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All Laemmle Venues Temporarily Closed.

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Dear Laemmle Family,

In accord with L.A. Mayor Eric Garcetti’s executive order and in efforts to “flatten the curve,” we have temporarily closed all of our venues including those in municipalities not covered by the Mayor’s order.

We will contact ticket holders via email with refund instructions for tickets purchased in advance.

We appreciate your patience as we navigate this unprecedented situation.

Visit laemmle.com for updates.

Please take care of yourselves and those most at risk. Hope to see you soon.

– Team Laemmle

Ravishing Chinese Noir THE WILD GOOSE LAKE, Palme d’Or Nominee, Opens Friday.

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This Friday Laemmle’s Glendale, Santa Monica, North Hollywood and Pasadena venues will open THE WILD GOOSE LAKE, acclaimed director Diao Yinan’s eagerly anticipated follow-up to his 2014 Berlinale winning neo-noir BLACK COAL, THIN ICE. Toppling box office records in Diao’s native China, the film “cements his status as a master filmmaker with another ingenious crime epic” (Little White Lies).

When smalltime mob leader Zhou Zenong (Chinese superstar Hu Ge) accidentally kills a cop, a dead-or-alive bounty is placed on his head, forcing him on the lam from both the police as well as dangerous gangsters out for the reward. Hiding out in China’s densely populated (and deeply divided) Wuhan province, Zhou becomes entangled with a beautiful, enigmatic woman, who has mysterious intentions of her own. Featuring gorgeous, neon-drenched cinematography and bursts of shocking, expertly choreographed action, THE WILD GOOSE LAKE is “spellbinding” (Rolling Stone), “brilliant” (Indiewire) and “downright Hitchcockian” (AV Club).

https://www.youtube.com/watch?v=7E5De82Yo9c&feature=emb_logo

 

Some of the copious praise for the THE WILD GOOSE LAKE:

“Diao Yinan cements his status as a master filmmaker with another ingenious crime epic. THE WILD GOOSE LAKE is another assured, exhilarating tale of criminality and the havoc it wreaks on interpersonal connection, with everything impressive about its predecessor – attentive procedural detail, curious experiments with colour and shadow, action set pieces that’d make Michael Mann envious – raised to the Nth degree. There’s not a single false step in its two hours; every edit, every shot setup, every movement of the camera maximises the raw cinematic effect. There’s power in Diao’s more subdued passages, but when he really lets loose and the fists (or bullets, or strategically concealed booby-traps) start flying, this film’s greatness transforms from the kind that sneaks up on you to the kind that blows you away.” ~ Charles Bramesco, Little White Lies

“Like a beautifully constructed puzzle box, THE WILD GOOSE LAKE‘s various layers unfold in satisfying ways. With elegant violence, emotional richness and a complex yet coherent storyline, this is a rare bit of crime thriller treat that truly pays off. Above all, it’s a highly entertaining film that doesn’t for a moment eschew aesthetics, crafting a world of shadow and subterfuge that’s terrific. THE WILD GOOSE LAKE is a hoot, a Chinese crime thriller that proves Diao Yinan is a new master of dark, thrilling noir.” ~ Jason Gorber, Slash Film

“Diao Yinan’s twisting and turning nocturnal noir is full of moody attitude and glorious cinematography.” ~ Dave Calhoun, Time Out

“Diao Yinan’s THE WILD GOOSE LAKE starts with a rainy night, a guy on the lam, a dame who sidles up to him and murmurs, “Got a light?” In other words, this Chinese gangland thriller kicks off in classic noir style, and gets progressively noirer and more nocturnal as it goes on. The fourth feature from writer-director Diao, who made a major impression with 2014’s investigative drama BLACK COAL, THIN ICE, this hyper-stylish manhunt drama laces slow-burn atmospherics with abrupt outbursts of staccato action, and boils down characterisation to the leanest of bare bones, making for minimalist existentialism in the style of Jean-Pierre Melville.” ~ Jonathan Romney, Screen Daily

“Diao Yinan delivers a definitive Chinese crime noir, in which the ravishing style and inventive staging form the substance.” ~ Jessica Kiang, Variety

