Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 01 Sep 2015 03:56:30 -0400 PINK NARCISSUS - Filmmaker in person on Tues, Sept 1! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44707 <p>Parsons grad James Bidgood made a name for himself with his fantastical gay erotic photographs; in 1963, he embarked on a cinematic project in a similarly gauzy style. A wordless (and often clothes-less) study of a dark-haired young man cruising through seedy nightclubs, city streets, and forests, PINK NARCISSUS was shot on 8mm entirely on bejeweled plastic sets constructed in Bidgood&rsquo;s tiny apartment, the director operating as one-man-band. Filmed over seven years, this handmade epic wasn&rsquo;t finished so much as confiscated by its financier and cut against Bidgood&rsquo;s wishes. It was initially shown without a director&rsquo;s credit, leading some to speculate it was a secret Warhol project, but reemerged decades later as Bidgood&rsquo;s creation and a pioneering work of the queer avant-garde. After a long hiatus, Bidgood returned to photography in 2005, but not, as of yet, filmmaking<strong>.<br /><br />Director James Bidgood will be here in person on Tuesday, September 1, for a Q&amp;A following the screening!</strong></p> Tuesday, September 01 A BUCKET OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44607 <p>With Dick Miller.<strong><br /><br />&ldquo;You&rsquo;ll be <span style="text-decoration: underline;">sick</span>, <span style="text-decoration: underline;">sick</span>, <span style="text-decoration: underline;">sick</span> &ndash; from LAUGHING!&rdquo;</strong><br /><br />Though typical of early AIP horror films in many ways &ndash; with AIP staple Dick Miller in the lead role, a bare-bones budget, and a whiplash-fast shooting schedule (five days!) &ndash; the now-classic A BUCKET OF BLOOD was the first flat-out comedy for both AIP and Roger Corman. Miller shines as Walter Paisley, an aspiring beatnik who stumbles on art-world success when he accidentally kills his landlady&rsquo;s cat and, on a whim, covers it in clay. After passing the result off as a genuine sculpture he&rsquo;s proclaimed an artistic genius. But soon he finds himself pursuing increasingly desperate and horrific means to produce new sculptures and maintain his artistic glory. Corman would go on to film LITTLE SHOP OF HORRORS on sets that were still standing from A BUCKET OF BLOOD.<strong><br /></strong></p> Tuesday, September 01 LIMITE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44710 <p>During a stint in Europe in the 1920s, a young M&aacute;rio Peixoto discovered the cinema of Lang, Murnau, and Pudovkin. Upon returning to his native Brazil, he decided to make a film of his own. A silent flood of poetic imagery sans intertitles, LIMITE uses flashbacks to recount the oblique narrative of a man and a woman ending up lost at sea. Produced in close collaboration with the Rio de Janeiro art scene, this radical experiment went undistributed for fear it&rsquo;d provoke riots, and was unseen for so long some thought its very existence was apocryphal. It reemerged as a favorite of cine-clubs, collecting fans from Orson Welles to Sergei Eisenstein to David Bowie, and now enjoys a reputation as one of the greatest works of Brazilian cinema. After struggling for decades to make a second film, Peixoto focused on literary work, writing poetry, plays, and novels.</p> Tuesday, September 01 THE AMAZING COLOSSAL MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44615 <p><strong>&ldquo;GROWING&hellip;! GROWING&hellip;! GROWING&hellip;! TO A GIANT&hellip;! TO A MONSTER&hellip;! TO A BEHEMOTH&hellip;! WHEN WILL IT STOP&hellip;??&rdquo;</strong><br /><br />In 1956 James H. Nicholson acquired the screen rights to THE NTH MAN, a whimsical sci-fi story about a sky-high human giant. In its transition from page to screen it morphed into a more serious tale of an anguished army colonel, exposed to nuclear radiation, who finds himself growing at an astounding rate. THE AMAZING COLOSSAL MAN was the first film directed for AIP by giant monster specialist Bert I. Gordon (his nickname &ldquo;Mister B.I.G.&rdquo; referred both to his initials and his preferred genre). Gordon had already proved his colossal credentials with KING DINOSAUR (1955) and THE CYCLOPS (1957), and would go on to create numerous other super-sized films (for AIP and others), from WAR OF THE COLOSSAL BEAST (1958) and VILLAGE OF THE GIANTS (1965), all the way up to EMPIRE OF THE ANTS (1977). He was the undisputed master of the form.<strong><em><br /><br />The screening on Sunday, August 23 will be introduced by horror cinema scholar Tom Weaver!