Ambasada kinoteka – arhiv
Vstopnina (Ticket) za en film 4 evre // 3 za študente, dijake in upokojence
Zakladi ameriške kinematografije // Treasures of American Cinema
(7. april – 29. december 2012)
all films are in ENGLISH with SLOVENIAN subtitles
selector: Michal Bobrowski, programska ekipa kina Udarnik v sodelovanju s Slovensko Kinoteko
Program // Programme
22.12.2012, Kino Udarnik, 20.00
Monte Hellman, 1971, starring: James Taylor, Warren Oates, Harry Dean Stanton and others // 102 min // WIKI
29.12.2012, Kino Udarnik, 20.00
Paper Moon (Papirnati mesec)
Peter Bogdanovich, 1973, starring: Ryan O’Neal, Tatum O’Neal and others // 102 min // WIKI
01.12.2012, Kino Udarnik, 18.00
Who’s Afraid of Virginia Woolf
Mike Nichols, 1966, starring: Elizabeth Taylor, Richard Burton // 131 min // WIKI
08.12.2012, Kino Udarnik, 20.00
George Lucas, 1971, starring: Robert Duvall, Donald Pleasence and others // 86 min // WIKI
Dnevi Ernsta Lubitscha (14. – 18.11.)
Ernst Lubitsch (1892 – 1947), ki se je rodil in svojo kariero začel v Nemčiji, v dvajsetih letih pa svoje mojstrovine snemal v ZDA, je pionir mnogih podžanrov filmske komedije. Njegovi filmi so svoj čas navduševali milijone ljudi, osrednji ustvarjalci klasičnega Hollywooda in širše pa so posnemali njegovo režijsko tehniko ter občudovali presenetljive pripovedne rešitve, zaradi katerih si je avtor prislužil enigmatično oznako “Lubitschev prijem” (“The Lubitsch touch”). Kljub svojemu velikemu vplivu in vlogi v zgodovini filma je Lubitsch v filmski teoriji ostal bolj kot ne spregledan avtor. Prvi korak k odpravi te praznine je poskušal napraviti simpozij Kinoteke tudi z bogato retrospektivo njegovih filmov.
Sreda, 14. november // 17.00 // Vetrinjski dvor
Mladen Dolar: Biti ali ne biti
Konec oktobra je v Slovenski kinoteki potekala tradicionalna Jesenska filmska šola, mednarodni simpozij filmske teorije, tokrat pod naslovom “Najprej kot komedija, nato kot farsa: Lubitsch v Ljubljani”. V štirih dneh je osem domačih in tujih predavateljev pod filozofsko obarvan drobnogled vzelo genija klasične filmske komedije Ernsta Lubitscha.
V tem kontekstu gre videti tudi prenos dela te konfrence v filmski program Evropske prestonice kulture, kjer bo svojo analizo Lubitscha predstavil eden ključnih filozofov današnjega časa Mladen Dolar, in sicer bo obravnaval Lubitschevo mojstrovino iz leta 1942 Biti ali ne biti (To Be or Not to Be).
“Trditev, da je Lubitschev film Biti ali ne biti nemara najboljši film celotne zgodovine filma, je lahko videti pretirana, in prispevek bo skušal podati nekaj razlogov zanjo.” – Mladen Dolar
VEČ INFORMACIJ NA: http://www.maribor2012.eu/nc/dogodek/prikaz/3589035/
Sobota, 17. november // 21.00 // kino Udarnik
Trgovina za vogalom (Shop around the Corner)
Ernst Lubitsch // ZDA // 1940 // 99 min
Igrajo: Margaret Sullavan, James Stewart, Frank Morgan
Alfred Kralik je zaposlen v majhni trgovini z darili. Zaljubljen je v skrivnostno dekle, ki si z njim dopisuje. Ko se v trgovinici zaposli Klara Novak, je Alfred še veliko bližje svoji simpatiji − a se tega ne zaveda, saj sta si z novo sodelavko nenehno v laseh. Popolna romantična komedija, ki vas zapelje z nedolžnim šarmom in nasmeje do solz.
