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 Thu, 28 May 2015 11:56:12 -0400 M http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44256 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With David Wayne, Howard Da Silva, and Raymond Burr. Preserved by the Library of Congress.<br /><br />It&rsquo;s impossible to imagine improving upon Fritz Lang&rsquo;s legendary M (1931), which contains one of the greatest performances of all time courtesy of Peter Lorre. But a film by Joseph Losey is nothing to sneeze at, especially one from his fascinating American period (before he was blacklisted and relocated to the UK). And comparisons to Lang/Lorre aside, his version of M is a terrific, tightly constructed work, and a prime example of 1950s Hollywood filmmaking. Boasting incredible LA location work, with unforgettable sequences set in the now-vanished Bunker Hill neighborhood and in the famous Bradbury building (whose highly picturesque atrium has been utilized in films including BLADE RUNNER and D.O.A.), M is a remarkable achievement in its own right.</span></p> Friday, May 29 EC: EARTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44232 <p>(ZEMLYA)<br /><br />A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.</p> Friday, May 29 THE MASQUE OF THE RED DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44260 <p><span style="font-family: Times New Roman; font-size: small;">With Vincent Price and Jane Asher. Thanks to Park Circus.<br /><br />Made with a (slightly) bigger budget and longer shooting schedule than the previous films in his Edgar Allan Poe cycle, MASQUE found Corman (with the help of cinematographer and future director Nicolas Roeg) enjoying greater freedom to explore new stylistic paths, resulting in one of the most visually striking of the Poe films, and arguably Corman&rsquo;s masterpiece.<br /><br />&ldquo;[A] work of consummate imaginative power and originality. In medieval Italy, the devil-worshipping Prince Prospero (Price) abducts an innocent village girl (Asher) and tries to interest her in his diabolical goings-on while the plague rages outside his castle. This is both beautiful and horrifying, with a fine sense of ambiguity and a wealth of subtleties.&rdquo; &ndash;Don Druker, CHICAGO READER</span></p> Friday, May 29 THE LAST WAGON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44264 <p><span style="font-family: Times New Roman; font-size: small;">With Richard Widmark. Archival print courtesy of 20th Century Fox.<br /><br />&ldquo;A study in race-hate the Old Western way, this worthy follow-up to BROKEN ARROW finds director Delmer Daves returning to Arizona&rsquo;s Martian valleys and mesas, this time filming in overwhelming, hallucinatory CinemaScope. George Mathews&rsquo;s swinish Sheriff Bull Harper is bringing Richard Widmark&rsquo;s &lsquo;Comanche&rsquo; Todd to justice for the murder of the other three Harper brothers. But when the wagon train of settlers that they&rsquo;re traveling with is attacked by Apaches, the despised Todd, who has lived most of his life with the Indians, becomes the last line of defense for the few surviving youths of the party, leading them through the &lsquo;Canyon of Death&rsquo; in a wagon made from the remaining wreckage.&rdquo; &ndash;Nick Pinkerton<br /><br />The archival 35mm print we screened during our 2013 Delmer Daves retrospective was among the most revelatory and eye-popping we&rsquo;ve ever had the privilege of projecting, and we&rsquo;re overjoyed to have the opportunity to bring it back!</span></p> Saturday, May 30 SHE WORE A YELLOW RIBBON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44267 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With Joanne Dru, John Agar, Ben Johnson, Harry Carey Jr., and Victor McLaglen. Preserved by the UCLA Film &amp; Television Archive.<br /><br />&ldquo;Of all John Ford&rsquo;s lyrical films, this 1949 feature is the one that most nearly leaves narrative behind; it is pure theme and variation, centered on the figure of a retiring cavalry officer (John Wayne, playing with strength and conviction a man well beyond his actual age). The screenplay (by Frank Nugent and Laurence Stallings) is entirely episodic, and it ends in a magnificently sustained series of anticlimaxes, suggesting it could spin out forever. In Ford&rsquo;s superbly creative hands, it becomes perhaps the only avant-garde film ever made about the importance of tradition.&rdquo; &ndash;Dave Kehr, CHICAGO READER</span></p> Saturday, May 30 EC: ARSENAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44233 <p>One of Dovzhenko&rsquo;s few completely independent films, from script to screen. ARSENAL is a civil war epic envisioned in unusual, painterly images: a fallen soldier &ndash; drunk on the enemy&rsquo;s laughing gas &ndash; his frozen body still baring its teeth long after the battle and his life are over.</p> Saturday, May 30 THE CRANES ARE FLYING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44271 <p><span style="font-family: Times New Roman; font-size: small;">(LETYAT ZHURAVLI)<br /><br />With Tatiana Samoilova and Alexei Batalov. Archival print courtesy of the Harvard Film Archive.