The Official Blog of Laemmle Theatres.

blog.laemmle.com

The official blog of Laemmle Theatres

Home » Anniversary Classics » Page 8

Jean Renoir’s FRENCH CANCAN ~ 65th Anniversary Screenings October 13 at the Royal, Playhouse, Glendale, Newhall.

by

Laemmle Theatres and the Anniversary Classics Series present FRENCH CANCAN, one of the best late films created by master director Jean Renoir: a rousing tribute to the 19th century world that his celebrated father, Pierre Auguste Renoir, and other Impressionists created in their paintings. Set mainly in Montmartre and the original Moulin Rouge nightclub in the 1890s, the film chronicles the revival of the cancan that electrified Paris. This film marked Renoir’s return to filmmaking in France after a lengthy exile caused by World War II.

Renoir’s main character, a theatrical impresario named Henri Danglard, is portrayed by legendary French actor Jean Gabin, who had worked with Renoir in the 1930s in The Lower Depths, La Bete Humaine, and the director’s antiwar masterpiece, La Grande Illusion. Gabin, for decades the face of French cinema, creates a vivid character in FRENCH CANCAN, a producer who has the restlessness of an artist, always seeking new challenges—and new romances in his personal life. The principal women in his life are portrayed by Francoise Arnoul and Maria Felix, with the legendary singer, Edith Piaf, in a tasty supporting role.

One of the critics who endorsed the film in the 1950s was Francois Truffaut, who was writing criticism before he embarked on his directing career. Truffaut considered FRENCH CANCAN a milestone in the history of color cinema. He observed that one scene of a dance class “reminds us of a Degas sketch,” and he added that Renoir’s direction was “as vigorous and youthful as ever.”

Later reviews also endorsed the film, especially after footage cut from the initial release was restored. Leonard Maltin paid tribute to the “brilliantly beautiful restored version” and called the film “an impressive, enjoyable fiction about beginnings of the Moulin Rouge and impresario Gabin’s revival of the cancan.” Roger Ebert called the film “a delicious musical comedy that deserves comparison with the golden age Hollywood musicals of the same period.” In The Guardian Peter Bradshaw wrote, “The glorious final sequence, in which the cancan is finally unveiled to the rowdy audience, is some kind of masterpiece, perhaps the equal of anything Renoir ever achieved: wild, free, turbulent, exhilarating.”

This musical delight will play at 7 PM on Wednesday, October 13, at four Laemmle theatres: the Royal in West L.A., the Playhouse in Pasadena, the Laemmle Glendale, and the Laemmle Newhall.

https://www.youtube.com/watch?v=dLivSvCNe84

Bernardo Bertolucci’s THE CONFORMIST ~ 50th Anniversary Screenings.

by

We continue our Anniversary Classics series with Bertolucci’s stunner at 7 o’clock on Wednesday, September 29 at our Glendale, Newhall, Pasadena and West L.A. theaters. The film follows Marcello Clerici (Jean-Louis Trintignant), a member of the secret police in Mussolini’s fascist Italy. He and his new bride, Giulia (Stefania Sandrelli), travel to Paris for their honeymoon, where Marcello also plans to assassinate his former college professor Luca Quadri (Enzo Tarascio), an outspoken anti-fascist living in exile. But when Marcello meets the professor’s young wife, Anna (Dominique Sanda), both his romantic and his political loyalties are tested.

“It’s easy to overlook how stark THE CONFORMIST‘s political and allegorical message is because it’s just so damn beautiful.” (Aja Romano, Vox)

“Bertolucci’s masterpiece—made when he was all of 29—will be the most revelatory experience a fortunate pilgrim will have in a theater this year.” (Michael Atkinson, Village Voice)

“THE CONFORMIST is celebrated for cinematographer Vittorio Storaro’s tumbling autumn leaves, but its emotional impact involves a tumbling soul.” (Joshua Rothkopf, Time Out New York)

“THE CONFORMIST is a beautiful and provocative film, and its theme could not be more timely.” (John Hofsess, Maclean’s Magazine)

Bogie & Bacall: THE BIG SLEEP 75th Anniversary Screenings at the Royal, Playhouse & Newhall.

by

Laemmle Theatres and the Anniversary Classics Series present the classic 1946 detective mystery THE BIG SLEEP starring Humphrey Bogart and Lauren Bacall in a series of three screenings at different locations: August 31 (Royal in West Los Angeles), September 1 (Playhouse in Pasadena), and September 2 (Newhall in Santa Clarita).