VSTOPNINA: 4 evre, 3 za študente, dijake in upokojence
24.11.2012, Kino Udarnik, 8 pm
(Vincente Minnelli, 1953, Fres Astaire, Cyd Charise)
27. oktober // 20.o0
Imitation of Life
Douglas Sirk // Lana Turner, John Gavin // 1959 // 125 min // VEČ/MORE
3. november // 20.00
Pevec jazza (Jazz Singer)
Alan Crosland // Al Jolson, May McAvoy, Warner Oland // 1927 // 89 min // VEČ/MORE
10. november // 21.00
Pojmo v dežju (Singin’ in the Rain)
Stanley Donen & Gene Kelly, ZDA, 1952, 35mm, barvni, 103 ‘, svp
Piše se leto 1927. Hollywood je bil še globoko v obdobju nemega filma, vendar prihoda zvoka vseeno ni b ilo več moč zaustaviti. Don Lockwood (Gene Kelly) in Lina Lamont (Debby Rey nolds) sta sicer slaven in nadvse priljubljen ljubezenski par nemih romanc. Toda Don, ki je bil vedno z nogami na tleh, saj je moral za svoj uspeh t rdo delati, se zaveda, da prihoda zvoka ni več moč ustaviti. Zato se sam zavestno pripravlja na njegov prihod, Lina pa medtem le sanjari o tem, ka ko bi njuna romanca lahko zaživela tudi v resničnosti. Eno najbolj priljubljenih del klasičnega Hollywooda, muzikal, ki je postal pojem za ta žanr in je z leti pridobil legendarni status, nam duhovito predstavi Hollywood v obdobju, ko se je poslavljal nemi film, zvočni pa se je zmagoslavno uveljavljal. // IMDb // wiki
13. oktober // 20.00
All that Heaven allows
Douglas Sirk // Rock Hudson, Jane Wyman // 1955 // 89 min // MORE
3. oktober // 20.00
The Barefoot Contessa
Joseph L. Mankiewicz // Humphrey Bogart, Ava Gardner // 1954 // 128 min // MORE
sobota, 1.9.2012 // 20.00
Filadelfijska zgodba (The Philadelphia Story)
George Cukor /1940 / Cary Grant, Kathrine Hepburn, James Stewart
nedelja, 16.9.2012 // 20.00
Adamovo rebro (Adam’s Rib)
George Cukor / 1949 / Spencer Tracy, Kathrine Hepburn
nedelja, 23.9.2012 // 20.00
The Lady Eve
Preston Sturges / 1941 / Barbara Stanwyck, Henry Fonda, Charles Coburn
sreda, 26.9.2012 // 20.00
Stanovanje (The Apartment)
Billy Wilder / 1960 / Jack Lemmon, Shirley MacLaine, Fred MacMurray
May // June 2012
American western – Vision and Revision of the Myth
05.05.2012 // 20.00 // Moja draga Klementina (My Darling Clementine) // John Ford // 1948
12.05.2012 // 18.00 // Iskalci (The Searchers) // John Ford // 1956
26.05.2012 // 21.00 // Johnny Guitar // Nicholas Ray // 1954
02.06.2012 // 20.00 // Divja horda (Wild Bunch) // Sam Peckinpah // 1969
Since the dawn of cinema, Western has been the most American of all genres. As a founding myth of the young nation, which had conquered wilderness of the frontiers, Western romanticized the origins of US democracy and praised the traditional values of family, community, property and individualism. Structured upon an ethics of clear dualisms, which derives from the Christian notion of natural law, the myth cemented the culture, tending to conceal its inner tensions and fractures.
Being an essentially conservative genre, Western might seem resistant in view of rather countercultural tendency of noir, which overtook Hollywood in 1940s and has been returning in countless forms and variations over next decades. General world outlook of classical Western is diametrically different than the one of film noir. If the former carries bright and optimistic vision of the reality shaped by self-reliant individuals and communities, the latter leans toward pessimism, presents a brutal universe ruled by fatalist inevitability. Furthermore, on an anthropological plain, the model Western hero is an unambiguously noble, straightforward and internally integrated man, who follows a coherent code of conduct, whereas the protagonist of film noir appears as adrift, neurotic, morally and psychologically ambivalent creature of urban modernity, often hiding dark drives or secrets. Notions concerning individual determine two depictions of society. While Western glorifies virtues of honor and fortitude, emphasizes the role of family, collectivism, solidarity and patriotism, film noir reveals dysfunctional character of social institutions in a world, where alienated individuals build atomized communities.