<br /><br />&ldquo;One of the most acclaimed Soviet films of all time. Set during WWII, it is a tragic story of the shattering of love and youthful ambitions by war. Two young sweethearts, Veronica (Tatiana Samoilova) and Boris (Alexei Batalov), are certain they will marry and live happily ever after. Then, Boris volunteers for the army. Kalatozov employs the kind of visually extravagant style that had been prohibited by Stalinist dogma since the silent era. With its unusual angles, huge close-ups, and bravura editing techniques, the film recalls the best of the Soviet masters Pudovkin, Dovzhenko, and Eisenstein. It is also distinguished by extraordinary performances, especially that of Samoilova, and by a sense of personal intimacy unique in the Soviet cinema of its time.&rdquo; &ndash;Judy Bloch, PACIFIC FILM ARCHIVE</span></p> Saturday, May 30 HOPPITY GOES TO TOWN aka MR. BUG GOES TO TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44274 <p><span style="font-family: Times New Roman; font-size: small;">I.B. TECHNICOLOR PRINT!<br /><br />Archival print courtesy of the University of North Carolina School of the Arts.<br /><br />Originally released as MR. BUG GOES TO TOWN, HOPPITY is one of only two feature films created by the great Dave and Max Fleischer who, thanks to their work on Betty Boop, Popeye, and other peerless animation classics, are among the giants of American pop culture. Made two years after their first feature, GULLIVER&rsquo;S TRAVELS, HOPPITY was a financial disaster for the Fleischers &ndash; the costly production (as well as the brothers&rsquo; fraying relationship) helped hasten the demise of their studio, and the timing of the film&rsquo;s release, which happened to fall two days before the cataclysm of Pearl Harbor, further doomed it. Nevertheless, the Fleischers&rsquo; fecund imagination and their brilliant, highly distinctive style of animation are fully in evidence. HOPPITY is a woefully neglected work from these American masters.</span></p> Sunday, May 31 THE WORLD IN HIS ARMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44277 <p><span style="font-family: Times New Roman; font-size: small;">With Gregory Peck and Anthony Quinn. Thanks to Universal Pictures.<br /><br />Rousingly directed by Walsh, this film features Gregory Peck as the captain of a seagoing schooner whose wife is abducted on their wedding day by a Russian prince. Romantic adventure abounds as Peck rescues his bride but finds himself in a schooner race through appalling gale conditions from San Francisco to seal-hunting grounds off Alaska, where they run afoul of occupying Russian authorities. THE WORLD IN HIS ARMS is a gorgeously photographed film, with an unusually dark, velvety palette, and one that demands to be seen on 35mm!</span></p> Sunday, May 31 EC: ZVENIGORA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44234 <p>Dovzhenko&rsquo;s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a &ldquo;cinematic poem&rdquo; as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: &ldquo;I did not so much make the picture as sing it out like a songbird.&rdquo;</p> Sunday, May 31 MOONFLEET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44281 <p><span style="font-family: Times New Roman; font-size: small;">With Stewart Granger, George Sanders, Joan Greenwood, and Viveca Lindfors. Thanks to Warner Brothers.<br /><br />Though it&rsquo;s rarely identified as such, MOONFLEET is in the very top tier of Fritz Lang&rsquo;s oeuvre: a work of profound emotional resonance and conviction, it&rsquo;s among the greatest of all films on the subject of childhood. Based on an 1898 novel by J. Meade Faulkner, it tells the story of John Mohune, a young orphan thrust into a perilous, cutthroat world of smugglers, pirates, and other criminals. Left with no family, John presents himself to his mother&rsquo;s ex-lover, the shady Jeremy Fox, who at first considers his unexpected charge an unwelcome burden but gradually forms a bond with the child. A gothic melodrama with the flavor of a fairy tale, MOONFLEET is both a rousing adventure and a deeply moving chronicle of innocence and sacrifice in a cruel world.</span></p> Sunday, May 31 SHE WORE A YELLOW RIBBON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44268 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With Joanne Dru, John Agar, Ben Johnson, Harry Carey Jr., and Victor McLaglen. Preserved by the UCLA Film &amp; Television Archive.<br /><br />&ldquo;Of all John Ford&rsquo;s lyrical films, this 1949 feature is the one that most nearly leaves narrative behind; it is pure theme and variation, centered on the figure of a retiring cavalry officer (John Wayne, playing with strength and conviction a man well beyond his actual age). The screenplay (by Frank Nugent and Laurence Stallings) is entirely episodic, and it ends in a magnificently sustained series of anticlimaxes, suggesting it could spin out forever. In Ford&rsquo;s superbly creative hands, it becomes perhaps the only avant-garde film ever made about the importance of tradition.