
its commission hearings, divided loyalties, and corrupt union, is clear, that of the
latter film, with its withering critique of populism and canny depiction of a menacing
demagogue is less so, and all the more interesting for it.
Baby Doll (1956)
4 Tuesdays, July 5, 12, 19, 26,
6:30 pm to 9:30 pm
in the theater.
Join us to learn about and through four provocative films that are a substantial
part of, in Martin Scorsese’s words, “the lifelong lovers’ quarrel conducted with his
adopted country by a ferociously gifted immigrant named Elia Kazan.”
Join us to examine Steven Spielberg’s creation of oneiric wonderlands through a
discussion of four of his greatest achievements (all of which will be shown on the big
screen): Jaws (1975), Close Encounters of the Third Kind (1977), Raiders of the Lost
Ark (1981), and E.T. the Extra Terrestrial (1982). In exploring Spielberg’s own personal
journey and the influence of his life on his work, we will come to more fully appreciate
one of the most talented auteurs in American cinema.
Early Kubrick
Taught by Maurizio Giammarco, Ph.D., Intellectual Heritage Program, Temple University
Film History Discussion Series: 1945-Present
“If it can be written, or thought, it can be filmed,” Stanley Kubrick said famously. As
one of the most universally acclaimed and influential directors of the postwar era,
Kubrick enjoyed a reputation unique among the filmmakers of his day. A perennial
outsider, he worked far beyond the confines of Hollywood, maintaining complete
artistic control and making films according to the concerns and time constraints of no
one but himself, but with the rare advantage of studio financial support for much of
his career.
This class will explore his early films, which began to establish the director as an
important cinematic presence, starting with Killer's Kiss (1955), made in the finest
film noir style. The film’s polish is countered by a measure of spontaneity—a trait that
Kubrick would abandon entirely in later works—with its on-location depiction of New
York standing as the most potent example of this dynamic. In 1956, Kubrick directed
his first studio picture, The Killing, the tale of a bold racetrack robbery told via an
ambitious overlapping time structure (which has influenced many subsequent heist
films), with dialogue from hardboiled crime novelist Jim Thompson.
In 1957, Kubrick, along with Thompson and novelist Calder Willingham, adapted the
Humphrey Cobb war novel Paths of Glory. This haunting, exquisitely photographed
dissection of the military machine in all its absurdity and capacity for dehumanization
is assembled with the exactitude for which the director would become known. In 1962,
Kubrick brought Nabokov’s controversial novel, Lolita, to the screen. Upon its release,
the film was at once deemed too provocative and dismissed for not remaining faithful
to its source, though, over the years, Lolita’s reputation has undergone reassessment,
particularly in light of Kubrick’s later work.
Across these films, one can see the burgeoning skills and amplifying voice of a
director often lauded for his exacting precision, and consistently engaged with issues
surrounding morality, discipline, power, and ambition. Join us as we discuss some
of the first cinematic works of Stanley Kubrick, who, according to Martin Scorsese,
“expanded our idea of what is possible in movies.”
18
Moderated by Andrew J. Douglas, Ph.D., Director of Education, BMFI
Join us for a series of discussions charting a course through the post-World War II history
of motion pictures. We will take a chronological tour of international cinema, including
stops in Japan, France, the United Kingdom, Australia, Denmark and India. Films
scheduled to be discussed are:
Killer's Kiss (1955)
4 Tuesdays, June 7, 14, 21, 28,
6:30 pm to 9:30 pm
September 19 GILDA (Charles Vidor, USA, 1946)
September 26 DRUNKEN ANGEL (Akira Kurosawa, Japan, 1948)
in the theater.
October 3 No Session
October 10
THE BLOB (Irvin S. Yeaworth, Jr., USA, 1958)
October 17
JULES AND JIM (François Truffaut, France, 1962)
October 24: KES (Ken Loach, UK, 1970)
October 31: GATES OF HEAVEN (Errol Morris, USA, 1978)
November 7: BREAKER MORANT (Bruce Beresford, Australia, 1980)
November 14: BABETTE’S FEAST (Gabriel Axel, Denmark, 1987)
November 21: THE ICE STORM (Ang Lee, USA, 1997)
November 28: MONSOON WEDDING (Mira Nair, India, 2001)
The Blob (1958)
Sessions meet at BMFI:
10 Mondays, September 19 to November 28,
noon to 3:00 pm (no session October 3)
Fee: $200 for members, $225 for
non-members (no “a la carte” enrollment)
19
PARKING GUIDE
METERED LOTS (DESIGNATED WITH A BLUE PARKING SYMBOL)
CENTRAL AVENUE LOT, BRYN MAWR STATION LOT
Three-hour and twelve-hour (red cases) metered parking available. For details on municipal lot parking in
Lower Merion, visit http://www.lowermerion.org/Index.aspx?page=38. Two hour metered parking is also
available on Lancaster Avenue, in front of the theater.
PRIVATE LOTS (DESIGNATED WITH A RED PARKING SYMBOL)
BMFI LOT, BRYN MAWR TRUST LOT
• Free parking available after 5:00 pm Monday-Friday and on weekends.
• Handicapped parking spots and 10 visitor spots are available weekdays in the lot directly behind the
theater. Visitors may park in the spaces designated with the yellow visitor signs. Visitors must sign in
at the business office. All spots directly behind the theater are marked permit or visitor parking.
Your car may be towed if parked in a permit space before 5:00 pm Monday-Friday.
NO PARKING ANYTIME
Please be courteous to the Bryn Mawr community
and read the signs in front of parking spaces prior to parking.
LUDINGTON
LIBRARY LOT
BMFI
LOT
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21
Surviving Cancer In Style
At 22,
a cancer diagnosis
was the last thing I expected to come
my way. The anxiety surrounding losing
my hair was put to rest when I saw
what a natural look and feel the wigs at
Jude Plum have. The staff helped me feel
extremely reassured and comfortable
during this difficult period. I would
recommend Jude Plum to anyone in need
of an understanding, experienced, and
compassionate salon!
www.JudePlumSalon.com
Cancer survivor, Kristen Z.,
with Jude Plum.
821 W. Lancaster Avenue
Bryn Mawr, PA 19010
610.527.1770
Cameo Water Wear
Ella’s Grove
Hope Chest
Jos. A. Bank
Linda Golden
Menagerie
for
her,
him,
& home
haverfordsquare.com
22
Merritt Gallery
Patricia Adams Gifts
Prana House Yoga
Sherman Brothers Shoes
Stupp Furs
White Dog Cafe
haverfordsquare
379 - 385 West Lancaster Ave, Haverford, PA 19041
23
NONPROFIT
ORGANIZATION
POSTAGE
PAID
PERMIT NO. 21
FREEPORT, OH
43973
P.O. Box 1058, Bryn Mawr PA 19010
June 2016 – August 2016
Hotline: 610.527.9898
BrynMawrFilm.org
Facebook: www.facebook.com/brynmawrfilm
Follow us on Twitter: @BMFI
Follow us on Instagram: @BrynMawrFilmInstitute
Become a member of the non-profit Bryn Mawr Film Institute. Join online at BrynMawrFilm.org
Basic Annual Membership
 $60 Individual (One adult)
 $110 Couple/Family (Two adults and 