Despite fundamental differences, the dark tendency spread into Western and destabilized its inborn clarity. Influences of noir inspired cinematic studies of the dialectics of history and myth that reinterpreted traditional ideology of the genre. In fact, the evolution from classical to modernist form of Western, which took place between early 1940s and mid-1970s, exposes the progressing darkening of the vision. Ford’s Stagecoach (1939) for more than a decade established the classical paradigm, breaking with immaculate naivety of early ‘horse operas’ and defining new proportions between the truth about human emotions and behaviors on the one hand, typical genre stereotypes and euphemisms on the other. Fred Zinnemann’s High Noon (1952) marked the appearance of superwestern (usual translation of André Bazin’s term sur-western). This self-aware formula elevated the genre to the higher level of psychological complexity, comparable to nineteenth century literature. Classic pieces by Anthony Mann or Delmer Daves brought relatively large dose of criticism of the American culture, however did not question its cardinal ideals. In the mid-1960s, on the other side of the Atlantic, directors like Sergio Leone and Sergio Corbucci made leftist Spaghetti-Western which deconstructed Hollywood style, using poetics of pastiche and exaggeration. Finally, the revisionist Anti-Western led the genre to an ideological self-negation. Violent naturalistic and defiant pictures of Sam Peckinpah, Arthur Penn or Robert Altman depicted ruthless utilitarianism of the capitalist system, allegorically articulated political tensions and social unrests.
Viewing four masterpieces of American Western John Ford’s My Darling Clementine (1946) and The Searchers (1956), Nicholas Ray’s Johnny Guitar (1954) and Sam Peckinpah’s The Wild Bunch (1969), and the differences between these films, one can recognize the course of development of the genre over the greatest period of its history.
5. May // 20.00
Moja draga Klementina (My Darling Clementine)
John Ford // 1948 // ZDA, USA // 97 min
The general message of My Darling Clementine honors the traditional virtues of the West. The impact of noir manifests itself mostly through film’s esthetics. Gregg Toland’s highly stylized, black and white photography based on expressionistic chiaroscuro is indeed quite dark and moody, even if instead of urban side streets it presents natural landscapes and rural simplicity. Ford’s feature belongs to the most seminal realizations of epic model known as a “town-tamer”, deriving from the Homeric archetype of story about the defense of a town. Model known from numerous westerns (just to mention High Noon or Howard Hawks’ Rio Bravo, 1959): villains harass a community, but noble guardians defeat them, restore order and usually ride away towards a new adventure. Ford’s film is a profoundly mythologized version of one of the most celebrated episodes in the history of the Wild West – the famous Gunfight at the ‘Old Kinderhook’ (O.K.) Corral in the afternoon of October 26th, 1881, when The Earp brothers backed by Doc Holiday stood against Clantons’ gang. Ford’s version of this half-legendary event begins with the The Earps leading the cattle drive around Tombstone. After young James is killed in Clanton gang’s treacherous assault, Wyatt, Virgil and Morgan accept the nomination for sheriff and deputies in order to sanctify vengeance which remains just according to the natural law.
12. May // 18.00
Iskalci (The Searchers)
John Ford // 1956 // ZDA, USA // 119 min
Ten years later John Ford released The Searchers, perhaps his most complex and iconoclastic film. Instead of ethical binarism typical for classical westerns, the picture bears less obvious deployment of values, where the oppositions become blurred. Together with Fort Apache (1948), The Searchers remains Ford’s most multi-layered demystification of the West. Ethan Edwards is perhaps the most interesting role of John Wayne and one of the most ambivalent protagonists of Hollywood cinema.
The character of Ethan in many ways continues the actor’s earlier role in Howard Hawk’s noirish cattle drive epic Red River (1948), where “Duke” played Texas rancher Thomas Dunson. Both roles question stabile system of values and the actor’s screen image as an embodiment of crystal-clear morality. Indeed, they epitomize toughness and unyieldingness, but at the same time prone to tyrannize their environment, indulge themselves in drifting by impetuous and destructive forces. Obsessive obstinacy turns them into dogmatism and the delusive purpose of cruel actions justifies the means.