&rdquo; &ndash;Dave Kehr, CHICAGO READER</span></p> Monday, June 01 M http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44257 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With David Wayne, Howard Da Silva, and Raymond Burr. Preserved by the Library of Congress.<br /><br />It&rsquo;s impossible to imagine improving upon Fritz Lang&rsquo;s legendary M (1931), which contains one of the greatest performances of all time courtesy of Peter Lorre. But a film by Joseph Losey is nothing to sneeze at, especially one from his fascinating American period (before he was blacklisted and relocated to the UK). And comparisons to Lang/Lorre aside, his version of M is a terrific, tightly constructed work, and a prime example of 1950s Hollywood filmmaking. Boasting incredible LA location work, with unforgettable sequences set in the now-vanished Bunker Hill neighborhood and in the famous Bradbury building (whose highly picturesque atrium has been utilized in films including BLADE RUNNER and D.O.A.), M is a remarkable achievement in its own right.</span></p> Monday, June 01 TAZA, SON OF COCHISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44299 <p><span style="font-family: Times New Roman; font-size: small;">With Rock Hudson. Print courtesy of the ConstellationCenter Collection at the Academy Film Archive.<br /><br />Among his most rarely-screened films, Douglas Sirk&rsquo;s Technicolor western TAZA, SON OF COCHISE features Rock Hudson as Taza, a young Apache who believes in peace but whose brother thirsts for war. Originally shot in 3D, but never released in that form, TAZA remains a visually stunning work, replete with masterful widescreen compositions and lyrical location photography. And while the casting of Hudson as an Apache is all too easy to ridicule, Sirk elicits a performance from his leading man that, in its sensitivity and soulfulness, points towards their work together on masterpieces such as MAGNIFICENT OBSESSION, ALL THAT HEAVEN ALLOWS, and WRITTEN ON THE WIND.</span></p> Tuesday, June 02 LILIOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44302 <p><span style="font-family: Times New Roman; font-size: small;">RESTORATION PRINT!<br /><br />With Charles Farrell, Rose Hobart, and Lee Tracy. Archival print courtesy of 20th Century Fox.<br /><br />Ferenc Molnar&rsquo;s 1909 play LILIOM has been well served cinematically &ndash; the 1934 adaptation by Fritz Lang was preceded just four years earlier by a version directed by the somewhat more obscure but no less masterful Frank Borzage. The play concerns the relationship between a working-class young woman named Julia and Liliom, a carnival barker who loves but abuses her. After Julia becomes pregnant, Liliom is killed in a robbery intended to finance their future life. Doomed to spend his afterlife in purgatory, he&rsquo;s eventually given one day to earn entry to heaven by doing a good deed for Julia and their daughter. It&rsquo;s hard to imagine two directors whose sensibilities were further apart than Borzage and Lang, and true to form, Borzage&rsquo;s LILIOM is the more deeply felt of the two. Focusing on Julia at least as much as Liliom, Borzage creates a typically luminous, frankly emotional paean to the transfiguring power of love.</span></p> Tuesday, June 02 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44402 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, June 03 MOONFLEET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44282 <p><span style="font-family: Times New Roman; font-size: small;">With Stewart Granger, George Sanders, Joan Greenwood, and Viveca Lindfors. Thanks to Warner Brothers.<br /><br />Though it&rsquo;s rarely identified as such, MOONFLEET is in the very top tier of Fritz Lang&rsquo;s oeuvre: a work of profound emotional resonance and conviction, it&rsquo;s among the greatest of all films on the subject of childhood. Based on an 1898 novel by J. Meade Faulkner, it tells the story of John Mohune, a young orphan thrust into a perilous, cutthroat world of smugglers, pirates, and other criminals. Left with no family, John presents himself to his mother&rsquo;s ex-lover, the shady Jeremy Fox, who at first considers his unexpected charge an unwelcome burden but gradually forms a bond with the child. A gothic melodrama with the flavor of a fairy tale, MOONFLEET is both a rousing adventure and a deeply moving chronicle of innocence and sacrifice in a cruel world.</span></p> Wednesday, June 03 RAMONA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44306 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With Dolores del Rio and Warner Baxter. Preserved by the Library of Congress.<br /><br />&ldquo;Helen Hunt Jackson&rsquo;s 1884 novel RAMONA, about the mixed-race ward of a California sheep rancher and her tragic love affair with a full-blooded Indian, had long haunted the American imagination, inspiring a stage adaptation and at least two previous films (two more would follow) before this visually stunning 1928 interpretation directed by Edwin Carewe, a rare Hollywood filmmaker of Native American descent. The Mexican actress Dolores del Rio stars as the title character; her tortured lover is the somewhat less convincing Warner Baxter.