As Venice and Toronto wait in the wings just a week or so out, this year’s NYFF is shaping up to be just as intriguing a festival as any of the other major fall festivals, and to kick-start the week, they’ve decided to reveal some of their most intriguing additions yet.
First up, the films. The festival revealed new additions to their Masterworks line-up, which will include newly restored versions of Fellini’s Satyricon, the much talked about Heaven’s Gate restoration, as well as a director’s cut of Little Shop Of Horrors and even the premiere of a brand new version of The Rolling Stones ‘“ Charlie Is My Darling ‘“ Ireland 1965. Criterion fans will love to note that as far as discussions go, HBO will focus on some filmmakers with their Directors Dialogues series which will include Abbas Kiarostami (along with David Chase and Robert Zemeckis), and the On Cinema conversation will feature none other than the tag team of Noah Baumbach and Brian De Palma. The duo hand a discussion featured on the Blow Out Blu-ray released by Criterion, which is easily one of the best conversational pieces that the company has ever tossed onto one of their releases.
Personally, the Fellini film is the most interesting screening here, as it is a new restoration, and with a DVD now out of print here stateside, one would have to assume that a Blu-ray is on the way from someone (Criterion maybe?). For more information, here’s the full lineup:
NYFF Masterworks Added Films and Descriptions
Restorations, revivals and rediscoveries from cinema’s past, as they were meant to be seen on the big screen.
COUSIN JULES (Le cousin Jules)Â (1972) 91min
Director: Dominique Benicheti
A lost masterpiece of cinema, now beautifully restored and available for the first time in years, COUSIN JULES was the result of five years of painstaking work by director Dominique Benichetti and cinematographer Pierre-William Glenn. Over that period, the team photographed and recorded the daily lives of Jules (Benichetti’s cousin) and his wife, French farmers living alone in the countryside. The result is a ravishing, totally immersive work, in which we not only enter into the subjects’ world but also into the very rhythms of their lives, captured with a wonderful sensitivity that never feels condescending or clinical. Highly and widely praised when first seen in 1972, the film slipped from view after Benichetti turned his attention and talents to a host of other projects. Yet the memory of COUSIN JULES lingered for its small but devoted cult of admirers, and now thanks to the generosity of the Gould Family Foundation, and the restoration work done by Arane/Gulliver Laboratories in Paris, this extraordinary film is with us once again.
DOWNPOUR (Ragbar)Â (1972) 128min
Director: Bahram Beyza’i
A major figure in both pre- and post-revolutionary Iranian cinema, Bahram Beyza’i burst onto the scene with DOWNPOUR, his remarkable debut feature that won a Special Jury Prize at the First Tehran International Film Festival. Mr. Hekmati (Parviz Fanizadeh) arrives in the poor southern part of Tehran to take up a teaching post. When his students misbehave, he expels one of them. The next day, the boy’s older sister Atefeh comes to the school to plead her brother’s case. Smitten by her beauty, Mr. Hekmati is nevertheless reluctant to approach her, especially after he learns that her hand has already been promised to the local butcher. Beyza’i creates a powerful sense of a closed community still ruled by tradition, where custom always trumps individual desire. Thanks to its restoration by Martin Scorsese’s World Cinema Foundation, this key Iranian classic can now be discovered by new generations of filmgoers.Â In person: Bahram Beyza’i.
FELLINI SATYRICONÂ (1969) 128min
Director: Federico Fellini
Better late than never, perpetual NYFF bridesmaid Federico Fellini makes his very first festival appearance with this new restoration of his outrageous 1969 classic. In adapting the fragmented novelÂ SatyriconÂ by 1st Century AD author Petronius, Fellini sought, in his own words, ‘to eliminate the borderline between dream and imagination: to invent everything and then to objectify the fantasy; to get some distance from it in order to explore it as something all of a piece and unknowable.’ The result is a phantasmagoric odyssey through ancient Rome, following the misadventures of the student Encolpio and his on-again, off-again boy lover Gitone as they face imprisonment on a pirate ship, kidnap a hermaphrodite demi-god, fight a minotaur, and search for a cure for Encolpio’s impotence. And that’s not even the half of it! Earning Fellini the third of his four Best Director Oscar nominations, FELLINI SATYRICON has been restored to its original visual splendor under the supervision of legendary cinematographer Giuseppe Rotunno. A restoration by the Cineteca Nazionale, with the contribution of Dolce & Gabbana, presented by Ka Studio and Edoardo Ponti.