THE BIG SLEEP is an engrossing mystery thriller that has defied classification since its premiere in 1946. Although it is now considered a cornerstone of film noir, critics and journalists through the years have also described it as a black comedy and even a “screwball love story.” Deftly directed by Howard Hawks and written by William Faulkner, Leigh Brackett and Jules Furthman adapting Raymond Chandler’s first novel, it is the second teaming of Bogart with his wife Lauren Bacall, after the two created a screen sensation in Hawk’s To Have and Have Not in 1944. The film is noted for its convoluted plot (just try to follow it), partially because several scenes were re-written and re-shot for the second, final release in 1946. (A 1945 version was shown to U.S. troops overseas at the end of WWII.) The 1946 official release was added to the National Film Registry in 1997, and it is this version that we will present.

Bogart’s turn as shrewd shamus Philip Marlowe solidified his reputation, and Chandler praised him as “so much better than any other tough-guy actor.” His verbal interplay with Bacall flirted with contemporary screen censorship, as the duo wove the mystique of “Bogie and Bacall.” Critics of the day were as baffled by the plot as audiences, but as Leonard Maltin has pointed out, the movie is “so incredibly entertaining that no one has ever cared.” That high entertainment quotient stems from Hawk’s sharp direction, the biting and witty script, actors at the top of their game (Dorothy Malone, Martha Vickers, and Elisha Cook Jr. among them), atmospheric black-and-white cinematography by Sid Hickox, and a noteworthy music score by Steiner.

Fifty-Fifth Anniversary Screenings of Agnès Varda’s LE BONHEUR (HAPPINESS) August 25 in Glendale, Newhall, Pasadena & West L.A.

by

Our Anniversary Classics Abroad Series continues with LE BONHEUR, a provocative and controversial film from one of the pioneering female filmmakers of international cinema, Agnès Varda. Varda was the only woman director who was part of the French New Wave that tantalized and excited audiences during the 1960s. Her breakthrough film, Cleo from 5 to 7, was released in 1962, and she followed that with a very different but equally bracing domestic drama centering on a romantic triangle. LE BONHEUR won two awards at the Berlin Film Festival in 1965 before its American release in 1966.
Unlike the black-and-white Cleo, LE BONHEUR is filmed in warm, bright colors that enhance the film’s themes, an apparently sunny romantic drama with dark undertones. Shot in the suburbs of Paris, the film opens with an idyllic scene showing the main character, Francois (Jean-Claude Drouot), a carpenter, celebrating a summer outing with his wife (Claire Drouot) and their two children. Sunflowers deck the screen while Mozart on the soundtrack adds to the celebratory mood. Francois seems blissfully happy with his family, but when he later meets an attractive postal worker (Marie-France Boyer), he begins a lusty affair with her, convinced that it will not jeopardize his marriage. When he finally confesses to his wife that he is in love with two women, however, everything in his placid world changes.
Varda had worked in documentaries as well as narrative features, and that background shows in her decision to cast Drouot’s real wife and children as his wife and children in the film. Those three people never acted in another film, but Varda felt that the fact Drouot was working with his real family members would add to the naturalism of the movie and the comfort of the players, particularly during the tender love scenes.
Critics praised the striking cinematography, reminiscent of French Impressionist paintings, along with the performances. The New Yorker’s Richard Brody wrote, “Varda fills her frames with riots of nature and color, like Bonnard paintings come to life and with an erotic intimacy to match.” Given the sumptuous visuals and the joyous intimacy of the love scenes, the climax of the story was startling to viewers at the time and remains deeply disturbing. In a discussion of the film sponsored by the Criterion Channel many years after the movie’s release, British film professor Jenny Chamarette called LE BONHEUR “a horror movie wrapped up in sunflowers” and added that it was “one of the most terrifying films I’ve ever seen.” To join the debate about this stimulating film, catch one of our screenings a 7 o’clock on Wednesday, August 25, at your favorite Laemmle theater.
Agnès Varda went on to have a wonderful career for the next 50 years. Her later films include Lions Love, One Sings the Other Doesn’t, Vagabond, The Gleaners and I, The Beaches of Agnes, and Faces Places. She was given an honorary Academy Award for her diverse and brilliant body of work in 2017.
https://www.youtube.com/watch?v=OQpJ-2GWnOA