“In a movie where just about every scene contains some inventive technique or choice, I was most taken with the way Diao boldly abstracts some of his action: a close-quarters fight that unfolds entirely through associative close-ups; a stabbing conveyed through the scattering of bills; a cop discovering one of his colleagues is dead when a dollop of blood lands on his face. Some of these moments are downright Hitchcockian, giving us the implication of violence without always actually showing it.” ~ A.A. Dowd, AV Club

“While Chinese director Diao Yinan’s THE WILD GOOSE LAKE hardly reconfigures the crime thriller afresh, it does pare it down to the essentials to exhilarating effect, progressively jettisoning the whys and wherefores of plot to focus on little more than two bodies moving through any number of ravishing, noirish spaces.” ~ James Lattimer, Sight & Sound

“This enjoyable and elegantly styled noir thriller is … awash with wonderful set-pieces and exquisite visual moments which skillfully echo China’s gilded past and leave us in no doubt of its contemporary criminality and territory wars.” ~ Meredith Taylor, Filmuforia

“Like the waters lapping up against the shores of its murky titular setting, Diao Yinan’s fugitive thriller THE WILD GOOSE LAKE (Nan Fang Che Zhan De Ju Hui) is a film that doesn’t hit you like a tidal wave as much as it gradually washes over you, leaving in its wake a series of memorable set-pieces and a dense, dark web of violence and fatality.” ~ Jordan Mintzer, The Hollywood Reporter

“It’s a spellbinding pulp noir with a stylish edge and a sui generis fatalism. (12 Best Movies at the Toronto Film Festival)” ~ David Fear, Rolling Stone

“A dizzying, frenetic plunge into the winding and over-populated working-class districts of the city, THE WILD GOOSE LAKE is an exceptional auteur film and noir. Each and every shot is well worth the detour in this sea of coup de force visuals (a very special mention goes to Director of Photography Jingsong Dong), on which the plot never lingers; instead, it takes them in as it twists and turns torrentially (as written by the filmmaker himself), blasting its way through a three-day period, broken up by some nice atmospheric moments where all the actions slows. It makes for a dazzling, labyrinthine journey through a criminal underworld. Here, violence plays an eternally cathartic role and sometimes bursts with black humour, making great use of the laconic and darkly romantic charisma of the two main actors and confirming the immense, fascinating and highly entertaining talent of Diao Yinan.” ~ Fabien Lemercier, Cineuropa

“More even than on its strengths as an expertly directed piece of entertainment, Diao’s latest impresses for its scathing, and unexpected, indictment of societal ills—for how the filmmaker recognizes the extent to which the contours of a sordid genre film appropriately express realities of Chinese life.” ~ Sam Mac, Slant Magazine

“…this film is fascinating because of how those genre thrills are complicated by these off-kilter, idiosyncratic formal choices that trigger not just a lurid dreamscape and uncomfortable humor… but also a vulnerability in the face of alienation and suffering. Watching THE WILD GOOSE LAKE feels like watching a society crumble in real-time, the architecture itself decaying and being painted over while people’s baggage and experiences become more and more exposed….” ~ The Film Stage

“…I thought Diao Yinan’s THE WILD GOOSE LAKE had something of Eisenstein about it, the percussive directionality and suggestiveness of each edit, the way violence happened by implication because a cut is made from a violent instrument to a blood stain. It’s a film of sensual tension wrung from its cinematic touchstones….” ~ Scout Tafoya, RogerEbert.com

“[THE WILD GOOSE LAKE] offers some of the most thrillingly original fight scenes you’ll see onscreen this year.” ~ Nate Jones, Vulture.com

EAST/WEST 20th Anniversary Screenings March 18 in Glendale, Pasadena, and West L.A.

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Laemmle Theatres and the Anniversary Classics Series present this month’s film in our popular Anniversary Classics Abroad program: Regis Wargnier’s compelling and increasingly timely thriller, East/West. Wargnier had won the Academy Award for Best Foreign Language Film for his earlier historical epic, Indochine. The Oscar-nominated star of that movie, Catherine Deneuve, collaborated with him again in another fascinating historical drama with an exotic backdrop.