</em></strong></p> Tuesday, September 01 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44567 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, September 02 LIMITE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44711 <p>During a stint in Europe in the 1920s, a young M&aacute;rio Peixoto discovered the cinema of Lang, Murnau, and Pudovkin. Upon returning to his native Brazil, he decided to make a film of his own. A silent flood of poetic imagery sans intertitles, LIMITE uses flashbacks to recount the oblique narrative of a man and a woman ending up lost at sea. Produced in close collaboration with the Rio de Janeiro art scene, this radical experiment went undistributed for fear it&rsquo;d provoke riots, and was unseen for so long some thought its very existence was apocryphal. It reemerged as a favorite of cine-clubs, collecting fans from Orson Welles to Sergei Eisenstein to David Bowie, and now enjoys a reputation as one of the greatest works of Brazilian cinema. After struggling for decades to make a second film, Peixoto focused on literary work, writing poetry, plays, and novels.</p> Wednesday, September 02 PINK NARCISSUS - Filmmaker in person on Tues, Sept 1! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44708 <p>Parsons grad James Bidgood made a name for himself with his fantastical gay erotic photographs; in 1963, he embarked on a cinematic project in a similarly gauzy style. A wordless (and often clothes-less) study of a dark-haired young man cruising through seedy nightclubs, city streets, and forests, PINK NARCISSUS was shot on 8mm entirely on bejeweled plastic sets constructed in Bidgood&rsquo;s tiny apartment, the director operating as one-man-band. Filmed over seven years, this handmade epic wasn&rsquo;t finished so much as confiscated by its financier and cut against Bidgood&rsquo;s wishes. It was initially shown without a director&rsquo;s credit, leading some to speculate it was a secret Warhol project, but reemerged decades later as Bidgood&rsquo;s creation and a pioneering work of the queer avant-garde. After a long hiatus, Bidgood returned to photography in 2005, but not, as of yet, filmmaking<strong>.<br /><br />Director James Bidgood will be here in person on Tuesday, September 1, for a Q&amp;A following the screening!</strong></p> Wednesday, September 02 THE HONEYMOON KILLERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44714 <p>With Shirley Stoler and Tony Lo Bianco.<br /><br />In the 1960s opera composer and librettist Leonard Kastle was tasked by a producer colleague to write a script around the real-life Lonely Hearts Killers. After doing painstaking research and studying works by cinema greats, Kastle turned in his tense, spare treatment, only to find himself at the helm of the low-budget project after initial director Martin Scorsese proved too methodical. A rebuke to the romanticism of BONNIE &amp; CLYDE, THE HONEYMOON KILLERS offers an uncommonly raw and unsentimental portrait of lovers on the run; it was critically acclaimed upon release (&ldquo;my favorite American film,&rdquo; declared Fran&ccedil;ois Truffaut) but fell victim to tepid domestic box office returns. Kastle left several unproduced screenplays behind when he died in 2011.</p> Thursday, September 03 I WAS A TEENAGE WEREWOLF http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44621 <p><strong>&ldquo;THE MOST AMAZING MOTION PICTURE OF OUR TIME!&rdquo;</strong><br /><br />In the dawning days of AIP, James H. Nicholson wanted producer Herman Cohen as his partner. Cohen was unavailable, but Nicholson later brought him into the AIP fold as a producer, and they became the daddies of the teenage monster genre, beginning with this film.<br /><br />&ldquo;REBEL WITHOUT A CAUSE sprouts fangs and claws, as a hard-to-handle Michael Landon (before TV stardom on BONANZA and LITTLE HOUSE ON THE PRAIRIE) comes under the dubious care of an obsessed hypnotherapist (veteran character actor Whit Bissell) who plumbs his primitive instincts and turns him into a lycanthrope. (It&rsquo;s the school bell that sets him off.) By appealing directly to their drive-in audience, AIP&rsquo;s creature features got a shot in the paw with this one-week wonder, a major success that has rippled through the culture, via more benign shape-shifting tales like Disney&rsquo;s THE SHAGGY DOG and Michael J. Fox in TEEN WOLF, and the Cramps&rsquo;s song &lsquo;I Was a Teenage Werewolf.&rsquo; The studio&rsquo;s reign of teen terror would continue with I WAS A TEENAGE FRANKENSTEIN.&rdquo; &ndash;Robert Cashill<strong><em><br /><br />The screening on Sunday, August 23 will be introduced by horror cinema scholar Tom Weaver!</em></strong></p> Thursday, September 03 THE TIME TRAVELERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44628 <p><strong>&ldquo;Step through &ldquo;The Time Portal&rdquo; beyond the crack in Space and Time where the fantastic world of the Future will freeze your blood with its weird horrors!