Kurosawa, Varda, Bertolucci, Renoir, Fellini & Cuarón: Laemmle’s Anniversary Classics Abroad Series Returns.

by

We’re pleased to announce the resumption of our Anniversary Classics Abroad series so moviegoers can again appreciate international cinematic masterpieces as they were meant to be seen, on the big screen. We’ll show the films all over L.A. County simultaneously at our Newhall, Pasadena, West L.A. and Glendale theaters starting July 28 with a 70th anniversary (going by its U.S. release) screenings of Akira Kurosawa’s timeless RASHOMON. Check out our trailer.
On August 25 we’ll screen Agnès Varda’s gorgeous drama about adultery in a Parisian suburb, LE BONHEUR to celebrate the 55th anniversary of its release.
We’ll follow that on September 29th with 50th anniversary screenings of Bernardo Bertolucci’s ravishing critique of  1930s Italian fascism, THE CONFORMIST.
On October 13 we’ll celebrate the 65th anniversary of Jean Renoir’s FRENCH CANCAN, a musical dramedy that chronicles the revival of Paris’ most notorious dance with the story of a theater producer (cinematic titan Jean Gabin) who turns a humble washerwoman into a Moulin Rouge star. Edith Piaf co-stars!
We’ll show Fellini’s LA DOLCE VITA on November 17. It’s the 60th anniversary of Fellini’s sardonic epic about the decadence of modern Rome.

It’s the 20th anniversary of Alfonso Cuarón’s impossibly sexy, funny Y TU MAMÁ TAMBIÉN, which we’ll screen on December 8.

“I believe God made me for a purpose, but he also made me fast. And when I run I feel his pleasure.” CHARIOTS OF FIRE 40th Anniversary Screenings.

by

To celebrate the 2021 Olympics, Laemmle Theatres and the Anniversary Classics Series present one of the best-loved sports movies of all time: the 1981 Oscar-winning drama, ‘Chariots of Fire.’ The picture retrieved a largely forgotten chapter of Olympic lore, the British triumphs at the 1924 games in Paris. In a neat parallel to the story told on screen, the film’s victory at the Academy Awards ceremony has to be considered one of the most surprising but gratifying upsets in Oscar history. We’ll screen the film July 20 at the Newhall, Playhouse and Royal at 7 PM.

The year 1981 was one of the most competitive years in recent memory. The other films nominated for Best Picture were Warren Beatty’s ‘Reds’ (with a total of 12 nominations), ‘On Golden Pond’ (10 nominations), ‘Raiders of the Lost Ark’ (eight nominations), and Louis Malle’s ‘Atlantic City.’ ‘Chariots of Fire‘ came into the ceremony with a total of seven nominations, and unlike the other contenders, it had no major stars in the cast. Yet audience and industry love for the movie pushed it over the finish line. In addition to winning Best Picture, it also won Best Original Screenplay for Colin Welland, Best Costume Design, and Best Musical Score by Vangelis. The film also earned nominations for Hugh Hudson as Best Director, Ian Holm for Best Supporting Actor for his delightful portrayal of the track coach who guided the winning runners, and Best Film Editing.

The two leading roles in the film are portrayed by Ian Charleson as Eric Liddell and Ben Cross as Harold Abrahams. Both of them confronted daunting obstacles in their preparation for the 1924 Olympics. Liddell, the son of Scottish missionaries, came from a strict Christian upbringing, and he created complications for the British team when he refused to race on Sunday. Abrahams was Jewish and faced discrimination as a student at Cambridge and as an Olympic competitor. The excellent supporting cast includes Oscar winner John Gielgud and acclaimed director Lindsay Anderson as two stuffy, bigoted Cambridge dons, Alice Krige, Nigel Havers, Cheryl Campbell, and young American actors Dennis Christopher (‘Breaking Away’) and Brad Davis (‘Midnight Express’).