Inspired by true events, East/West tells a story of Russian émigrés living in Paris who were lured back to the Soviet Union after the end of World War II. Russian dictator Josef Stalin promised these refugees a complete pardon if they returned to their homeland. But when they actually returned, many of these refugees were executed or sent to labor camps or forced to live in squalor. The main characters in the story are a doctor (Oleg Menchikov) with a French wife (Sandrine Bonnaire). Deneuve has a vivid supporting role as a visiting French actress who ultimately plays a key role in helping the married couple.

At a time of increasing oppressiveness under the Putin regime in Russia, this reminder of harsh living conditions under the rule of an earlier dictator takes on renewed relevance. Wargnier wrote the screenplay for East/West with Louis Gardel and two Russian writers, Rustam Ibragimbekov and Sergei Bodrov. Bonnaire, the star of earlier French films Vagabond, La Ceremonie, and Monsieur Hire, confirmed her enormous appeal in this picture. Oscar-nominated composer Patrick Doyle (A Little Princess, Sense and Sensibility, Gosford Park), who had worked with Wargnier on Indochine, again contributed a vibrant score.

The Los Angeles Times’ Kevin Thomas declared, “East/West has the scale and rich period atmosphere of Indochine while gradually evolving into an acutely suspenseful thriller.” Writing in Movieline magazine, Stephen Farber paid tribute to the director: “Regis Wargnier has a gift for making sweeping popular entertainment,” and he added, “Sandrine Bonnaire gives a marvelously expressive performance.” The New York Times’ A.O. Scott called East/West a “sumptuous, moving new film,” and Rene Rodriguez of the Miami Herald hailed it as “a suspenseful and hugely engrossing drama.”

Our 20th anniversary presentation of EAST/WEST screens Wednesday, March 18, at 7pm in Glendale, Pasadena, and West L.A. Click here for tickets.

Format: DVD

THE MANCHURIAN CANDIDATE (1962) Special Screenings and Book Signings March 26 in Pasadena and April 1 in West L.A.

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Laemmle Theatres and the Anniversary Classics Series invite you to celebrate the publication of Stephen Farber and Michael McClellan’s new book, Cinema ’62: The Greatest Year at the Movies, with screenings of one of the most memorable movies from 1962, John Frankenheimer’s The Manchurian Candidate.

The film will be shown on March 26 at the Playhouse in Pasadena (co-sponsored by Vroman’s Bookstore) and on April 1 at the Royal in West L.A. The authors will introduce both screenings and will sell and sign their book before and after the screenings. Special guests may appear at these screenings.

The Manchurian Candidate was a hit in 1962 and remains one of the most highly acclaimed of all political thrillers. In 1994 it was selected for the National Film Registry of the Library of Congress, an honor reserved for films of “historical, cultural, or aesthetic significance.”

This story of a diabolical plot to engineer a Russian takeover of the White House was provocative in 1962 and seems frighteningly prescient and startlingly relevant in the aftermath of the 2016 election. As Frankenheimer said in a prophetic interview a few years before his death, “I think our society is brainwashed by television commercials, by advertising, by politicians, by a censored press… More and more I think that our society is becoming manipulated and controlled.”

The film was adapted from Richard Condon’s novel by screenwriter George Axelrod, who also wrote such films as The Seven-Year Itch and Breakfast at Tiffany’s. It tells the chilling story of a soldier in the Korean War, played by Laurence Harvey, who is captured and brainwashed by Russian and Chinese Communists into becoming an assassin in the employ of the Soviet government. Frank Sinatra plays a fellow soldier trying to halt the assassination plot. Angela Lansbury was nominated for an Academy Award for her portrayal of Harvey’s manipulative mother, who plays a crucial role in the conspiracy.

In addition to its achievements as a political thriller, the film was one of the first to satirize the anti-Communist hysteria that had gripped the country and divided the Hollywood community during the 1950s. James Gregory plays Lansbury’s husband, a U.S. Senator modeled on Joseph McCarthy. As Frankenheimer told one reporter, “This country was just recovering from the McCarthy era and nothing had ever been filmed about it. I wanted to do a picture that showed how ludicrous the whole McCarthy Far Right syndrome was and how dangerous the Far Left syndrome is. It really dealt with the whole idea of fanaticism, the Far Right and the Far Left being exactly the same thing.”