The Searchers is an in-depth study of a creeping disintegration of Ethan’s personality. The house of his brother is attacked by Comanches, who kidnap two daughters and murder the rest of the family. Soon they kill also the older of the abducted. Accompanied by girl’s foster-brother Martin (played by teen heart-throb Jeffrey Hunter), Ethan for five years tracks down the tribe of Chief Scar (Henry Brandon). Growing hate and anger determine his outlook on the world. Merciless avenger, bloodthirsty murder is the furthest he could be from the typical heroic savior from the American Western. The viewer, accustomed to identify oneself with Wayne’s characters, feels strong cognitive dissonance while watching Ethan who desecrates Comanches’ corpses, kills countless buffalos in order to deprive the Indians of food and, above all, intends to slay the kidnapped girl besmirched in his eyes by the sexual relations with the “savage” Scar.
The ambiguity of the protagonist corresponds with the departure from Manichean vision of history. Certainly, the conflict between settlers and Indians does not appear as black and white. The film has been accused of racism, but only due to incorrect interpretation which equates Ethan’s views with the ideological message of the entire film. In fact, among majority of contemporary Western productions, Ford’s film appears as just and honest about the issue of historical responsibility of both sides. Even if at the beginning the Indians are presented as barbarous slaughterers, later we see a bloody pacification of the village (the Washita River massacre) that shows the US Cavalry as no less cruel. Chief Scar is blinded by hatred similarly to Ethan, his spiritual double. The film depicts the process of the escalation of violence and mutual hostility in a veracious and bitter way.
26. May // 21.00
Nicholas Ray // 1954 // ZDA, USA // 110 min
Proud, supercilious and above all independent Vienna owns a saloon outside the town. One of her employee describes her: “Never seen a woman who was more of a man. She thinks like one, acts like one, and sometimes makes me feel like I’m not”. Vienna is ostracized by the local community. Bigot Emma (Mercedes McCambridge) wants to drive her off not only because she considers Vienna’s local a hotbed of debauchery, but also on account the rumor that the price of her land will go up due to the railway investments. The character of Emma is Vienna’s caricature alter-ego – she is equally strong and domineering over men, but at the same time frustrated, tormented by sexual neurosis, building her identity on the hatred toward attractive and liberated female opponent.
The evocative sequence of an attempted lynch on Vienna, often read as a metaphor of McCarthyism, reverses the Manichean rhetoric of the classical Western. “Upright and God-fearing” citizens – similar to the ones portrayed by William Wellman in his
late-discovered dark Western classic The Ox-Bow Incident (1943) – wear black clothes whereas the “harlot” Vienna is attired in a white wedding-like dress. The exterior of Vienna’s saloon was built especially for the film and during the shooting the set was actually burned down. The infernal atmosphere of the scene is created by intercutting of shots showing burning scenery and frames filled with expressionistic shadows illuminated by flickering flashes imitating fire-light. The cinematographer Harry Stradling drew on the experiences of noir, treated in an exceptionally creative way. Garish hues counterpart noir high contrasts of black and white. The entire film is characterized by genre self-awareness and baroque over-aesthetization. Ray balanced between genuine pathos and gentle pastiche. „He is no less aware of the rhetoric of the genre than the George Stevens of Shane, and furthermore the script and the director are not without their humor; but not once does Ray adopt a condescending or paternalist attitude toward his film. He may have fun with it but he is not making fun of it. He does not feel restricted in what he has to say by the limits of the western even if what he has to say is decidedly more personal and more subtle than its unchanging mythology”.