30th Anniversary screening
FIELD DIARY (Yoman Sadeh)Â (1982) 83min
Director: Amos Gitai
In 1982, Amos Gitai took a small camera crew to the West Bank and started filming the day-to-day business of the Israeli occupation. The result was a landmark in Israeli cinema; Gitai has spoken about the film as portraying the end of the ‘myth of the good occupation’’”the belief that, in the territories captured after the 1967 War, Israel would be a very different kind of occupying power; 15 years later, Gitai’s film shows the occupation in a very different light. FIELD DIARY also introduced what would become Gitai’s signature style: the long, lateral tracking shots that, as Yann Lardeau noted inÂ Cahiers du cinéma, ‘become a question of morality’¦we never enter into the reality of the war, but we always remain on the edge of the scene.’ Gitai will be on hand to introduce and discuss FIELD DIARY and its continuing relevance for Israel today.
In person: Amos Gitai.
HEAVEN’S GATEÂ (1980) 219min
Director: Michael Cimino
How many viewers who think they know the whole story behind Michael Cimino’s legendary western epic have ever actually seen the film in in its full, uncut, big-screen glory? Hastily pulled from American theaters one week into its release and subsequently reissued in a butchered version shorn of some 70 minutes, HEAVEN’S GATE has rarely been revived in the three decades since, even as it has been duly re-appraised by critics as an innovative masterpiece. (Just last year,Â Time Out LondonÂ ranked it twelfth in its list of the greatest westerns ever made, ahead of THE WILD BUNCH and UNFORGIVEN.) Now it returns in a stunning new restoration commissioned by The Criterion Collection and supervised by Cimino himself. Based on a despicable episode of rarely told American history, HEAVEN’S GATE recounts the 1892 land war between wealthy cattle barons and immigrant homesteaders in Johnson County, Wyoming’”a textbook case of the 99 percent versus the one, and a stinging indictment of American capitalism run amok. Caught in the middle are the lawman James Averill (Kris Kristofferson), the hired gun Nate Champion (Christopher Walken) and the woman (Isabelle Huppert, in her first major Hollywood role) who loves them both, an intimate drama that plays out against the painterly canvases of Cimino and cinematographer Vilmos Zsigmond. Featuring a stellar supporting cast that includes Joseph Cotten, Jeff Bridges, Sam Waterston and the young Mickey Rourke.
40th Anniversary screening
THE KING OF MARVIN GARDENSÂ (1972) 103min
Director: Bob Rafelson
Director Bob Rafelson and actor Jack Nicholson’s follow-up to their Oscar-nominated FIVE EASY PIECES didn’t meet with the same level of critical or commercial success, but 40 years later it endures as an even darker, more bleakly poetic portrait of bottomed-out lives in Vietnam-era America. Set during winter in the run-down resort town of Atlantic City, New Jersey (in the days before legalized gambling), THE KING OF MARVIN GARDENS stars the electrifying Bruce Dern as a small-time hustler who attempts to lure his estranged brother (Nicholson), an all-night Philadelphia radio DJ, into a sure-fire, get-rich-quick real estate scheme. The result is a real-life Monopoly game in which everyone goes bust and no one gets out of jail free. With ace support from Ellen Burstyn (as one half of the stepmother-stepdaughter act competing for Dern’s affections), the crackling dialogue of Rafelson and co-screenwriter Jacob Brackman, and the harshly beautiful cinematography of LÃ¡szlÃ³ KovÃ¡cs, THE KING OF MARVIN GARDENS stands as one of the great and largely unheralded American films of the ‘˜70s.
In person: Bob Rafelson.