children 18 years or younger)
$35 Student (Full-time secondary
school or college)
$45 Senior Individual (One adult, 65+)
$75 Senior Couple (Two adults, 65+)
All Memberships Include:
–Discounted admission to all films
–Discounts on Film Studies courses
–Invitations to free member events
– Projections program guide mailings
–Discounted admission at Art House
Visiting Members (AHVM) theaters
– Discounts at participating businesses
– Discounted Talk Cinema subscription
– Access to BMFI’s Film Studies Library
– Volunteer opportunities
Membership cards, valid for one year
from the date of joining, will be mailed
to you.
BMFI is a nonprofit, community theater
and membership is tax deductible
to the extent allowed by law. Call
610.527.4008 x106 for details.
Make checks payable to: BMFI. Mail to:
Bryn Mawr Film Institute, PO Box 1058,
Bryn Mawr, PA 19010.
*Membership gift card is promotional and will
expire at the end of the membership year in
which it was acquired.
Sustaining Annual Memberships
 $110 Producer Individual (One adult)
All basic Individual benefits PLUS:
– Extra 10% Film Studies course discount
– Eight movie passes (valid Mon-Thurs)
– Priority registration for free screenings
 $200 Producer Couple
All basic Couple/Family benefits PLUS:
– Extra 10% Film Studies course discount
– Eight movie passes (valid Mon-Thurs)
NAME(S)
ADDRESS
CITY
STATE
ZIP
TELEPHONE
EMAIL (IMPORTANT FOR UPDATES)
 $500 Mogul
All basic Individual benefits PLUS:
–F
ree admission to all films for one adult
– 60% discount on Film Studies courses
– Free $25 BMFI gift card*
– Phone reservations for free admission to main attraction films
– Free popcorn
 $1,000 Angel
All Mogul benefits PLUS:
– Free admission for two adults
– Listing in the BMFI annual report
$
MEMBERSHIP DUES
 CHECK PAYABLE TO BMFI
 MASTERCARD
 VISA
 AMERICAN EXPRESS
 DISCOVER
$
EXTRA GIFT
$
TOTAL
CARD NUMBER
 $2,500 Director
All Angel benefits PLUS:
–F
ree admission to all films for the
entire family
–P
riority ticket purchase for special events
 $5,000 Film Maker
SIGNATURE
BILLING ZIP CODE
Necessary for credit card authorization
EXP. DATE
All Director benefits PLUS:
– Free tuition for Film Studies courses for the entire family
 $10,000 Cineastes
All Film Maker benefits PLUS:
–O
ne free use of the Multimedia Room
(Mon-Thurs)
– Named star under the marquee
Bryn Mawr Hospital is a proud membership sponsor
of Bryn Mawr Film Institute.
We share a vision of a vibrant and healthy community.

Aug 2016 - Bryn Mawr Film Institute

Transcription

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