If The Searchers polemicizes with the genre model of masculine hero, Johnny Guitar questions the traditional vision of a femininity. Leading role of Vienna was perhaps Joan Crawford’s greatest acting achievement. For a long time the actress was bounded up with noir stylistics – in Mildred Pierce (1945, Michael Curtiz) she balanced between femme fatale’s imperiousness and maternal devotion. Crawford used Nicholas Ray’s eccentric film as a vehicle and transformed into dignified western heroine emanating with mature sensuality. Vienna, a complex, active and strongly determined woman character somehow resembles of Barbara Stanwyck’s performances in The Furies (1950, Anthony Mann) and Forty Guns (1957, Samuel Fuller) or Marlene Dietrich’s appearance in Fritz Lang’s Rancho Notorious (1952).
2. June/junij // 20.00
Divja horda (Wild Bunch)
Sam Peckinpah // 1969 // ZDA, USA // 145 min
„If they move, kill ‘em” says Pike Bishop (William Holden) a second before Sam Peckinpah’s directorial credit appears on the freeze-frame. The author sends an explicit message to the audience which is about to witness an unsettling spectacle that aggressively and ultimately breaks with all the conventions of classical Western. The Wild Bunch is a deliberately controversial film; probably the goriest picture of its era, which – from the brutal inauguration to the ultraviolent finale – interweave naturalism with a highly stylized form. “Bloody Sam” proved himself to be a virtuoso of the editing table and a poet of a graphic bloodshed. Slow motion hyperrealism of death and destruction was directly influenced by Arthur Penn’s Bonnie and Clyde (1967) as well as Akira Kurosawa’s Seven Samurai (an epic often described as ‘Japanese Western’, which had been inspired by Ford’s My Darling Clementine and in fact realizes the same generic model of a town-tamer).
Peckinpah’s depiction of the Wild West’s fall bares iconographical representation and invalidates its accepted symbolism. This elegy for the last outlaws of the frontier set in the beginning of the XXth century evokes bitter nostalgia for anarchic freedom of pre-civilized West. Red Model T Ford or a powerful machine gun strike as a strange to the classical Western, harsh and sincere evidences of an inevitable transformation of history. Film, shot entirely on location, introduced level of realism unknown to classical Western. Peckinpah’s main goal was to eradicate the theatricality of Hollywood quick and bloodless killing, by presenting brutality and death as physical facts. “Actually it’s an anti-violence film because I use violence as it is. It’s ugly, brutalizing and bloody f… awful. It’s not fun and games and cowboys and Indians (…)
Violence is a part of life and I don’t think we can bury our heads in the sand and ignore it.”. The opening sequence of cruel children’s play with scorpions in a puddle of mud reflects Peckinpah’s conviction that destructive drives are an inseparable part of human nature, thus the brutality is imprinted in the structure of society.
In the late 1960s The Wild Bunch has been read not only as a revisionist historical film, indictment of early corporatism but also as an allegory of contemporary political situation. brutality omnipresent in news reports.– Vietnam War, political assassinations, racial riots – Anti-establishment public feeling
Paradoxically, the film which is considered archetypical for the formula of Anti-Western (?) bears self-reflexive esteem for classical form of the genre and almost sentimental affirmation of traditional masculine values of the West such as honor, non-conformity, freedom of choice and, above all, loyalty among men. Uncompromisingly striped of its dignity and illusions, the legend found a way to remain dignified and illusory. “We’re not gonna get rid of anybody! We’re gonna stick together, just like it used to be! When you side with a man, you stay with him! And if you can’t do that, you’re like some animal, you’re finished!”