LITTLE SHOP OF HORRORS (The Director’s Cut)Â (1986) 103min
Director: Frank Oz
Director Frank Oz’s ebullient film adaptation of the smash Off-Broadway musical’”itself based on a 1960 Roger Corman quickie’”developed an instant cult following for its gleefully macabre tale of star-crossed skid-row lovers (the incomparable Rick Moranis and Ellen Greene) brought together and nearly torn apart by a giant, man-eating plant from outer space. But the film that reached theaters differed from Oz and songwriters Howard Ashman and Alan Menken’s original vision, chiefly in a newly invented happy ending added after test audiences rejected the stage version’s darker, apocalyptic finale. For years, that deleted footage was viewable only on a special edition DVD that went out of print (at the behest of producer David Geffen) nearly as soon as it hit stores’”and then, only as degraded, black-and-white workprint footage. Now, three decades after its release, LITTLE SHOP OF HORRORS has been digitally restored to its original director’s cut, featuring 20 minutes of never-before-seen footage including the full original ending in glorious color! A Warner Home Video release.
In person: Frank Oz, Ellen Greene, film restorer Kurt Galvao.
THE MATTEI AFFAIR (Il caso Mattei)Â (1972) 116min
Director: Francesco Rosi
Just as Italy was beginning its industrial boom in the 1950s, businessman Enrico Mattei was developing the methane gas reserves found in the Po Valley’”not simply to enrich himself, but to make Italy energy-efficient and free of the control of the multinational energy companies, the ‘seven sisters.’ Working through public companies, Mattei struck deals with Middle East oil producers, with Russia, and had even begun initial talks with China, when, in October 1962, his private plane crashed just outside Milan Airport. Unfortunate accident’”or assassination? Thanks to a beautiful restoration by Martin Scorsese’s Film Foundation, this masterpiece by the great Francesco Rosi can be seen once again. Co-winner of the Palme d’Or in Cannes, THE MATTEI AFFAIR is both a revealing investigation into Mattei’s death as well as a provocative assessment of his place in the postwar Italian economy. As Mattei, Gian Maria Volonté gives one of his greatest performances. Restored by Cineteca di Bologna at the lab L’Immagine Ritrovata in collaboration with The Film Foundation, Paramount Pictures and Museo Nazionale del Cinema of Turin. Restoration financed by Gucci, Eni, and The Film Foundation.
NATIVE SONÂ (1951) 104min
Director: Pierre Chenal
When the French director Pierre Chenal teamed with American novelist Richard Wright to create a film version of Wright’s controversial bestseller NATIVE SON, they quickly realized it would be impossible to make such a film in America. The year was 1950, with the Civil Rights Movement still in its infancy and Sidney Poitier just beginning to change the image of blacks in Hollywood movies’”and Wright’s novel dealt with that most taboo of subjects: a poor black man charged with the murder of a wealthy white woman. So Chenal and Wright decamped for Buenos Aires, where the author was cast in the lead role of the persecuted Bigger Thomas, and the story’s Chicago setting was meticulously reconstructed on the stages of Argentina Sono Film studio. When it was released the following year, NATIVE SON became a local critical and commercial success, but upon export to the U.S. the film was shorn of nearly 30 minutes’”including all of its most provocative racial content’”by the New York State Board of Censors. For decades, Chenal’s original version was feared lost, until a complete print recently resurfaced in Argentina, which provided the standard for this restoration undertaken by the Library of Congress. The results reveal a flawed but fascinating film light years ahead of its time in its depiction of race, as well as a rare, very stylish example of African-American film noir. Special thanks for this screening to Edgardo Krebs (Smithsonian Institution) and Fernando Martin PeÃ±a (Malba Museo de Arte Latinoamerico de Buenos Aires), who teamed to recover the film and research its complicated history. The screening will be followed by a discussion with Edgardo Krebs and journalist Stanley Crouch.
NOTHING BUT A MANÂ (1964) 95min
Director: Michael Roemer
A true landmark of American cinema, NOTHING BUT A MAN brought to fiction filmmaking the look and style of the new ‘cinema vérité’ documentary, from which both director Michael Roemer (THE PLOT AGAINST HARRY) and cinematographer Robert M. Young emerged. The film follows the relationship between the African-Americans Duff Anderson (Ivan Dixon) and Josie Dawson (Abby Lincoln). Duff decides it’s time to settle down with Josie, but her father, the local preacher, is opposed to the match. The two marry anyway, and then are forced to confront a host of problems, from illegitimate children to unemployment, racism and Duff’s drunken father. While never ignoring the social background, the film presents Duff and Josie as fully fleshed-out, complex and contradictory individuals, not merely archetypes or symbols. NOTHING BUT A MAN was added to the National Film Registry in 1993. A Cinema Conservancy Release of a Cinedigm/New Video Film. Restored by Library of Congress Packard Campus for Audio Visual Conservation.