&rdquo;</strong><br /><br />&ldquo;From the prolific pen of the late writer and director Ib Melchior came one of the most tantalizing time travel scenarios, an early cinematography credit for future Oscar winner Vilmos Zsigmond. Scientists tinkering with a time portal step into the blighted future world of 2071, where surviving humans are working on a spaceship that will take them to safety elsewhere in the galaxy. Mutants scarred by nuclear war complicate those plans, however, as time trips up the travelers (including veteran actors Preston Foster and Philip Carey, with John Hoyt as their future counterpart). Sci-fi super fan Forrest J. Ackerman, of FAMOUS MONSTERS OF FILMLAND fame, cameos.&rdquo; &ndash;Robert Cashill</p> Thursday, September 03 LIMITE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44712 <p>During a stint in Europe in the 1920s, a young M&aacute;rio Peixoto discovered the cinema of Lang, Murnau, and Pudovkin. Upon returning to his native Brazil, he decided to make a film of his own. A silent flood of poetic imagery sans intertitles, LIMITE uses flashbacks to recount the oblique narrative of a man and a woman ending up lost at sea. Produced in close collaboration with the Rio de Janeiro art scene, this radical experiment went undistributed for fear it&rsquo;d provoke riots, and was unseen for so long some thought its very existence was apocryphal. It reemerged as a favorite of cine-clubs, collecting fans from Orson Welles to Sergei Eisenstein to David Bowie, and now enjoys a reputation as one of the greatest works of Brazilian cinema. After struggling for decades to make a second film, Peixoto focused on literary work, writing poetry, plays, and novels.</p> Thursday, September 03 ACT OF VIOLENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44760 <p>With Ryan, Van Helfin, Janet Leigh, and Mary Astor.<br /><br />Frank Enley (Van Heflin) is a pillar of the community in his small Southern California town, but then a bus from NYC brings an unwelcome visitor: Joe Parkson (Ryan), who knows Enley&rsquo;s dirty little secret from their days together in a German POW camp. Originally intended for Gregory Peck and Humphrey Bogart, this sun-washed noir from MGM was shot immediately after Ryan&rsquo;s great success in CROSSFIRE, and he contributes one of his most iconic performances, limping around in a trenchcoat and fedora as he thirsts for vengeance. Director Fred Zinnemann, following his grim wartime dramas THE SEVENTH CROSS (1944) and THE SEARCH (1948), digs deep into a script that highlights the traumas and ethical dilemmas of POWs.</p> <p>&nbsp;</p> Friday, September 04 EC: CLASSICS OF THE TWENTIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44452 <p>Fernand L&eacute;ger &amp; Dudley Murphy<br />BALLET M&Eacute;CANIQUE (1924, 19 min, 35mm, b&amp;w, silent. Preserved by Anthology Film Archives.)<br /><br />Ren&eacute; Clair &amp; Francis Picabia<br />ENTR&rsquo;ACTE (1924, 22 min, 35mm, b&amp;w)<br /><br />Man Ray<br />LE RETOUR &Agrave; LA RAISON (1923, 2 min, 16mm, b&amp;w, silent)<br /><br />&Eacute;TOILE DE MER (1927, 13 min, 16mm, b&amp;w, silent)<br /><br />EMAK BAKIA (1927, 18 min, 35mm, b&amp;w, silent)<br /><br />Marcel Duchamp &amp; Man Ray<br />ANEMIC CINEMA (1926, 7 min, 35mm, b&amp;w, silent)<br /><br />Total running time: ca. 85 min.</p> Friday, September 04 ON DANGEROUS GROUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44764 <p>With Ryan, Ida Lupino, Ward Bond, and Ed Begley.<br /><br />Ryan gives one of his most unsettling performances in this eerily romantic thriller, adapted from the British mystery novel, MAD WITH MUCH HEART. Jim Wilson (Ryan) is a seething police detective in a hellish city of drunks, thieves, B-girls, and hustlers. After beating one suspect too many, he is banished to the mountains to investigate a child murder and, accompanied by the victim&rsquo;s vengeful father (Ward Bond), winds up at the door of a beautiful blind woman (Ida Lupino) whose brother may be the culprit. Critics were quick to note the dichotomy between the noirish city sequences of the first half hour and the achingly white imagery of the snow-covered Rockies in the second part; the same duality applies to Ryan&rsquo;s performance, which begins in anger but ends in longing and repentance.</p> Friday, September 04 THE NAKED SPUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44768 <p>With Ryan, James Stewart, Janet Leigh, Ralph Meeker, and Millard Mitchell.<br /><br />Ryan was exceedingly proud of his performance in this noirish western, which gave him a chance to work opposite James Stewart. A determined bounty hunter (Stewart) succeeds in capturing a murderer at large (Ryan) and his young compatriot (Janet Leigh), but as he and his partners transport them across the mountains to justice, the wily killer begins sowing seeds of discontent. Shooting in the San Juan Mountains in Colorado, director Anthony Mann constructs a harrowing physical journey for his characters, though his ultimate focus is the moral and psychological battle between the hunter and his prey. Ryan&rsquo;s outlaw is one of his craftiest, most eccentric characters, a crackerbarrel comedian who can turn vicious as a rattlesnake.