&rdquo; &ndash;MoMA</span></p> Wednesday, June 03 THE MASQUE OF THE RED DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44261 <p><span style="font-family: Times New Roman; font-size: small;">With Vincent Price and Jane Asher. Thanks to Park Circus.<br /><br />Made with a (slightly) bigger budget and longer shooting schedule than the previous films in his Edgar Allan Poe cycle, MASQUE found Corman (with the help of cinematographer and future director Nicolas Roeg) enjoying greater freedom to explore new stylistic paths, resulting in one of the most visually striking of the Poe films, and arguably Corman&rsquo;s masterpiece.<br /><br />&ldquo;[A] work of consummate imaginative power and originality. In medieval Italy, the devil-worshipping Prince Prospero (Price) abducts an innocent village girl (Asher) and tries to interest her in his diabolical goings-on while the plague rages outside his castle. This is both beautiful and horrifying, with a fine sense of ambiguity and a wealth of subtleties.&rdquo; &ndash;Don Druker, CHICAGO READER</span></p> Thursday, June 04 MARIA PETSCHNIG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44377 <p>Maria Petschnig is an Austrian-born, New York-based artist who works in video, performance, and installation. Described by NEW YORK TIMES critic Karen Rosenberg as presenting a &ldquo;gentler version of Viennese Actionism&rsquo;s extreme body art or of the gender-bending epics of Matthew Barney,&rdquo; Petschnig&rsquo;s powerfully provocative and strangely funny videos explore a seedy, awkward kind of eroticism, constantly inverting subject-object relations with a keen understanding of the body and sexuality. Her lens captures a world that is fetishized, disquieting, and humorous, realized in dry, dark fantasies and crude dystopias. The videos posit a contemporary response to the old politics of identity by challenging the viewer to avoid an easy alliance with third-wave feminism&rsquo;s reclaiming of sexuality as power. Instead, these intimate performances in front of (rather than for) the camera suggest a representation of pathos and loneliness among society&rsquo;s fringe. Her work has screened widely at venues including Random Institute, Zurich, Switzerland (2015), Kino Arsenal, Berlin (2014), On Stellar Rays, New York (2013), and Performa 11, New York (2011) amongst many others.<br /><br />This program celebrates the publication of a book on Petschnig&rsquo;s work titled NINETEEN VIDEOS that will be co-published this May by Black Dog Publishing, London, and On Stellar Rays Gallery, New York, with support from The Austrian Federal Chancellery and the Austrian Cultural Forum New York.<br /><br />HOLODECK (2002/08, 2 min, video)<br />MINNIE (2007, 6 min, video)<br />PETSCHSNIGGLE (2013, 6 min, digital)<br />PEEP (2003, 6 min, video)<br />C. (2014, 28 min, digital. <strong>World premiere screening!)<br /></strong>VASISTAS (2013, 5 min, digital)<br />STEPPIN&rsquo; OUT FOR LUNCH (2013, 6 min, digital)<br />PAREIDOLIA (2008, 3 min, video)<br /><br />Total running time: ca. 65 min.</p> Thursday, June 04 THE WORLD IN HIS ARMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44278 <p><span style="font-family: Times New Roman; font-size: small;">With Gregory Peck and Anthony Quinn. Thanks to Universal Pictures.<br /><br />Rousingly directed by Walsh, this film features Gregory Peck as the captain of a seagoing schooner whose wife is abducted on their wedding day by a Russian prince. Romantic adventure abounds as Peck rescues his bride but finds himself in a schooner race through appalling gale conditions from San Francisco to seal-hunting grounds off Alaska, where they run afoul of occupying Russian authorities. THE WORLD IN HIS ARMS is a gorgeously photographed film, with an unusually dark, velvety palette, and one that demands to be seen on 35mm!</span></p> Thursday, June 04 THE LAST WAGON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44265 <p><span style="font-family: Times New Roman; font-size: small;">With Richard Widmark. Archival print courtesy of 20th Century Fox.<br /><br />&ldquo;A study in race-hate the Old Western way, this worthy follow-up to BROKEN ARROW finds director Delmer Daves returning to Arizona&rsquo;s Martian valleys and mesas, this time filming in overwhelming, hallucinatory CinemaScope. George Mathews&rsquo;s swinish Sheriff Bull Harper is bringing Richard Widmark&rsquo;s &lsquo;Comanche&rsquo; Todd to justice for the murder of the other three Harper brothers. But when the wagon train of settlers that they&rsquo;re traveling with is attacked by Apaches, the despised Todd, who has lived most of his life with the Indians, becomes the last line of defense for the few surviving youths of the party, leading them through the &lsquo;Canyon of Death&rsquo; in a wagon made from the remaining wreckage.