(Tim Whelan, 1938) · Starting in the London streets and ending on the stage, Sidewalks Of London shows a woman’s rise from rags to riches, with lots of dance numbers along the way. The still relatively unknown Leigh would make her own transition to greater prominence a year later with her role in Gone With The Wind. Leigh brings the same confident fire to Libby, a pickpocket with a Cockney accent, that she would bring the following year to the role of Scarlett O’Hara.
runtime: 85 min format: DCP
(Frederick Wiseman, 1975) · “It’s impossible to emerge from such an experience unscathed,” wrote Jonathan Rosenbaum of this nightmarish portrait of a New York City welfare office, shot during the dog days of America’s 1970s recession. It is both vast and claustrophobic; the camera never leaves the inside of the building, locking us in with the many people waiting, seemingly without end, for public aid. Appropriately, the climax contains a reference to Waiting for Godot.
runtime: 167 min format: 16mm
(Orson Welles, 1958) · Charlton Heston abandons his honeymoon to investigate the explosion of a car bomb north of the Mexican border. Welles's iconic performance as police chief Hank Quinlan brings more than just a touch of sinister to the proceedings. Welles' last American production may also be the last great film noir of its era. Unappreciated in the US at its time of release, what once was thought of as campy pulp is now analyzed frame-by-frame for its technical mastery.
runtime: 95 min format: 35mm
(Damiano Damiani, 1971) · Franco Nero and Martin Balsam star as Palermo men of the law with similar ideals but different principles. Young D.A. Nero has faith in the justice system to punish criminals, while hardened captain Balsam believes extralegal methods are necessary. This pungent film gives equal consideration to both perspectives and is all the more cynical for it, showing the futility of good intentions in a city of organized crime and ingrained corruption.
runtime: 101 min format: 35mm
(Sean Branney, 2011) · This adaptation of the eponymous short story is a homage to early 1930s horror films. Albert Wilmarth investigates a series of strange happenings after a recent flood. He meets Henry Akeley, a farmer who believes aliens may be invading earth. But why is Akeley shrouded in darkness, and what horrors lurk in the mysterious cylinders he keeps in his home? Haunting and beautiful, this has been called the best adaptation of a Lovecraft tale.
runtime: 103 min format: DCP
(Stanley Kubrick, 1962) · English professor Humbert Humbert takes a room in the house of Charlotte Haze, the noxious mama of the eponymous nymphet. Humbert's prurient obsession with the pop-drinking, gum-popping Lolita quickly escalates. Kubrick accentuates the black humor of the novel, in turn deemphasizing Nabakov’s lyrical eroticism. Lolita marked a stylistic transition for Kubrick from the epic naturalism of his earlier films to the surrealism of Dr. Strangelove and beyond.
runtime: 152 min format: 35mm
(Ana Lily Amirpour, 2014) · Shot in California but set in Iran, Vice bills writer-director Ana Lily Amirpour’s debut as the “first Iranian Vampire Western ever made.” Its eponymous lead is simply known as “The Girl," but she is often out-of-sight or lurking in the distance. The protagonist, Arash, wants out of Bad City, but the cards are stacked against him. The black-and-white film tackles roamnce and gender politics in Iran, shot as an eerie dream-world that is not quite our own.
runtime: 107 min format: DCP
(Frank Tashlin, 1956)
Greg (Tom Ewell) has a problem: his wife has joined the Air Force, even though he’s unable to serve due to his bum knee. Like any good ’50s husband, he’s upset that he has to stay at home while his wife has exciting adventures in the company of handsome soldiers, and he embarks upon an elaborate plan to get her kicked out of the Service so that she can return to him. An early film appearance of Sheree North, Fox’s answer to Marilyn Monroe.
runtime: 99 min format: DCP