</p> Saturday, September 05 ABOUT MRS. LESLIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44772 <p>Print courtesy of the Academy Film Archive. With Ryan and Shirley Booth.<br /><br />Ever mindful of being typecast, Ryan gave a marvelously understated performance as a shy business executive in this affecting women&rsquo;s picture. Shirley Booth had just won an Oscar as the dumpy wife in Daniel Mann&rsquo;s COME BACK, LITTLE SHEBA, with Burt Lancaster; for this follow-up Mann cast Booth as the good-hearted owner of a New York rooming house who enjoys a warm but painful affair with a prominent executive, played by Ryan. Adapted from a novel by Vina Delmar, the story was bowdlerized by Paramount Pictures to satisfy the Production Code Administration, but even in its diminished form it tells an affecting tale of two lovers who are forced to wait, until time finally runs out.</p> Saturday, September 05 BAD DAY AT BLACK ROCK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44775 <p>With Ryan, Spencer Tracy, Ernest Borgnine, Lee Marvin, Anne Francis, Dean Jagger, and Walter Brennan.<br /><br />Nothing much happens in the tiny western town of Black Rock, until one day the Silverliner train unexpectedly slows to a halt and delivers a one-armed stranger (Spencer Tracy) who&rsquo;s come looking for a local Japanese farmer. No one in town wants to help him, and the resident boss man (Ryan) orders his crew of thugs (including Ernest Borgnine and Lee Marvin) to lean on the visitor. A western mystery with contemporary political overtones, BAD DAY AT BLACK ROCK was the sort of socially conscious entertainment Ryan couldn&rsquo;t resist, and he invests a relatively simple heavy with an intelligence that brings the man to frightening life.</p> Saturday, September 05 ACT OF VIOLENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44761 <p>With Ryan, Van Helfin, Janet Leigh, and Mary Astor.<br /><br />Frank Enley (Van Heflin) is a pillar of the community in his small Southern California town, but then a bus from NYC brings an unwelcome visitor: Joe Parkson (Ryan), who knows Enley&rsquo;s dirty little secret from their days together in a German POW camp. Originally intended for Gregory Peck and Humphrey Bogart, this sun-washed noir from MGM was shot immediately after Ryan&rsquo;s great success in CROSSFIRE, and he contributes one of his most iconic performances, limping around in a trenchcoat and fedora as he thirsts for vengeance. Director Fred Zinnemann, following his grim wartime dramas THE SEVENTH CROSS (1944) and THE SEARCH (1948), digs deep into a script that highlights the traumas and ethical dilemmas of POWs.</p> <p>&nbsp;</p> Sunday, September 06 GOD’S LITTLE ACRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44779 <p>Restored print courtesy of the UCLA Film &amp; Television Archive. With Ryan, Aldo Ray, Buddy Hackett, Tina Louise, Jack Lord, Vic Morrow, and Michael Landon.<br /><br />Erskine Caldwell&rsquo;s 1933 best-seller GOD&rsquo;S LITTLE ACRE had long been considered too sexy for the screen, but a quarter century after its publication the book was finally adapted by independent producers Philip Yordan and Sidney Harmon as part of a three-picture profit-participation deal with Ryan. The actor&rsquo;s agent begged him not to play Ty Ty Walden, the elderly Georgia farmer who&rsquo;s spent years digging up his land in search of buried gold, but Ryan ignored him. Buddy Hackett is the whining political candidate Pluto Swint, and both he and Ryan give rollicking comic performances, abetted by future TV stars Tina Louise (GILLIGAN&rsquo;S ISLAND), Jack Lord (HAWAII FIVE-O), Vic Morrow (COMBAT!), and Michael Landon (LITTLE HOUSE ON THE PRAIRIE).</p> Sunday, September 06 BAD DAY AT BLACK ROCK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44776 <p>With Ryan, Spencer Tracy, Ernest Borgnine, Lee Marvin, Anne Francis, Dean Jagger, and Walter Brennan.<br /><br />Nothing much happens in the tiny western town of Black Rock, until one day the Silverliner train unexpectedly slows to a halt and delivers a one-armed stranger (Spencer Tracy) who&rsquo;s come looking for a local Japanese farmer. No one in town wants to help him, and the resident boss man (Ryan) orders his crew of thugs (including Ernest Borgnine and Lee Marvin) to lean on the visitor. A western mystery with contemporary political overtones, BAD DAY AT BLACK ROCK was the sort of socially conscious entertainment Ryan couldn&rsquo;t resist, and he invests a relatively simple heavy with an intelligence that brings the man to frightening life.</p> Sunday, September 06 ON DANGEROUS GROUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44765 <p>With Ryan, Ida Lupino, Ward Bond, and Ed Begley.