&rdquo; &ndash;Nick Pinkerton<br /><br />The archival 35mm print we screened during our 2013 Delmer Daves retrospective was among the most revelatory and eye-popping we&rsquo;ve ever had the privilege of projecting, and we&rsquo;re overjoyed to have the opportunity to bring it back!</span></p> Friday, June 05 JUD YALKUT IS HAPPENING!: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44350 <p>A wholly unique figure from the heyday of the NY underground, Jud Yalkut (1938-2013) was a multi-media pioneer whose radical films and videos remain as trippy and innovative today as they were back then. Born and raised in NYC, Yalkut studied literature before turning to experimental cinema in the early 1960s. A member of the groundbreaking collective USCO and an early creative partner of Nam June Paik, Yalkut collaborated with or documented a who&rsquo;s who of important artists while also making his own distinguished films. He left for Dayton in 1973 to spearhead the film and video department at Wright State University and continued to be a major figure in the Ohio arts scene for the rest of his life. Yalkut&rsquo;s expansive body of work deserves serious reinvestigation, and these two tribute programs celebrate his unique accomplishments by presenting some of his best-known works alongside an exciting array of never-before-seen footage.<br /><br />Presented in collaboration with Electronic Arts Intermix (eai.org).<br /><br />Special thanks to Peg Rice.<br /><br />PROGRAM 1:<br />The first three films in this freewheeling program were made by Yalkut while part of the influential USCO group in the mid-1960s. The other exciting titles represent a selection from the plethora of camera rolls and raw footage included in Yalkut&rsquo;s voluminous collection that were recently acquired by Anthology. These spectacular reels present rare documentation of many of the prime movers and shakers of the era.<br /><br />TURN TURN TURN (1966, 10 min, 16mm)<br />DIFFRACTION FILM (1965, 10 min, 16mm)<br />US DOWN BY THE RIVERSIDE (1966, 3 min, 16mm)<br />CHARLOTTE MOORMAN IN COCA COLA HAPPENING AT JUDSON HALL (1966, ca. 3 min, 16mm-to-digital, silent)<br />COKE IS HAPPENING COMMERICAL (ca. 1966, 1 min, 16mm-to-digital, silent)<br />GIDEON BACHMANN AND WEST GERMAN TELEVISION CREW AT USCO CHURCH (ca. 1967, ca. 3 min, 16mm-to-digital, silent)<br />LIVING THEATER IN &ldquo;THE MYSTERIES&rdquo; (ca. 1968, ca. 3 min, 16mm-to-digital, silent)<br />BEATLES CONCERT AT SHEA STADIUM (ca. 1966, ca. 3 min, 16mm-to-digital, silent)<br />LOWER EAST SIDE MONTAGE (ca. 1960s, ca. 3 min, 16mm-to-digital, silent)<br />WBAI RADIO NAKED HAPPENING (ca. 1960s, ca. 3 min, 16mm-to-digital, silent)<br />DIETER ROT, VIDEOTAPE STUDY BY PAIK (ca. 1960s, ca. 3 min, 16mm-to-digital, silent)<br />MUSICA ELECTRONICA VIVA (M.E.V.) AT THE BROOKLYN ACADEMY OF MUSIC (1967, ca. 3 min, 16mm-to-digital, silent)<br /><br />Total running time: ca. 55 min.</p> Friday, June 05 SHE WORE A YELLOW RIBBON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44269 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With Joanne Dru, John Agar, Ben Johnson, Harry Carey Jr., and Victor McLaglen. Preserved by the UCLA Film &amp; Television Archive.<br /><br />&ldquo;Of all John Ford&rsquo;s lyrical films, this 1949 feature is the one that most nearly leaves narrative behind; it is pure theme and variation, centered on the figure of a retiring cavalry officer (John Wayne, playing with strength and conviction a man well beyond his actual age). The screenplay (by Frank Nugent and Laurence Stallings) is entirely episodic, and it ends in a magnificently sustained series of anticlimaxes, suggesting it could spin out forever. In Ford&rsquo;s superbly creative hands, it becomes perhaps the only avant-garde film ever made about the importance of tradition.&rdquo; &ndash;Dave Kehr, CHICAGO READER</span></p> Friday, June 05 GEORGE QUASHA’S ‘POETRY IS: SPEAKING PORTRAITS’ http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44361 <p>Poets responding to the impossible but inevitable question: What is poetry? Result: a close-up of the normally private space of art definition. For his tripartite project begun in 2002, <em>art is/poetry is/music is</em>, Quasha has recorded over one thousand artists/poets/musicians of all kinds in 11 countries and 24 languages, and the ongoing work has been exhibited internationally in museums, galleries, and other public venues, as well as extensively online. Quasha terms this &ldquo;a work in intimate speaking portraiture.&rdquo; The often prolonged initial conversations are edited to several minutes and show only the full-screen face of the speaking poet.<br /><br />This program features new portraits, comprising Volume II of <em>poetry is</em>, presented along with panel discussions by several of the poets filmed, including Charles Bernstein, Elaine Equi, Patricia Spears Jones, Vincent Katz, Jerome Sala, and Charles Stein, as well as George Quasha. Co-directors and hosts of the event are poets Kimberly Lyons and Vyt Bakaitis. Previous volumes and further commentary can be seen at quasha.com/art-is.<br /><br /><strong><em>This all-day event, to be held on Saturday, June 6 in the Maya Deren Theater, will be open to all and free of charge.