As a result of these controversial themes, the film was attacked by both right-wing and left-wing pundits at the time of its release. But the reviews were mainly positive. As Variety wrote, “Every once in a rare while a film comes along that works in all departments…Such is The Manchurian Candidate.” The New York Times’ Bosley Crowther had high praise for John Frankenheimer’s direction, which he called “so exciting in the style of Orson Welles when he was making Citizen Kane.”

When the film was re-released in 1987, reviews were even more ecstatic, and it has continued to resonate. Roger Ebert called it “a work as alive and smart as when it was first released.” Pauline Kael said, “The picture plays some wonderful, crazy games about the Right and the Left; although it’s a thriller, it may be the most sophisticated political satire ever made in Hollywood.” Writing in TIME magazine in 2007, Richard Corliss said, “Lansbury and Harvey are both sensational in a movie that remains pointed and current. It still touches you like a clammy hand in the dark.” Lansbury’s portrayal of the malevolent Mrs. Iselin was ranked as one of the 25 greatest villains in film history by the American Film Institute. The supporting cast includes Janet Leigh, Henry Silva, Leslie Parrish, and Khigh Dhiegh. Ferris Webster earned an Oscar nomination for his superb editing of the movie’s suspense sequences.

Cinema ’62 provides fascinating anecdotes about this classic thriller and about many of the other masterpieces of this landmark year. Read all about them after you enjoy this innovative, frightening, wickedly funny, and ever-timely highlight from a year full of cinematic wonders.

Farber and McClellan are the co-producers of Laemmle’s Anniversary Classics series. Stephen Farber has written film criticism for many prominent newspapers and magazines and has published four previous books on film. Michael McClellan is the former Senior Vice President/Head Film Buyer for Landmark Theatres.

The Manchurian Candidate screens on March 26 at 7pm in Pasadena and on April 1 at 7pm at the Royal in West L.A. Cinema ’62: The Greatest Year at the Movies will be available for purchase at the screenings. It is also available at retailers like Vroman’s Bookstore and Amazon.com.

Format: DCP

12th GlobeScreen Conference L.A. with Greg Laemmle in Person March 5.

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Attend the 12th GlobeScreen Conference L.A. and hear from Film & Television executives as they discuss the latest industry trends. Laemmle Theatres President Greg Laemmle, the keynote speaker, will chat with Variety Co-Editor-in-Chief Andrew Wallenstein.  Subsequently, cocktails. Click here for more info.

LAEMMLE LIVE Cancelled: Samohi Chamber Orchestra March 15 in Santa Monica

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CANCELLED: We regret to inform you that this Sunday’s Laemmle Live concert featuring Samohi Chamber Orchestra has been cancelled. This is in line with the school’s decision to cancel other large public gatherings. We appreciate your understanding of the situation.

LAEMMLE LIVE proudly welcomes back our hometown band – Samohi Chamber Orchestra. Orchestra Directors are Joni Swenson and Jason Aiello. Santa Monica High School, fondly referred to as Samohi, is a large urban public high school.  Founded in 1891, Samohi has an enrollment of 3,000 diverse students and is situated on a twenty-six acre campus just a short walk from the Pacific Ocean. 

The Santa Monica Orchestra was founded in 1903, making 2020 its 117th anniversary.  During this time, the program has grown to include seven orchestras at Samohi. The Santa Monica High School Chamber Orchestra is comprised of twenty-two talented and dedicated young musicians who are leaders in the Samohi Symphony Orchestra.  In past years, the Santa Monica High School Chamber Orchestra has performed in Carnegie Hall in 2009, at the American String Teachers Association National Orchestra Festival in Kansas City, Kansas in 2011; at the Northwest Orchestra Festival in Portland, Oregon in 2013 and in 2017, and in Vancouver, British Columbia in 2015.  Last year, the Samohi Chamber Orchestra performed in New York City at the National Orchestra Cup Festival held at Alice Tully Hall in Lincoln Center where they received the best string ensemble in the festival.  The Chamber Orchestra is delighted for its fourth performance in the Laemmle Live Concert Series. 