<br /><br />Ryan gives one of his most unsettling performances in this eerily romantic thriller, adapted from the British mystery novel, MAD WITH MUCH HEART. Jim Wilson (Ryan) is a seething police detective in a hellish city of drunks, thieves, B-girls, and hustlers. After beating one suspect too many, he is banished to the mountains to investigate a child murder and, accompanied by the victim&rsquo;s vengeful father (Ward Bond), winds up at the door of a beautiful blind woman (Ida Lupino) whose brother may be the culprit. Critics were quick to note the dichotomy between the noirish city sequences of the first half hour and the achingly white imagery of the snow-covered Rockies in the second part; the same duality applies to Ryan&rsquo;s performance, which begins in anger but ends in longing and repentance.</p> Monday, September 07 THE NAKED SPUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44769 <p>With Ryan, James Stewart, Janet Leigh, Ralph Meeker, and Millard Mitchell.<br /><br />Ryan was exceedingly proud of his performance in this noirish western, which gave him a chance to work opposite James Stewart. A determined bounty hunter (Stewart) succeeds in capturing a murderer at large (Ryan) and his young compatriot (Janet Leigh), but as he and his partners transport them across the mountains to justice, the wily killer begins sowing seeds of discontent. Shooting in the San Juan Mountains in Colorado, director Anthony Mann constructs a harrowing physical journey for his characters, though his ultimate focus is the moral and psychological battle between the hunter and his prey. Ryan&rsquo;s outlaw is one of his craftiest, most eccentric characters, a crackerbarrel comedian who can turn vicious as a rattlesnake.</p> Monday, September 07 TABLE OF LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44750 <p>(MAHLZEITEN)<br /><br />&ldquo;Photography student Elisabeth meets idealistic medical student Rolf. She&rsquo;s interested in everything he does; they go on outings together and feel like they&rsquo;re at the beginning of a great, romantic love story. Children soon follow, one after the other; Rolf gives up his studies and tries his hand at various menial professions. It is a marriage that &lsquo;consumes&rsquo; the husband, so to speak &ndash; &lsquo;Rolf gives his whole life to Elizabeth and receives children and poetic thoughts of love in return,&rsquo; as the production notes put it. &lsquo;TABLE OF LOVE presents in exemplary manner the extent to which the male directors of the New German Cinema were fascinated by strong, vital female characters full of life, while the male characters were usually held back by navel-gazing or lachrymosity.&rsquo; (Thomas Kramer)&rdquo; &ndash;ARSENAL</p> Tuesday, September 08 BAD DAY AT BLACK ROCK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44777 <p>With Ryan, Spencer Tracy, Ernest Borgnine, Lee Marvin, Anne Francis, Dean Jagger, and Walter Brennan.<br /><br />Nothing much happens in the tiny western town of Black Rock, until one day the Silverliner train unexpectedly slows to a halt and delivers a one-armed stranger (Spencer Tracy) who&rsquo;s come looking for a local Japanese farmer. No one in town wants to help him, and the resident boss man (Ryan) orders his crew of thugs (including Ernest Borgnine and Lee Marvin) to lean on the visitor. A western mystery with contemporary political overtones, BAD DAY AT BLACK ROCK was the sort of socially conscious entertainment Ryan couldn&rsquo;t resist, and he invests a relatively simple heavy with an intelligence that brings the man to frightening life.</p> Tuesday, September 08 ACT OF VIOLENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44762 <p>With Ryan, Van Helfin, Janet Leigh, and Mary Astor.<br /><br />Frank Enley (Van Heflin) is a pillar of the community in his small Southern California town, but then a bus from NYC brings an unwelcome visitor: Joe Parkson (Ryan), who knows Enley&rsquo;s dirty little secret from their days together in a German POW camp. Originally intended for Gregory Peck and Humphrey Bogart, this sun-washed noir from MGM was shot immediately after Ryan&rsquo;s great success in CROSSFIRE, and he contributes one of his most iconic performances, limping around in a trenchcoat and fedora as he thirsts for vengeance. Director Fred Zinnemann, following his grim wartime dramas THE SEVENTH CROSS (1944) and THE SEARCH (1948), digs deep into a script that highlights the traumas and ethical dilemmas of POWs.</p> <p>&nbsp;</p> Tuesday, September 08 ZERO HOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44753 <p>(STUNDE NULL)<br /><br />ZERO HOUR takes place in a village outside Leipzig in 1945, in a Germany decimated by the war and just beginning the long process of reconstruction. With the U.S. Army having left and the Red Army preparing to take over, the village&rsquo;s inhabitants are forced to adapt to their new circumstances. Young Joschi, a former member of the Hitler Youth, decides to go over to the Americans, but first he&rsquo;s determined to find the money and jewelry that he knows was hidden in the local graveyard by a Nazi officer. Together with the beautiful Isa, with whom he&rsquo;s fallen in love, the two plot to escape, only to find themselves falling prey to the chaos of postwar Germany and the abuses of both the Soviet and American forces. ZERO HOUR is a powerful and penetrating portrait of a society convulsed by the consequences of war.