ABOUT THE AUTHORS
1894 – 1973 (aka Jack Ford aka John Feeney)
The Man of the West
Peter Bogdanovich’s documentary Directed by John Ford (1971) displays the doyen of the American cinema as a vicious joker, self-confident egocentric, ruler of the Monument Valley with a pirate patch on the eye, yet a person of a great sensitivity, human understanding and passion for art. One year older than the cinema itself, Ford started his career in 1910s., first as an assistant, propman, stuntman or anyone else needed by his then famous brother, actor and director Francis Ford. He made his director’s debut in 1917 (The Tornado) and until 1923 went by the name of “Jack Ford”. American Western was a central reference in Ford’s work from the very beginning – Iron Horse (1924), his finest silent achievement, established the rudiments of genre. Throughout his whole career, the director explored themes and motives of the Wild West, as in Stagecoach (1939), My Darling Clementine (1946), Ford Apache (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), The Searchers (1956), The Man Who Shot Liberty Valance (1962), Cheyenne Autumn (1964). Hero, a loner and an outsider, speaks through strength and actions rather than words; wilderness of frontier must be confronted with the civilization; drunk or a prostitute may turn out to be much more valuable human being than so-called respectable citizens. Nature, filmed usually in long and wide shots, plays an integral part in Ford’s mythical narrations. His films became successful in the terms of the entertainment, even if Ford has never let audience leave the cinema, without facing the questions of moral ambivalence or limits of humanity and compassion. Although praised as a master of American Western, his personal mythology of Ireland, his parents’ motherland, was presumably more relevant than the symbolism of the Wild West. Besides of nostalgic journeys to the British Isles (The Informer, 1935, How Green Was My Valley, 1941, The Quite Man, 1952, The Rising of the Moon, 1957) Ford made important war films (December 7th, 1943, They were Expendable, 1945), historical films (Mary of Scotland, 1936, Young Mr. Lincoln, 1939), as well as several social
and psychological dramas (Pilgrimage, 1933, The Grapes of Wrath, 1940, Tobacco Road, 1941, The Last Hurrah, 1958, 7 Women, 1966), altogether over 130 features and documentaries. As the time passed by, a loyal group of actors and crew collaborators has gathered around Ford (among them John Wayne, Maureen O’Hara or Gregg Toland). “The old masters. By which I mean John Ford, John Ford and John Ford” answered Orson Welles to the question about the directors he most admired. Many other professionals and the countless number of cinephiles appreciated Ford’s epic stylistics and the capacity of editing the picture in his mind (the director was famous for “cutting in the camera” which wouldn’t leave potentially unsatisfied producer with much choice). He was often described as a “poet of a celluloid”, but there’s much more of the prose than the poetry in his insightful, magnetic and harsh stories of passion, brotherhood or vengeance. Just as his peers and countrymen, William Faulkner, Ernest Hemingway or John Steinbeck, John Ford seemed to be an interpreter of European heritage of realism.
Historical Wyatt Earp spent last years of his life in Hollywood, working as a consultant on the sets of early Wild West pictures. Ford met him on several occasions. Later he would claim that his version of the gunfight is a faithful reconstruction based on Earp’s own testimony. And yet, his film does not attempt to mirror the history accurately, but consciously idealize the American West (as Henry Fonda put it “Ford used history, he wasn’t married to it”). Wyatt’s steadfast righteousness and Clanton’s boundless immorality arises from Manichean division with no room for gradation of shades. Even if the black and white symmetry of stands is, to certain extent, bent by the presence of Doc Holliday (Victor Mature), a model Western ‘good bad guy’. Self-destructing, yet romantic figure of an educated gentleman – a former surgeon, consumed by tuberculosis, who has become a gambler and a gunfighter wallowed in a reckless alcohol abandon – oscillates between the community of decent citizens and the criminal world. Nevertheless, compared to some of the most equivocal characters of film noir, Doc’s moral ambiguity appears as far less dramatic; the viewer is left without a doubt about his essential integrity. To recall the famous conclusion of another Ford’s classic Man who shot Liberty Vallance (1962), with My Darling Clementine, the director “prints a legend”.
NICHOLAS RAY (1911 – 1979)
Not Some Piece of Teenage Wildlife
Work of Nicholas Ray was highly underestimated by his contemporary Americans, although praised by French nouvelle vague critics and authors. The uncompromising director came into a lot of troubles with the producers and even had problems with finding steady job position. Thanks to the little help of his friends, Ray managed to lead an academic career. His strong influence on the students might be seen in a paradocumentaries such as We Can’t Go Home Again (1971 – 1973) or touching picture of the director’s final days in Wim Wender’s Lightning Over Water (1979). The figure of a rebel, young misfit fighting with a hypocritical older generation, became a trademark of Ray’s cinema, portrayed e.g. by Cathy O’Donnell and Farley Granger in director’s debut They Live by Night (1949), James Dean in Rebel Without a Cause (1955) or Harry Guardino in King of Kings (1961). Subversive mood (as seen in noir In a Lonely Place, 1950 or frantic, so-called “Freudian Western” Johnny Guitar) , created by the unique combination of colors and architectural elements of set design and locations, evokes the interpersonal tensions and their equivocal, moral consequences.