</em></strong></p> Saturday, June 06 MOONFLEET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44283 <p><span style="font-family: Times New Roman; font-size: small;">With Stewart Granger, George Sanders, Joan Greenwood, and Viveca Lindfors. Thanks to Warner Brothers.<br /><br />Though it&rsquo;s rarely identified as such, MOONFLEET is in the very top tier of Fritz Lang&rsquo;s oeuvre: a work of profound emotional resonance and conviction, it&rsquo;s among the greatest of all films on the subject of childhood. Based on an 1898 novel by J. Meade Faulkner, it tells the story of John Mohune, a young orphan thrust into a perilous, cutthroat world of smugglers, pirates, and other criminals. Left with no family, John presents himself to his mother&rsquo;s ex-lover, the shady Jeremy Fox, who at first considers his unexpected charge an unwelcome burden but gradually forms a bond with the child. A gothic melodrama with the flavor of a fairy tale, MOONFLEET is both a rousing adventure and a deeply moving chronicle of innocence and sacrifice in a cruel world.</span></p> Saturday, June 06 HOPPITY GOES TO TOWN aka MR. BUG GOES TO TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44275 <p><span style="font-family: Times New Roman; font-size: small;">I.B. TECHNICOLOR PRINT!<br /><br />Archival print courtesy of the University of North Carolina School of the Arts.<br /><br />Originally released as MR. BUG GOES TO TOWN, HOPPITY is one of only two feature films created by the great Dave and Max Fleischer who, thanks to their work on Betty Boop, Popeye, and other peerless animation classics, are among the giants of American pop culture. Made two years after their first feature, GULLIVER&rsquo;S TRAVELS, HOPPITY was a financial disaster for the Fleischers &ndash; the costly production (as well as the brothers&rsquo; fraying relationship) helped hasten the demise of their studio, and the timing of the film&rsquo;s release, which happened to fall two days before the cataclysm of Pearl Harbor, further doomed it. Nevertheless, the Fleischers&rsquo; fecund imagination and their brilliant, highly distinctive style of animation are fully in evidence. HOPPITY is a woefully neglected work from these American masters.</span></p> Saturday, June 06 JUD YALKUT IS HAPPENING!: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44352 <p>A wholly unique figure from the heyday of the NY underground, Jud Yalkut (1938-2013) was a multi-media pioneer whose radical films and videos remain as trippy and innovative today as they were back then. Born and raised in NYC, Yalkut studied literature before turning to experimental cinema in the early 1960s. A member of the groundbreaking collective USCO and an early creative partner of Nam June Paik, Yalkut collaborated with or documented a who&rsquo;s who of important artists while also making his own distinguished films. He left for Dayton in 1973 to spearhead the film and video department at Wright State University and continued to be a major figure in the Ohio arts scene for the rest of his life. Yalkut&rsquo;s expansive body of work deserves serious reinvestigation, and these two tribute programs celebrate his unique accomplishments by presenting some of his best-known works alongside an exciting array of never-before-seen footage.<br /><br />Presented in collaboration with Electronic Arts Intermix (eai.org).<br /><br />Special thanks to Peg Rice.<br /><br />PROGRAM 2:<br />Yalkut&rsquo;s moving image work transcended and transformed media as he explored and merged film, video, expanded cinema, performance, and installation. This approach embodied the &ldquo;intermix&rdquo; that was at the core of Howard Wise&rsquo;s founding manifesto for Electronic Arts Intermix, the nonprofit media arts center and distributor, which remains alive and well today and will be co-presenting this program. Starting in 1966 and continuing into the 1970s, he collaborated with Nam June Paik on a series of significant video-film pieces, creating extraordinary conversations between the medium of film and the electronic manipulations of video. These ideas extended to kinetic reworkings of performances and art events, as seen in his 1973 video realization of Paik and Charlotte Moorman performing John Cage&rsquo;s 26&rsquo;.1.1499&rdquo; FOR STRING PLAYER, and his digital rendering of Moholy-Nagy&rsquo;s 1930 kinetic sculpture LIGHT-SPACE MODULATOR.<br /><br />26&rsquo;1.1499&rdquo; FOR A STRING PLAYER (1973, 42 min, video)<br />LIGHT DISPLAY: COLOR (2002, 7 min, digital, silent)<br />VIDEO SYNTHESIZER AND &ldquo;TV CELLO&rdquo; COLLECTIBLES (1965-71, 23.5 min (excerpts), video, silent)<br />VIDEO-FILM CONCERT (1966-72, 34.5 min (excerpts), video, b&amp;w/color)<br /><br />Total running time: ca. 80 min.</p> Saturday, June 06 THE MASQUE OF THE RED DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44262 <p><span style="font-family: Times New Roman; font-size: small;">With Vincent Price and Jane Asher. Thanks to Park Circus.