</p> Tuesday, September 08 EDGAR REITZ SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44756 <p>Though Reitz is best known for creating HEIMAT, the longest film in the history of the cinema, his short films rank among the greatest of his works. They range from deeply perceptive, finely crafted documentaries about the production of cotton (COTTON) and about the vanished culture of the Maya (YUCATAN), to an impressionistic paean to the unprecedented speed of movement in the modern world (SPEED &ndash; CINEMA ONE), to the truly extraordinary achievement that is COMMUNICATION: commissioned by the German post office, this masterpiece of avant-garde filmmaking is a rapidly edited, associative, purely visual essay on mechanical and electronic forms of communication that depicts the world of modern technology as a profoundly dystopic one.<br /><br />COTTON / BAUMWOLLE (1959-60, 40 min, 35mm)<br />YUCATAN (1959-60, 11 min, 35mm, b&amp;w)<br />COMMUNICATION / KOMMUNIKATION &ndash; TECHNIK DER VERST&Auml;NDIGUNG (1961, 11 min, 35mm)<br />SPEED &ndash; CINEMA ONE / GESCHWINDIGKEIT &ndash; KINO EINS (1962-63, 13 min, 35mm, b&amp;w)<br />THE CHILDREN / DIE KINDER (1966, 11 min, 35mm, b&amp;w)<br />SUSANNE DANCES / SUSANNE TANZT (1979, 17 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 105 min.</p> Wednesday, September 09 THE NAKED SPUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44770 <p>With Ryan, James Stewart, Janet Leigh, Ralph Meeker, and Millard Mitchell.<br /><br />Ryan was exceedingly proud of his performance in this noirish western, which gave him a chance to work opposite James Stewart. A determined bounty hunter (Stewart) succeeds in capturing a murderer at large (Ryan) and his young compatriot (Janet Leigh), but as he and his partners transport them across the mountains to justice, the wily killer begins sowing seeds of discontent. Shooting in the San Juan Mountains in Colorado, director Anthony Mann constructs a harrowing physical journey for his characters, though his ultimate focus is the moral and psychological battle between the hunter and his prey. Ryan&rsquo;s outlaw is one of his craftiest, most eccentric characters, a crackerbarrel comedian who can turn vicious as a rattlesnake.</p> Wednesday, September 09 GOD’S LITTLE ACRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44780 <p>Restored print courtesy of the UCLA Film &amp; Television Archive. With Ryan, Aldo Ray, Buddy Hackett, Tina Louise, Jack Lord, Vic Morrow, and Michael Landon.<br /><br />Erskine Caldwell&rsquo;s 1933 best-seller GOD&rsquo;S LITTLE ACRE had long been considered too sexy for the screen, but a quarter century after its publication the book was finally adapted by independent producers Philip Yordan and Sidney Harmon as part of a three-picture profit-participation deal with Ryan. The actor&rsquo;s agent begged him not to play Ty Ty Walden, the elderly Georgia farmer who&rsquo;s spent years digging up his land in search of buried gold, but Ryan ignored him. Buddy Hackett is the whining political candidate Pluto Swint, and both he and Ryan give rollicking comic performances, abetted by future TV stars Tina Louise (GILLIGAN&rsquo;S ISLAND), Jack Lord (HAWAII FIVE-O), Vic Morrow (COMBAT!), and Michael Landon (LITTLE HOUSE ON THE PRAIRIE).</p> Wednesday, September 09 TABLE OF LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44751 <p>(MAHLZEITEN)<br /><br />&ldquo;Photography student Elisabeth meets idealistic medical student Rolf. She&rsquo;s interested in everything he does; they go on outings together and feel like they&rsquo;re at the beginning of a great, romantic love story. Children soon follow, one after the other; Rolf gives up his studies and tries his hand at various menial professions. It is a marriage that &lsquo;consumes&rsquo; the husband, so to speak &ndash; &lsquo;Rolf gives his whole life to Elizabeth and receives children and poetic thoughts of love in return,&rsquo; as the production notes put it. &lsquo;TABLE OF LOVE presents in exemplary manner the extent to which the male directors of the New German Cinema were fascinated by strong, vital female characters full of life, while the male characters were usually held back by navel-gazing or lachrymosity.