1st Violin

Rubani Chugh
Kielor Tung
Gina Kim
Ryan Lee
Sarah Michlin

2nd Violin

Anouk Jouffret
Emily Taylor
Chloe Schwartz
Isabella Miele-Okada
Lily Rafat
Janet Yang

Viola

Layla Shapouri
Dyllan Zhou
Grace McFalls
Naomi Villafana

Cello

Kaya Ralls
Lily Stern
Giulia Trevellin
Shoshanah Israilevich

Bass

Weston Kerekes
Alec Raymond
Silas Garcia-George

Samohi Orchestra Parents Association
Ann Raziel, President

Santa Monica High School
Dr. Antonio Shelton, Principal

Santa Monica Malibu Unified School District

Sunday, March 15, 2020
11:00 AM
Monica Film Center
1332 Second Street
Santa Monica

 

“Forever Looking for Love.” Kenneth Turan on the Newly Restored PANDORA AND THE FLYING DUTCHMAN in the L.A. Times.

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From Kenneth Turan’s February 14, 2020 Critics Choice column in the Times:

“Independent films were not an invention of Sundance, they existed in the golden age Hollywood as well, and one of the most unusual, and the most gorgeous, was 1951’s Pandora and the Flying Dutchman. It was directed by Albert Lewin and starred James Mason and, looking especially beautiful, Ava Gardner in a pleasantly surreal supernatural tale of a cursed sea captain and a heedless young woman who lives only for pleasure. Or so she thinks.

“Gardner looked as photogenic as she did because Pandora’s cinematographer was the great Jack Cardiff, famous for works like Black Narcissus, and because the film was shot in the knockout process known as three-strip Technicolor.

“Restoring Pandora to its original glory has taken more than a dozen years, with the Cohen Media Group ultimately funding a glorious 4K version, which included more than 700 hours of digital restoration lavished on 177,120 frames of the film. Was it worth it? Absolutely.

“Begins Feb. 21 at Laemmle Royal, West Los Angeles.”

Cohen commissioned several terrific new posters for Pandora by New York-based key art designer, illustrator, and art director Mark McGillivray:

 

Ava Gardner and James Mason in a scene from “Pandora and the Flying Dutchman.” (Cohen Media Group)

2020 Oscar Contest Results!

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It was an unprecedented Oscars for foreign language cinema, with “Parasite” taking not only Best International Film but Best Director and Picture. Laemmle Oscar Contest participants who correctly guessed the Academy would break with tradition and choose a foreign film over an English-language film won our contest. First place garnered a Laemmle Premiere Card worth $150 and the two second place winners get Laemmle Premiere Cards worth $100. The winners’ prizes are on the way.

23 correct: 1st Place) Jared N. of Pasadena.

22 correct: (205 mins) 2nd Place tie) So Jin C. of L.A.

22 correct (205 mins) 2nd Place tie) Megan M. of Pasadena.

We had a sole first place winner this year with 23 out of 24 categories correctly selected! The first place winner only missed one category, Best Director, by incorrectly selecting Todd Phillips from “Joker” instead of eventual winner Bong Joon Ho from “Parasite.”
The two 2nd place winners missed two categories out of 24, both choosing “1917” to win Best Sound Editing instead of eventual winner “Ford v Ferrari.” One incorrectly chose “Parasite” for Best Editing instead of eventual winner “Ford vs. Ferrari,” and the other chose  “Once Upon a Time in Hollywood” instead of eventual winner “Little Women” for Best Costume. They both chose the exact same and closest to actual run-time of 205 minutes on the tie-break question resulting in two 2nd place winners!
Best Picture winner “Parasite” was selected by only 18% of entries but nearly 90% for Best Foreign Film. “1917” received nearly 50% of the votes for Best Picture. No one picked “Once Upon a Time…in Hollywood” to win Best Picture. Sam Mendes had 50% of the Best Director votes for “1917,” no doubt because he won the DGA award. “American Factory” had 50% of the votes for Best Documentary. “Toy Story 4” had 50% of the vote for Best Animated Feature. Best Adapted Screenplay winner “Jojo Rabbit” and fellow nominee “LIttle Women” both received a good portion of the votes at 35% each. Joaquin Phoenix did not receive a unanimous vote for Best Actor but he did receive the second highest vote tally, after Parasite for Best Foreign Film, at 84%.

Congratulations to the winners and thanks to all for playing!