In person: Michael Roemer, Robert M. Young.
OLD CZECH LEGENDS (Staré povesti ceské) (1953) 91min
Director: JiÅ™Ã Trnka
Among the many anniversaries to celebrate this year is the centenary of JiÅ™Ã Trnka, the great master of puppet animation whose contributions to that special art were as essential as Walt Disney’s were for cel animation. For his OLD CZECH LEGENDS, Trnka chose six classic folktales, while being careful to vary their tone and tempo, and transformed the jaded heroes of national legends into living characters’”incarnated, of course, by his specially made puppets. Yet beyond his mastery of puppetry was Trnka’s extraordinary grasp of cinema: his work is equally impressive for his innovative editing, lighting, and sound. Winner of just about every conceivable international film award, Trnka raised the bar for all puppet animators to come, and his influence can be powerfully felt in work by Jan Å jvankmayer and the Quay Brothers. Print courtesy of the Czech National Film Archive.
THE OVERCOAT (Shinel)Â (1926) 66min
Directors: Grigori Kozintsev and Leonid Trauberg
The marvelous Alloy Orchestra returns to NYFF to accompany this rarely screened masterpiece of Soviet cinema. A product of the FEKS group, a radical arts collective led by Grigori Kozintsev and Leonid Trauberg (who co-directed this film), FEKS productions combined aspects of circus, music hall, puppet show and American silent comedy. With Gogol’s tragicomic story, THE OVERCOAT, FEKS found fertile ground for experimentation. A minor clerk, Bashmachkin, replaces his threadbare overcoat with one made from the finest materials he can afford. Then one evening ruffians beat him up and steal his cherished new garment. The actors’ highly stylized gestures border on modern dance, and Bashmachkin’s world, especially as he begins to lose his grasp on reality, is powerfully rendered with looming shadows, oblique camera angles and eccentric architecture.
FILMSTUDIEÂ (1926) 7min
Director: Hans Richter
Hans Richter’s experimental Dadaist short, full of geometric shapes, seagulls, flying eyeballs and floating heads.
Re-IntroducingÂ Marnie:Â William Rothman on Hitchcock’s Last Masterpiece
MARNIEÂ (1964) 130min
Director: Alfred Hitchcock
For even die-hard Hitchcock fans, MARNIE has long proved somewhat of an enigma, with its admittedly bizarre tale of a thief (played by Tippi Hedren) with an unnatural fear of thunderstorms, men and the color red, who’s forced into marriage with Sean Connery, who likes to watch. Yet seen today, MARNIE seems clearly one of Hitchcock’s most ambitious works, a journey into some of the most dangerous psychological territory Hitchcock ever dared to explore, and a film way ahead of his time. Prof. William Rothman, the dean of American Hitchcock scholars, will introduce and then analyze MARNIE after our screening, the first presentation of a new chapter in the updated edition of his bookÂ Hitchcock: The Murderous Gaze.
RICHARD IIIÂ (1955) 161min
Director: Laurence Olivier
The third and arguably finest entry in Laurence Olivier’s lauded trilogy of big-screen Shakespeare adaptations, RICHARD III stars the actor-director in a bravura performance as the eponymous hunchback duke’”a role he first performed on stage at the Old Vic in 1944′”who will stop at nothing to wrest the throne away from his brother King Edward IV (Cedric Hardwicke). Featuring one of the finest British casts ever assembled on film, including John Gielgud as the ill-fated Duke of Clarence, Claire Bloom as Lady Anne, Ralph Richardson as the Duke of Buckingham and Stanley Baker as the Earl of Richmond, RICHARD III has been immaculately restored to its full Technicolor glory (and 161-minute running time) from the original VistaVision negative.