&rsquo; (Thomas Kramer)&rdquo; &ndash;ARSENAL</p> Wednesday, September 09 ZERO HOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44754 <p>(STUNDE NULL)<br /><br />ZERO HOUR takes place in a village outside Leipzig in 1945, in a Germany decimated by the war and just beginning the long process of reconstruction. With the U.S. Army having left and the Red Army preparing to take over, the village&rsquo;s inhabitants are forced to adapt to their new circumstances. Young Joschi, a former member of the Hitler Youth, decides to go over to the Americans, but first he&rsquo;s determined to find the money and jewelry that he knows was hidden in the local graveyard by a Nazi officer. Together with the beautiful Isa, with whom he&rsquo;s fallen in love, the two plot to escape, only to find themselves falling prey to the chaos of postwar Germany and the abuses of both the Soviet and American forces. ZERO HOUR is a powerful and penetrating portrait of a society convulsed by the consequences of war.</p> Thursday, September 10 ON DANGEROUS GROUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44766 <p>With Ryan, Ida Lupino, Ward Bond, and Ed Begley.<br /><br />Ryan gives one of his most unsettling performances in this eerily romantic thriller, adapted from the British mystery novel, MAD WITH MUCH HEART. Jim Wilson (Ryan) is a seething police detective in a hellish city of drunks, thieves, B-girls, and hustlers. After beating one suspect too many, he is banished to the mountains to investigate a child murder and, accompanied by the victim&rsquo;s vengeful father (Ward Bond), winds up at the door of a beautiful blind woman (Ida Lupino) whose brother may be the culprit. Critics were quick to note the dichotomy between the noirish city sequences of the first half hour and the achingly white imagery of the snow-covered Rockies in the second part; the same duality applies to Ryan&rsquo;s performance, which begins in anger but ends in longing and repentance.</p> Thursday, September 10 ABOUT MRS. LESLIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44773 <p>Print courtesy of the Academy Film Archive. With Ryan and Shirley Booth.<br /><br />Ever mindful of being typecast, Ryan gave a marvelously understated performance as a shy business executive in this affecting women&rsquo;s picture. Shirley Booth had just won an Oscar as the dumpy wife in Daniel Mann&rsquo;s COME BACK, LITTLE SHEBA, with Burt Lancaster; for this follow-up Mann cast Booth as the good-hearted owner of a New York rooming house who enjoys a warm but painful affair with a prominent executive, played by Ryan. Adapted from a novel by Vina Delmar, the story was bowdlerized by Paramount Pictures to satisfy the Production Code Administration, but even in its diminished form it tells an affecting tale of two lovers who are forced to wait, until time finally runs out.</p> Thursday, September 10 EDGAR REITZ SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44757 <p>Though Reitz is best known for creating HEIMAT, the longest film in the history of the cinema, his short films rank among the greatest of his works. They range from deeply perceptive, finely crafted documentaries about the production of cotton (COTTON) and about the vanished culture of the Maya (YUCATAN), to an impressionistic paean to the unprecedented speed of movement in the modern world (SPEED &ndash; CINEMA ONE), to the truly extraordinary achievement that is COMMUNICATION: commissioned by the German post office, this masterpiece of avant-garde filmmaking is a rapidly edited, associative, purely visual essay on mechanical and electronic forms of communication that depicts the world of modern technology as a profoundly dystopic one.<br /><br />COTTON / BAUMWOLLE (1959-60, 40 min, 35mm)<br />YUCATAN (1959-60, 11 min, 35mm, b&amp;w)<br />COMMUNICATION / KOMMUNIKATION &ndash; TECHNIK DER VERST&Auml;NDIGUNG (1961, 11 min, 35mm)<br />SPEED &ndash; CINEMA ONE / GESCHWINDIGKEIT &ndash; KINO EINS (1962-63, 13 min, 35mm, b&amp;w)<br />THE CHILDREN / DIE KINDER (1966, 11 min, 35mm, b&amp;w)<br />SUSANNE DANCES / SUSANNE TANZT (1979, 17 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 105 min.</p> Thursday, September 10 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44724 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Friday, September 11 EC: CHRISTOPHER MACLAINE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44453 <p>&ldquo;The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice&rsquo;s, are clearly the most significant work to come out of the beat period.&rdquo; &ndash;J.J. Murphy<br /><br />All films preserved by Anthology Film Archives.<br /><br />THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm)<br /><br />BEAT (1958, 6 min, 16mm)<br /><br />SCOTCH HOP (1959, 5.5 min, 16mm)<br /><br />THE END (1953, 35 min, 16mm)<br /><br />Total running time: ca. 65 min.</p> Friday, September 11 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44725 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Saturday, September 12 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44726 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Saturday, September 12 EC: DIARIES, NOTES & SKETCHES (WALDEN) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44454 <p>New print by Cinema Arts Inc. Special thanks to Michael Kolvek, Fran Bowen (Trackwise), and Pip Laurenson (Tate Museum).