(Victor Fleming, 1937) · A four-hour epic of the Old South, Civil War, and Reconstruction, Gone with the Wind ends with what the American Film Institute calls the most memorable line of all time. Leigh is conniving, enchanting, childish, and beautiful in Technicolor, amidst expansive sets from the most expensive production in Hollywood up to that time. An iconic movie and one of the most-watched of all time, this is a spectacle not to be missed on the big screen.
runtime: 238 min format: 35mm
(Frederick Wiseman, 1983) · Wiseman’s first feature in color depicts the flagship location of the Nieman-Marcus department store and their corporate headquarters in Dallas. As in his more recent doc Crazy Horse, the primary theme is the manufacturing of desire—in this case, for a wide variety of consumer goods. Desire turns out to be a complicated business, involving the work of countless stock clerks, salespeople, managers, marketing executives, and, as always, janitors.
runtime: 118 min format: 16mm
(Jack Arnold, 1957) · At a time in his career when no studio would hire Welles to direct, he turned to acting to finance his own projects, and Welles accepted the role of wealthy land baron Virgil Renchler in this modern-day Western noir. In this allegory of Fascism and corruption, an earnest sheriff (Jeff Chandler) investigates the brutal murder of a Mexican laborer. The tyrannical rancher Renchler is his first suspect and the inevitable showdown between good and evil ensues.
runtime: 80 min format: DCP
(Sergio Sollima, 1973) · “Makes Death Wish look like wishful thinking!” read the unbeatable tagline. When a prison warden's wife is kidnapped in exchange for the release of an inmate (Fabio Testi), the warden (Oliver Reed) kidnaps him himself to ensure her safety. More character-driven than most poliziotteschi, the film depicts the bond that forms between the two when they discover a common enemy. Reed’s drunken scowl is nicely complemented by Testi’s handsome charm.
runtime: 111 min format: 16mm
(Harold P. Warren, 1966) · Widely denigrated as one of the worst films ever made, Manos: The Hands of Fate has languished in purgatory for decades, but this restoration reveals it to be stranger, and greater than we thought. A family on a road trip takes a wrong turn and finds themselves locked in a house with a mad satyr named Torgo and the Master, a warlock who intends to add the wife and daughter to his demonic harem. Will they escape, or be forever wedded to the house's evils?
runtime: 74 min format: DCP
(Stanley Kubrick, 1968) · With only 40 minutes of dialogue, Kubrick's space odyssey often leaves the audience in the dark. Whether that is literally in the first few minutes of pure black screen with no music or by withholding any neat resolution or answers by the film’s end, Kubrick demands an emotional comprehension and concentration.This film is a singularly transcendent spectacle that still manages to be awe-inspiring and exhilarating even after the year 2001.
runtime: 141 min format: 35mm
(Mike Leigh, 2014) · The latest film from director Mike Leigh explores the last 25 years in the life and career of J.M.W. Turner, the eccentric 19th century "painter of light" renowned for his Romanticist landscapes. Featuring stunning ciematography by Dick Pope and starring Timothy Spall in a performance that earned him Best Actor at Cannes in 2014, Mr. Turner is an intimate portait of the art and relationships of an all too human genius working at the brink of a new era.
runtime: 150 min format: DCP
(Frank Tashlin, 1956) · Martin and Lewis again! Gambler Steve (Dino) has cheated his way into joint ownership of a raffled-off luxury car, but the legitimate winner (Jerry) is an obsessed movie fan who wants to drive to Hollywood with his gigantic dog Mr. Bascomb. Steve plans to steal the car the first chance he gets, but he slowly begins to warm up to his oddball companion. Meanwhile, Tashlin’s constantly-inventive gags and musical numbers are a feast for the eyes and ears.
runtime: 95 min format: DVD