Although underestimated in the USA, Nicholas Ray was quickly recognized by the critics of “Cahiers du cinéma”. Director of such masterpieces as They Live by Night (1948), In a Lonely Place (1950) or On a Dangerous Ground (1952) was worshiped as a superb American auteur. It was Jean-Luc Godard who came up with the famous epigram “the cinema is Nicholas Ray” and Francois Truffaut claimed that Johnny Guitar had been more important for him than for Ray himself. French admiration for this one of the darkest Westerns of 1950s derives from Ray’s scathing critique of traditionally patriarchal ideological content. André Bazin’s model of Western narrative outlines true love as reserved for pure and honest women when gold-hearted prostitute should meet heroic and redeeming death. Ray tends to reevaluate mythical male universe which becomes a stage for Freudian drama revealing inadequateness of Western gender clichés.
SAM PECKINPAH (1925 – 1984)
From Hell With Love
Andrew Sarris wrote with a hesitation: “Since Peckinpah considers himself too intellectual to tell a story, it remains to be seen whether he will be forceful enough to develop a theme”. Time proved that guru of American film critic cared too much for the surface of director’s temper and ego. Peckinpah, mostly (and for many reasons, rightly) accused of indiscipline, drugs and alcohol abuse, misogyny and brutality, was hated and blacklisted by the producers. Nevertheless he managed to create unforgettable moving pictures, highly artistic masterpieces of visual form and narration. He was a greatest revisionist of a Wild West mythology, placing his stories at the moment of wild frontier’s twilight and carefully watching the end of its doomed creatures- bandits, prostitutes, false preachers or gold diggers (Ride the High Country, 1962, The Wild Bunch, The Ballad of Cable Hogue, 1970, Pat Garrett and Billy the Kid, 1973). A salvation from corruption, an escape from degenerated reality appear as the most important philosophical themes in all Peckinpah’s productions (not only westerns, he was also an author of contemporary drama such as Straw Dogs, 1971 or Bring Me The Head of Alfredo Garcia, 1974). Blood, sex and violence, a permanent element of his creation, were often wrongly understood as Peckinpah’s eagerness for exploitation, though he meant shock as a way to experience a humanistic catharsis.
After an ambush set by bounty hunters, five survivors from the Pike Bishop’s bunch flee through Rio Grande to Mexico. The group of bandits hide in young Angel’s (Jaime Sanchez) home village which is repeatedly plundered by the army of depraved General Mapache (Emilio Fernandez) who engages Bishop’s gang to steal US armor. Pancho Villa’s rebels are also attracted by the American weapon. Angel becomes a supporter of the revolutionary movement against military oppressors. Meanwhile the manhunt led by Pike’s former comrade, Deke Thornton (Robert Ryan) tightens. Together with such classics as Richard Brook’s Professionals (ROK) or Sergio Corbucci’s Vamos amatar companeros! (ROK), The Wild Bunch belongs to the subgenre of “Zapata-Western”. Through stories of pragmatic mercenaries working for federales, who undergo inner change and join the cause of Mexican Revolution, left-wing cinematic discourse intercepted Western mythology.
7. april // 20.00
Malteški sokol (The Maltese Falcon)
John Huston // 1941 // ZDA // 100 min
A private detective accepts the case that draws him into a vortex of lies, desire, greed and confusion. John Huston’s outstanding debut is a groundbreaking crime picture, generally considered the first film noir. Adaptation of Dashiell Hammett’s cult hard-boiled novel. Humphrey Bogart as a tough, cynical and morally ambiguous Sam Spade established an archetype of a noir private eye.
14. april // 20.00
John Huston // 1946 // ZDA // 100 min
A World War II veteran visits a hotel on Key Largo in order to pay his respect to the family of an army friend who was killed in action. A twist of fate throws a dangerous mobster with his bodyguards and mistress to the same hotel. John Huston’s excellent thriller is distinguished by precise dramaturgy, ominous atmosphere of isolation and psychological tension and magnificent cast – apart from the most glamour Hollywood couple of 1940s, Humphrey Bogart and Lauren Bacall, the picture has been graced wit a presence of Lionel Barrymore, Edward G. Robinson and Claire Trevor.