<br /><br />Made with a (slightly) bigger budget and longer shooting schedule than the previous films in his Edgar Allan Poe cycle, MASQUE found Corman (with the help of cinematographer and future director Nicolas Roeg) enjoying greater freedom to explore new stylistic paths, resulting in one of the most visually striking of the Poe films, and arguably Corman&rsquo;s masterpiece.<br /><br />&ldquo;[A] work of consummate imaginative power and originality. In medieval Italy, the devil-worshipping Prince Prospero (Price) abducts an innocent village girl (Asher) and tries to interest her in his diabolical goings-on while the plague rages outside his castle. This is both beautiful and horrifying, with a fine sense of ambiguity and a wealth of subtleties.&rdquo; &ndash;Don Druker, CHICAGO READER</span></p> Saturday, June 06 LILIOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44303 <p><span style="font-family: Times New Roman; font-size: small;">RESTORATION PRINT!<br /><br />With Charles Farrell, Rose Hobart, and Lee Tracy. Archival print courtesy of 20th Century Fox.<br /><br />Ferenc Molnar&rsquo;s 1909 play LILIOM has been well served cinematically &ndash; the 1934 adaptation by Fritz Lang was preceded just four years earlier by a version directed by the somewhat more obscure but no less masterful Frank Borzage. The play concerns the relationship between a working-class young woman named Julia and Liliom, a carnival barker who loves but abuses her. After Julia becomes pregnant, Liliom is killed in a robbery intended to finance their future life. Doomed to spend his afterlife in purgatory, he&rsquo;s eventually given one day to earn entry to heaven by doing a good deed for Julia and their daughter. It&rsquo;s hard to imagine two directors whose sensibilities were further apart than Borzage and Lang, and true to form, Borzage&rsquo;s LILIOM is the more deeply felt of the two. Focusing on Julia at least as much as Liliom, Borzage creates a typically luminous, frankly emotional paean to the transfiguring power of love.</span></p> Sunday, June 07 EC: THE PARSON’S WIDOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44379 <p>(PR&Auml;ST&Auml;NKAN)<br /><br />A lyrical, early Dreyer comedy. A young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fianc&eacute;e is his sister. The master&rsquo;s touch is evident in the close-ups of the pastor&rsquo;s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.</p> Sunday, June 07 THE CRANES ARE FLYING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44272 <p><span style="font-family: Times New Roman; font-size: small;">(LETYAT ZHURAVLI)<br /><br />With Tatiana Samoilova and Alexei Batalov. Archival print courtesy of the Harvard Film Archive.<br /><br />&ldquo;One of the most acclaimed Soviet films of all time. Set during WWII, it is a tragic story of the shattering of love and youthful ambitions by war. Two young sweethearts, Veronica (Tatiana Samoilova) and Boris (Alexei Batalov), are certain they will marry and live happily ever after. Then, Boris volunteers for the army. Kalatozov employs the kind of visually extravagant style that had been prohibited by Stalinist dogma since the silent era. With its unusual angles, huge close-ups, and bravura editing techniques, the film recalls the best of the Soviet masters Pudovkin, Dovzhenko, and Eisenstein. It is also distinguished by extraordinary performances, especially that of Samoilova, and by a sense of personal intimacy unique in the Soviet cinema of its time.&rdquo; &ndash;Judy Bloch, PACIFIC FILM ARCHIVE</span></p> Sunday, June 07 M http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44258 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With David Wayne, Howard Da Silva, and Raymond Burr. Preserved by the Library of Congress.<br /><br />It&rsquo;s impossible to imagine improving upon Fritz Lang&rsquo;s legendary M (1931), which contains one of the greatest performances of all time courtesy of Peter Lorre. But a film by Joseph Losey is nothing to sneeze at, especially one from his fascinating American period (before he was blacklisted and relocated to the UK). And comparisons to Lang/Lorre aside, his version of M is a terrific, tightly constructed work, and a prime example of 1950s Hollywood filmmaking. Boasting incredible LA location work, with unforgettable sequences set in the now-vanished Bunker Hill neighborhood and in the famous Bradbury building (whose highly picturesque atrium has been utilized in films including BLADE RUNNER and D.O.A.), M is a remarkable achievement in its own right.</span></p> Sunday, June 07 THE WORLD IN HIS ARMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44279 <p><span style="font-family: Times New Roman; font-size: small;">With Gregory Peck and Anthony Quinn. Thanks to Universal Pictures.<br /><br />Rousingly directed by Walsh, this film features Gregory Peck as the captain of a seagoing schooner whose wife is abducted on their wedding day by a Russian prince. Romantic adventure abounds as Peck rescues his bride but finds himself in a schooner race through appalling gale conditions from San Francisco to seal-hunting grounds off Alaska, where they run afoul of occupying Russian authorities. THE WORLD IN HIS ARMS is a gorgeously photographed film, with an unusually dark, velvety palette, and one that demands to be seen on 35mm!