THE ROLLING STONES ‘“ CHARLIE IS MY DARLING – IRELAND 1965Â (1966/2012) 65min
Director: Peter Whitehead
In 1965 Andrew Loog Oldham, the Rolling Stones svengali, asked filmmaker Peter Whitehead (THE FALL, TONITE, LET’S ALL MAKE LOVE IN LONDON) to accompany them on a quick tour of Ireland. Whitehead was astonished. Not only by the incredible power of the Stones’ performances but especially by the raw energy of the crowds of young people that rushed them everywhere. This new version of this behind-the scenes diary of the early Stones has never been seen; Mick Gochanour and Robin Klein, the team that broughtÂ The Rolling Stones Rock and Roll CircusÂ to the screen, have painstakingly restored over 90,000 frames of optical screen prints and negative, going back to the original sound tapes and 3-track live recordings. Included are electrifying performances of ‘(I Can’t Get No) Satisfaction,’ ‘The Last Time,’ and ‘Time is on My Side.’ CHARLIE IS MY DARLING is an invaluable document, the unseen story of the band before they became a legend.
THE SATIN SLIPPER (Le soulier de satin)Â (1985) 410min
Director: Manoel de Oliveira
Countries: France/Portugal/West Germany/Switzerland
Manoel de Oliveira’s epic rendering of playwright Paul Claudel’s verse masterwork opens with a quote: ‘Everything happens for the glory of God, even sin.’ Set during Spain’s ‘Golden Age,’ the story then begins as DoÃ±a ProuhÃ¨ze, the wife of a Spanish nobleman, falls in love with Don Rodrigo; Rodrigo is sent to be the Governor of New Spain in America, while ProuhÃ¨ze becomes the ruler of Mogador in Africa. Yet despite their separation by oceans or continents, their love’”of course totally forbidden, and thus impossible’”continues to grow, sweeping up all those around them as well as the Spanish Empire in its wake. As always, Oliveira is a master at creating a sense of period and place from the most minimal of details, a talent well on display in a story of unrequited lovers that unfolds across several decades on four continents, the lovers’ separation only increasing the intensity of their feeling. Initially presented at the 1985 NYFF in a drastically edited version running two hours and 10 minutes, THE SATIN SLIPPER screens here at last in its full seven-hour cut. Print courtesy of the Cinemateca Portuguesa.
Cinéastes de notre temps/Cinéma, de notre temps (Filmmakers of Our Time)
Abel Ferrara: Not GuiltyÂ (2003) 81min
Director: Rafi Pitts
Franco-Iranian director Rafi Pitts arrives in New York to film a portrait of Abel Ferrara, only to find himself dodged by his elusive subject at every turn.
Alain Cavalier: 7 Chapters, 5 days, 2 Kitchens (Alain Cavalier, 7 chapitres, 5 jours, 2 piÃ¨ces-cuisine)Â (1995) 55min
Director: Jean-Pierre Limosin
The ‘Home Cinema’ of the Dardenne Brothers (Le home cinéma des frÃ¨res Dardenne)Â (2006) 52min
Director: Jean-Pierre Limosin
Episode director Jean-Pierre Limosin films his subject, filmmaker Alain Cavalier, in an intimate, personal style that echoes Cavalier’s own work; a decade later, he brings a similar approach to his portrait of brothers Luc and Jean-Pierre Dardenne.
Busby BerkeleyÂ (1971) 60min
Directors:Â Hubert Knapp & André S. Labarthe
A Conversation with George Cukor (Conversation avec George Cukor)Â (1969) 42min
Directors: Hubert Knapp & André S. Labarthe
Legendary director-choreographer Busby Berkeley discusses the technical challenges of his work; seated poolside, George Cukor details his influences and his work with actors.
Chantal Akerman by Chantal Akerman (Chantal Akerman par Chantal Akerman)Â (1997) 64min
Director: Chantal Akerman
Philippe Garrel, Artist (Philippe Garrel, Artiste)Â (1999) 48min
Director: FranÃ§oise Etchegaray
Approached to direct an episode of the series, Chantal Akerman turns the camera on herself; plus, a rare, intimate portrait of the enigmatic Philippe Garrel.
Erich von StroheimÂ (1965) 90min
Director: Robert Valery
One of the episodes devoted to filmmakers ‘unavailable for interviews’ (i.e. dead) focuses on the enigmatic von Stroheim and attempts to separate the man from his myth.