21. april // 20.00
Veliki sen (Big Sleep)
Howard Hawks // ZDA // 1946 // 114 min
A Private detective Philipe Marlowe is hired by a wealthy family. As he accepts the case he enters a dangerous world of murder, blackmail, and love. This adaptation of Raymond Chandler’s pulp fiction masterpiece remains the most stylish and fascinating example of noir esthetics.
28. april // 20.00
Otto Preminger // ZDA // 1944 // 88 min
A detective conducts an investigation in a murder case. The victim, Laura Hunt was a brilliant, successful and beautiful woman. While learning about her deprived high-class environment and the secrets of her heart, the policeman slowly develops a perverse fascination with the deceased. Strongly influenced by psychoanalysis, the film is built from oneiric images where reality mingles with subconscious.
Sobota (Saturday), 3. marec (March) 2012 // 20.00
Surova balada (Badlands)
Malick’s debut, Badlands, is loosely inspired by the history of Charles Starkwather and Caril Ann Fugate, teenager murderers and fugitives who committed their crimes in 1958. “Adventure” of 15 years old Holly (debuting Sissy Spacek) and her 25 years old boyfriend, Kit (Martin Sheen) starts in futureless little town in South Dakota. They fall in love, despite of the lack of her father’s acceptance for their feelings. When it’s impossible to keep the relation any longer, Kit decides for both of them to run away and kill everyone who stands on their way. Killings don’t need any explanation; Kit exposes himself as a cowardly avenger who shoots people in their backs. Holly, narrator of the story, accepts his perspective, doesn’t ask questions, judge him, nor try to stop him. They are both neurotic personalities, stifled by the social norms and expectations, who desperately need to be loved and, what seems more important for them, remembered. Escape to the world of fantasy ends on the plains of Montana in the hopeless and lifeless landscape.
Sobota (Saturday), 10. marec (March) 2012 // 18.00
Božanski dnevi (Days of Heaven)
Terrence Malick // ZDA // 1978 // 35 mm // 94 min // RECENZIJA (review)
Main characters of Days of Heaven, lovers Bill (Richard Gere) and Abby (Brooke Adams), just like Holly and Kit, are searching for the place which would bring them security and stabilization. However, their pursuit for happiness is founded on crime and lie, its fulfillment turns out be an illusion. In the mirror of outstanding photography of Nestor Alemendros and Haskell Wexler (majority of the shots were made during “golden hours”, just after dawn and before dusk) passions that burst in the characters seem the same as destructive instincts that drive the locust. Malick avoids dialogues leaving majority of speaking parts to Linda’s voice over monologues (pre-mature Bill’s teenage sister who follows her doomed carers out of love is suggestively played by Linda Manz), but the director mostly tells the story through the images where mediocrity hides in beauty and the vast fields of crop appear to be a death trap.
Sobota, 11. februar 2012 // 20.00
Mahamat-Saleh Haroun // Čad, Francija, Belgija, Avstrija // 2006 // 35 mm // 96 min
Sobota, 4. februar 2012 // 20.00
Tovor 200 (Gruz 200)
Alexey Balabanov // Russija // 2007 // 35 mm // 89 min
Sobota, 14. januar 2012 // 20.00
400 udarcev (Les quatre cents coups)
Francois Truffaut // Francija // 1959 // 35mm // 99 min
Sobota, 7. januar 2012 // 20.00
Povečava (Blow up)
Michelangelo Antonioni // Italija/VB/ZDA // 1966 // 35mm // 111 min
Sobota, 3. december 2011 // 20.00
Luči velemesta (City Lights)
Charles Chaplin // ZDA // 1931 // 87 min
Sobota, 10. december 2011 // 20.00
Trgovina za vogalom (Shop around the Corner)
Ernst Lubitsch // ZDA // 1940 // 99 min
Sreda, 21. december 2011 // 20.00
Smrt v Benetkah (Morte a Venezia)
Luchino Visconti // Italija, Francija // 1971 // 130 min
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