<br /><br />Filmed 1964-68; edited 1968-69. &ldquo;Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it&rsquo;s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don&rsquo;t get it at all.&rdquo; &ndash;J.M.<br /><br />&ldquo;I make home movies &ndash; therefore I live. I live &ndash; therefore I make home movies.&rdquo; &ndash;from the soundtrack</p> Saturday, September 12 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44727 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Sunday, September 13 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44728 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Sunday, September 13 EC: REMINISCENCES OF A JOURNEY TO LITHUANIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44455 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />&ldquo;The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.&rdquo; &ndash;J.M.</p> Sunday, September 13 HOME FROM HOME: CHRONICLE OF A VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2015#showing-44729 <p>(DIE ANDERE HEIMAT: CHRONIK EINER SEHNSUCHT)<br /><br />U.S. THEATRICAL PREMIERE RUN!<br /><br /><strong>EDGAR REITZ AND 'HOME FROM HOME' STAR JAN DIETER SCHNEIDER WILL BE HERE IN PERSON ON FRIDAY &amp; SATURDAY, SEPTEMBER 11 &amp; 12!&nbsp; EDGAR REITZ WILL ALSO BE HERE ON THURSDAY, SEPTEMBER 10, FOR THE FINAL NIGHT OF HIS RETROSPECTIVE.</strong><br /><br />Distributed by Corinth Films, and presented with invaluable support from the Goethe-Institut New York; special thanks to John Poole Jr. (Corinth), and Wenzel Bilger &amp; Sara Stevenson (Goethe-Institut New York).<br /><br />Edgar Reitz&rsquo;s monumental HEIMAT films hold a privileged place in postwar German cinema. A precursor to some of the episodic yet cohesively crafted serial dramas that are all the rage in the U.S. and Europe today, Reitz&rsquo;s enormously ambitious, ever-expanding project began in 1984 with the 15-hour HEIMAT: A CHRONICLE OF GERMANY. Since then, Reitz has added to his career-defining edifice roughly every ten years, with 1993&rsquo;s HEIMAT II (more than 25 hours long), 2004&rsquo;s HEIMAT III (11 hours), and now, like clockwork, with HOME FROM HOME, which comes in at a breezy 230 minutes. (This account elides the smaller-scale, in-between work, HEIMAT FRAGMENTS: THE WOMEN, from 2006&hellip;)<br /><br />A prequel to the previous HEIMAT films, HOME FROM HOME turns back the clock to the mid-19th century, to focus on the ancestors of the Simon family, as they struggle to subsist in the (fictional) village of Schabbach (familiar from the earlier films). Depicting both the struggles and the deeply ingrained rituals and sense of community that define their lives, Reitz shows his usual panoramic flair, bringing to life a host of characters and capturing the rhythms and textures of a whole village.<br /><br />Nevertheless, the film&rsquo;s attention settles on two figures in particular: the sensitive, imaginative, and restless Jakob, who immerses himself in literature and dreams of emigrating to Brazil, and Henriette, the beautiful daughter of a gem cutter fallen on hard times, who is at once drawn to Jakob and fated to take a different path. Reitz, as always, is attuned both to his characters&rsquo; daily lives and to the larger social and historical forces that shape their existence. Here he explores a world marked by famine and poverty, the stirrings of revolution, and above all the specter of emigration, a phenomenon that holds the promise of freedom even as it represents a threat to the stability of the communities that are left behind. Playing out against the backdrop of the mass exodus that saw hundreds of thousands of German farmers, laborers, and craftsman departing for the New World, HOME FROM HOME is both a heart-wrenching drama and a penetrating portrait of an historical era.<br /><br />&ldquo;[E]vocative, surprising and very entertaining. It&hellip;marks the completion of a remarkable achievement.&rdquo; &ndash;Jonathan Romney, THE GUARDIAN<br /><br />&ldquo;If you&rsquo;ve seen HEIMAT you&rsquo;ll spot masses of connections. Yet this stand-alone four-hour mini epic &ndash; shot in black-and-white widescreen &ndash; also makes a great starting-point. [&hellip;] To see the wagons rolling out of the Rhineland is a potent image for today &ndash; a counterblast to the contentious subject of migration in today&rsquo;s Europe. That immediate relevance deepens the film&rsquo;s rich fresco of historical insight and immersive drama. This is a magnificent, career-capping achievement from one of the great storytellers of our era.&rdquo; &ndash;Trevor Johnston, TIME OUT LONDON<br /><br /><strong><em>Immediately preceding the run of HOME FROM HOME, we&rsquo;ll be screening a brief selection of Reitz&rsquo;s earlier work.</em></strong></p> Monday, September 14