Eric Rohmer, Evidence (Eric Rohmer: Preuves Ã l’appui)Â (1996) 117min
Directors: André S. Labarthe in collaboration with Jean Douchet
Over eight days of filming, Eric Rohmer candidly discusses his work, the relationship of literature and film, and much else with co-interviewers Labarthe and Jean Douchet
HHH, A Portrait of Hou Hsiao-hsien (HHH, portrait de Hou Hsiao-hsien)Â (1996) 91min
Director: Olivier Assayas
The first series episode to garner a theatrical release finds Olivier Assayas following Hou Hsiao-Hsien on a disarming guided tour of Taiwan.
Jacques Rivette: The Night Watchman (Jacques Rivette le veilleur)Â (1990) 124min
Director: Claire Denis
The influential critic Serge Daney and filmmaker Claire Denis tag-team interviewed Jacques Rivette (for whom Denis had been an assistant) for this candid, two-part portrait.
Jean-Pierre Melville: A Portrait in 9 Poses (Jean-Pierre Melville (Portrait en 9 poses))Â (1971-1996) 52min
Director: André S. Labarthes
Catherine Breillat: The First Time (Catherine Breillat, la premiÃ¨re fois)Â (2011) 52min
Director: Luc Moullet
Labarthe’s reworked version of his film on Jean-Pierre Melville, shot during pre-production onÂ Un Flic; plus, Luc Moullet’s surprisingly tender look at Catherine Breillat and her controversial explorations of female sexuality.
Jean Renoir, The Boss: The Rule and the Exception (Jean Renoir le patron: La RÃ¨gle et l’exception)Â (1967) 95min
Director: Jacques Rivette
In the third part of aÂ CinéastesÂ triptych on Jean Renoir, the director sits alone in a cinema analyzing scenes fromÂ La MarseillaiseÂ andThe Rules of the Game, and discussing his editing and storytelling techniques.
Jean VigoÂ (1965) 94min
Director: Jacques Rozier
Jacques Rozier, director of the quintessential New Wave filmÂ Adieu PhilippineÂ looks at the life and work of the grandfather of all independent filmmakers, Jean Vigo.
Jerry Lewis (Part One)Â (1968) 56min
Director:Â André S. Labarthe
David Lynch, Don’t Look at MeÂ (1989) 59min
Director: Guy Girard
Labarthe captures Jerry Lewis during an extraordinary appearance before an audience of London film students in one of the series’ most unusual’”and best’”films; plus, David Lynch avoids explaining himself during the scoring ofÂ Wild at Heart.
John CassavetesÂ (1969) 50min
Directors: Hubert Knapp & André S. Labarthe
Rome is Burning (Portrait of Shirley Clarke)(‘Rome brÃ»le’ (Portrait de Shirley Clarke))Â (1970) 54min
Directors: NoÃ«l Burch & André S. Labarthe
Though it focused in its early days on the titans of old Hollywood, theÂ CinéastesÂ team also made time for the ‘New American Cinema,’ as seen in these two portraits of the mavericks John Cassavetes and Shirley Clarke.
Joseph LoseyÂ (1969) 58min
Director: André S. Labarthe
Otto Preminger and the Dangerous Woman (Portrait d’Otto Prmeinger)Â (1972-2012) 58min
Director: André S. Labarthe
Two uncompleted episodes of the series, consisting primarily of rushes from interviews with their respective subjects: Losey on the heels of his great triumph in Cannes withÂ The Go-BetweenÂ and Preminger in conversation with celebrated film scholar Annette Michelson.
Otar Iosseliani, The Whistling Blackbird (Otar Iosseliani, le merle siffleur)Â (2006) 92min
Director: Julie Bertucelli
A fascinating look at Georgian expat filmmaker Otar Iosseliani through the lens of his former assistant Julie Bertucelli, focused on his unique working methods and conception of cinema.
Raoul Walsh or the Good Old Days (Raoul Walsh ou le bon vieux temps)Â (1966) 62min
Directors: André S. Labarthe & Hubert Knapp
Josef von Sternberg: From Silence comes the Other (D’un silence l’autre)Â (1967) 50min
Director: André S. Labarthe
Newly retired from filmmaking, Raoul Walsh recounts his work with D.W. Griffith, his beginnings at Warner Brothers, and his adventures with Bogart, Flynn, Gable and Cooper; plus, the elderly Joseph von Sternberg laments the failure of critics and the public to truly understand his work.