</span></p> Monday, June 08 TAZA, SON OF COCHISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44300 <p><span style="font-family: Times New Roman; font-size: small;">With Rock Hudson. Print courtesy of the ConstellationCenter Collection at the Academy Film Archive.<br /><br />Among his most rarely-screened films, Douglas Sirk&rsquo;s Technicolor western TAZA, SON OF COCHISE features Rock Hudson as Taza, a young Apache who believes in peace but whose brother thirsts for war. Originally shot in 3D, but never released in that form, TAZA remains a visually stunning work, replete with masterful widescreen compositions and lyrical location photography. And while the casting of Hudson as an Apache is all too easy to ridicule, Sirk elicits a performance from his leading man that, in its sensitivity and soulfulness, points towards their work together on masterpieces such as MAGNIFICENT OBSESSION, ALL THAT HEAVEN ALLOWS, and WRITTEN ON THE WIND.</span></p> Monday, June 08 AFA MEMBERS ONLY – A MIDSUMMER NIGHT’S DREAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44334 <p><span style="font-family: Times New Roman; font-size: small;">(</span><span style="font-family: Times New Roman; font-size: small;">SEN NOCI SVATOJ&Aacute;NSK&Eacute;)<br /><br /></span><span style="font-family: Times New Roman; font-size: small;">AFA MEMBERS ONLY &ndash; FREE SCREENING!<br /><br />Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology&rsquo;s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings &ndash; free and open only to members &ndash; we sweeten the pot even further.<br /><br />Print courtesy of the Ron Merk Collection at the Academy Film Archive.<br /><br />This calendar&rsquo;s AFA Members Only event dovetails with our &ldquo;This Is Celluloid: 35mm&rdquo; series. Thanks to the Academy Film Archive, we will be screening a mint condition 35mm print of legendary Czech animator Jir&iacute; Trnka&rsquo;s masterpiece, A MIDSUMMER NIGHT&rsquo;S DREAM, in its original Czech-language version! For this highly faithful adaptation of Shakespeare&rsquo;s play, created using brilliantly designed and painstakingly crafted puppets (the train of Titania&rsquo;s dress, for instance is composed of dozens of individually animated fairies), Trnka spared no expense in order to shoot on glorious Eastmancolor stock, resulting in a film of great visual beauty. Rarely screened today, A MIDSUMMER NIGHT&rsquo;S DREAM is a pinnacle of puppet animation and a treat in every sense.</span><strong><span style="font-family: Times New Roman; font-size: small;"><br /><br />Beer and pizza reception at 7:00!</span></strong></p> Tuesday, June 09 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44403 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, June 10 RAMONA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44307 <p><span style="font-family: Times New Roman; font-size: small;">PRESERVATION PRINT!<br /><br />With Dolores del Rio and Warner Baxter. Preserved by the Library of Congress.<br /><br />&ldquo;Helen Hunt Jackson&rsquo;s 1884 novel RAMONA, about the mixed-race ward of a California sheep rancher and her tragic love affair with a full-blooded Indian, had long haunted the American imagination, inspiring a stage adaptation and at least two previous films (two more would follow) before this visually stunning 1928 interpretation directed by Edwin Carewe, a rare Hollywood filmmaker of Native American descent. The Mexican actress Dolores del Rio stars as the title character; her tortured lover is the somewhat less convincing Warner Baxter.&rdquo; &ndash;MoMA</span></p> Wednesday, June 10 LILIOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2015#showing-44304 <p><span style="font-family: Times New Roman; font-size: small;">RESTORATION PRINT!<br /><br />With Charles Farrell, Rose Hobart, and Lee Tracy. Archival print courtesy of 20th Century Fox.<br /><br />Ferenc Molnar&rsquo;s 1909 play LILIOM has been well served cinematically &ndash; the 1934 adaptation by Fritz Lang was preceded just four years earlier by a version directed by the somewhat more obscure but no less masterful Frank Borzage. The play concerns the relationship between a working-class young woman named Julia and Liliom, a carnival barker who loves but abuses her. After Julia becomes pregnant, Liliom is killed in a robbery intended to finance their future life. Doomed to spend his afterlife in purgatory, he&rsquo;s eventually given one day to earn entry to heaven by doing a good deed for Julia and their daughter. It&rsquo;s hard to imagine two directors whose sensibilities were further apart than Borzage and Lang, and true to form, Borzage&rsquo;s LILIOM is the more deeply felt of the two. Focusing on Julia at least as much as Liliom, Borzage creates a typically luminous, frankly emotional paean to the transfiguring power of love.</span></p> Wednesday, June 10