Samuel Fuller, Independent FilmmakerÂ (1967) 68min
Director: André S. Labarthe
Fuller at the Editing Table (Cinéastes Ã la table: Samuel Fuller)Â (1982) 11min
Director: André S. Labarthe
One of the cinema’s great raconteurs, Fuller here takes on everything from racism to communism, and from money problems to wartime combat; plus, a short film made by Labarthe 15 years later from unused outtakes
The Scorsese MachineÂ (1990) 73min
Director: André S. Labarthe
Scorsese at the Editing Table (Cinéastes Ã la table: Martin Scorsese)Â (1995) 30min
Director: André S. Labarthe
In one of the series’ most widely seen episodes, Labarthe and his crew film Scorsese at his office, at home with his parents and elsewhere, allowing him to speak whenever he feels like it rather than asking conventional questions; in the subsequentÂ Scorsese at the Editing Table, Labarthe revisits the filmmaker to discuss several sequences fromÂ Taxi Driver.
Luis BuÃ±uel: A Filmmaker of Our Time (Luis BuÃ±uel: Un cinéaste de notre temps)Â (1964) 44min
Director: Robert Valery
Lang/Godard: The Dinosaur and the BabyÂ (1967) 61min
Director: André S. Labarthe
The inauguralÂ CinéastesÂ episode follows Luis BuÃ±uel on a visit to spain; plus, a one-of-a-kind 1964 conversation between Fritz Lang and Jean-Luc Godard.
The New Wave: Remedy or Poison? (La Nouvelle vague, remÃ¨de ou poison?)Â (1964) 38min
Director: Robert Valery
Wild Man Pasolini (Pasolini l’enragé)Â (1966-1991) 65min
Director: Jean-André Fieschi
Five years after the explosion of the French New Wave, Labarthe and collaborator Janine Bazin convened a roundtable of prominent filmmakers (plus Henri Langlois) to discuss the past, present and future of the movement; plus, critic and filmmaker Fieschi’s revised version of his portrait of Passolini at his most polemical.
Shohei Imamura: The Free Thinker (Shohei Imamura, Le libre penseur)Â (1995) 60min
Director: Paulo Rocha
One Day in the Life of AndreÃ¯ Arsenevitch (Un journée d’AndreÃ¯ Arsenevitch)Â (2000) 55min
Director: Chris Marker
Portuguese filmmaker Paul Rocha sets out to visit the the boldly iconoclastic Shohei Imamura, and Chris Marker delivers a brilliant study of AndreÃ¯ Tarkovsky in the final months of his working life.
Where Does Your Hidden Smile Lie? (OÃ¹ gÃ®t votre sourire enfoui?)Â (2001) 104min
Directors: Pedro Costa in collaboration with Thierry Lounas
Portuguese director Pedro Costa observes the husband-and-wife filmmaking team of Jean-Marie Straub and DaniÃ¨le Huillet as they create a new version of their filmÂ Sicilia!Â together with the art students at la Fresnoy in France.
Men of Cinema: Pierre Rissient and the Cinéma Mac-Mahon
LIEBELEIÂ (1933) 88min
Director: Max OphÃ¼ls
In turn-of-the-century Vienna, a young officer (Wolfgang Liebeneiner) and the daughter of a violinist (Magda Schneider, mother of Romy) fall in love and seem to be destined for happiness. Then, a duel over a married woman puts the lovers in jeopardy. Adapted from the play by Arthur Schnitzler (La Ronde), director Max OphÃ¼ls’ last German film before exile is a romantic excursion into desire’s unexpected detours. The young director’s first success shows that, from the start, he reveled in the way music and the moving camera could celebrate the birth and demise of love.
NIGHT AND THE CITYÂ (1950) 101min
Director:Â Jules Dassin
In one of Jules Dassin’s most exciting films, set in pre-Mod London, the great Richard Widmark stars as Harry Fabian, an ambitious hustler who wants to score big by promoting Greco-Roman wrestling, which he thinks will attract customers. Harry works for Philip Nosseross (Francis L. Sullivan), operator of a club with his backstabbing wife (Googie Withers), who dreams of dumping her fatso husband and starting her own place. In this rat race it’s all about control and money and what people will do to get them. The one exception is Gene Tierney, who loves and supports Widmark and tries to steer him in the direction of legitimate work, a patent impossibility.
OBJECTIVE, BURMA!Â (1945) 102min
Director: Raoul Walsh
In the sixth of their seven collaborations, Errol Flynn stars for director Raoul Walsh as the captain of a platoon of Army paratroopers who land behind enemy lines in Burma with the mission of destroying a Japanese radar station. The mission is a success, but when the soldiers attempt to leave, they find the Japanese waiting for them and must devise an alternate exit strategy in the heat of the moment. Loosely based on the real-life activities of the Army special ops unit under the command of Brigadier General Frank Merrill (also the inspiration for Sam Fuller’s MERRILL’S MARAUDERS) and released in the immediate aftermath of WWII, this superior war film finds Walsh at the peak of his lean, economical direction, featuring Flynn in one of his finest performances, magnificent black-and-white cinematography by the legendary James Wong Howe and an Oscar-nominated Franz Waxman score.
THE PROWLERÂ (1951) 92min
Director: Joseph Losey
Per Manny Farber, who picked it as one of the best films of 1951, THE PROWLER is ‘a tabloid melodrama of sex and avarice in suburbia, out of [James M.] Cain by Joe Losey, featuring almost perfect acting by Evelyn Keyes as a hot, dumb, average American babe who, finding the attentions of her disc-jockey husband beginning to pall, takes up with an amoral rookie cop (nicely hammed up by Van Heflin).’ Factor in a generous life insurance policy on the husband and, well, you get the idea. All that’s left to add is that Losey gets a visual lock on the world of the California bourgeoisie with the help of his cinematographer Arthur Miller. Partly ghostwritten by soon-to-be-blacklisted Dalton Trumbo, THE PROWLER is presented here in a beautiful new restoration by the UCLA Film and Television Archive and the Film Noir Foundation.
PURSUEDÂ (1947) 101min
Director: Raoul Walsh
Walsh’s powerful, very dark and Freudian film noir/western hybrid’”a favorite of Martin Scorsese’”stars Robert Mitchum as Jeb, the only survivor of a brutal massacre that wiped out the rest of his family when he was a young boy. Adopted into another family (led by chilly matriarch Judith Anderson) where he comes to fall in love with his foster sister (Teresa Wright), the now-adult Jeb still yearns to untangle the messy, suppressed memories of his childhood trauma, and of the mysterious one-armed man who has haunted and tormented him throughout his life. Told in elaborate flashback, with frequent mindscreens and other expressionistic touches, PURSUED opened up new paths for the western genre and remains one of Walsh’s paramount achievements.
THE TIGER OF ESCHNAPUR (Der Tiger von Eschnapur)Â (1959) 101min
Director: Fritz Lang
Countries: West Germany/France/Italy
After his long and prolific Hollywood career, Fritz Lang (M,Â Metropolis) returned to his native Germany at the behest of producer Artur Brauner and embarked on an ambitious two-film project that would eventually become known as his ‘Indian Epic.’ The source material was the novelÂ The Indian TombÂ by Thea von Harbou, a book Lang had initially been hired to direct as a silent film in 1921, before being fired and replaced with Joe May. In the first of the two films, THE TIGER OF ESCHNAPUR, Lang tells the story of a German architect (Paul Hubschmid) who arrives in India to build a temple for a Maharaja, whereupon the he promptly falls in love with the Maharaja’s intended bride (Debra Paget), whom he narrowly saves from becoming the titular tiger’s latest meal. Impeccably directed on a modest budget, en route to a thrilling cliffhanger ending, Lang’s late-career triumph proves the old adage that the enemy of art is the absence of limitations.
WHIRLPOOLÂ (1949) 98min
Director: Otto Preminger
“I cannot remember anything about this picture,” Otto Preminger once said, with a mixture of self-deprecation and utter contempt for his interviewer. Which is ironic, since it’s one of his best. Ann Sutton (Gene Tierney, owner of one of cinema’s sexiest overbites) has a shoplifting problem, and help arrives in the form of hypnotist David Korvo (José Ferrer), who convinces the store where she’s caught to drop all charges and leave her in his care. Hypnotism seems to be the cure-all, until Ann gets into even hotter water’”emerging from a trance next to a dead body and charged with a murder she didn’t commit. WHIRLPOOL ranks among the most fascinating and least known films of Preminger’s Fox period, when he brought his dry, mean poetic eye to bear on a variety of genre.
Source Press Release