Producer David Puttnam (‘Midnight Express,’ ‘The Killing Fields,’ ‘Local Hero’) had conceived the film as a drama about faith and principle, in the tradition of such earlier award winners as ‘A Man for All Seasons.’ He assembled a first-rate team, including award-winning cinematographer David Watkin (‘Out of Africa,’ ‘Moonstruck,’ ‘Yentl’) and first-time feature director Hudson. Perhaps Puttnam’s boldest move was to hire Greek-born electronic composer Vangelis to provide an innovative musical score. Vangelis said that he was inspired by the fact that his father was a runner, and the score was intended as a kind of family tribute. His music has proved especially durable, serving as the theme for the 2012 Olympics held in London 30 years after the film’s release.

Reviews were largely celebratory. Kathleen Carroll of the New York Daily News praised “a movie that, with the help of Vangelis’s wonderfully stirring score, lifts the spirits to a new high.” Time magazine’s Richard Schickel added, “Like every element in this picture, the actors look right; they seem to emerge from the past, instead of being pasted on to it.” Roger Ebert declared, “’Chariots of Fire’ is one of the best films of recent years.” Later evaluations echoed the praise. Writing in 2012, Kate Muir of the UK Times said “From the opening scene of pale young men racing barefoot along the beach, full of hope and elation, backed by Vangelis’s now famous anthem, the film is utterly compelling.”

TO KILL A MOCKINGBIRD Screenings June 7-10.

by

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 a return to the big screen of one of the cinematic crown jewels from 1962, To Kill a Mockingbird. The film will be shown as a series of one night-only screenings at 7 PM the week of June 7-10 at four Laemmle locations, the Royal, Playhouse, NoHo and Newhall. The authors will introduce all screenings and sign their book, which will be on sale at the events. Acclaimed filmmaker Cecilia Peck, daughter of Gregory Peck, will join the discussion at the Royal screening on June 7.

A box-office smash in its day, To Kill a Mockingbird remains one of the most memorable films in Hollywood history. In 1995 it was selected for the National Film Registry of the Library of Congress, reserved for films of “historical, cultural, or aesthetic significance.” The film was faithfully adapted by playwright Horton Foote from Harper Lee’s beloved, Pulitzer Prize-winning novel about childhood memories in the segregated South of the 1930s. The film version has become so intertwined with the book in the national consciousness that they have blended as “an inescapable part of our cultural DNA.”

Directed by Robert Mulligan and produced by Alan Pakula, the film gave Gregory Peck the iconic role of a lifetime, that of Atticus Finch, the small-town lawyer who heroically defends a black man (Brock Peters as Tom Robinson) accused of raping a white woman, invoking the ire of the bigoted white community. Peck’s performance resonated so strongly that when the American Film Institute conducted a poll of all-time screen heroes, his portrayal of Finch was voted number one, ahead of such screen favorites as Han Solo and James Bond. Peck closely identified with the themes of parenting two young children, and those of social and racial justice at the height of the Civil Rights era. He was awarded a very popular Best Actor Oscar in one of the most competitive Oscar races of the twentieth century.

Among the film’s eight total nominations (including Best Picture and Director) is one for Supporting Actress, which went to screen newcomer Mary Badham as Scout, the impressionable six-year-old daughter of Atticus, and it is through her eyes the story unfolds. Her remarkable performance conveys all the wonderment and innocence of childhood imagination, and she is ably joined by Philip Alford as her brother Jem and John Megna as Dill (a surrogate for Lee’s friend Truman Capote). The rest of the stellar cast includes Colin Wilcox, Frank Overton, Rosemary Harris, Estelle Evans, James Anderson, and in the pivotal role of the mentally damaged “Boo” Radley, Robert Duvall in his screen debut.

The transformation of childhood memory into black-and-white screen reality was achieved by the superb craftsmanship of cinematographer Russell Harlan and Oscar winning production design of Alexander Golitzen, Henry Bumstead, and set decoration by Oliver Emert. Elmer Bernstein’s exquisite score also enhances the film’s rich atmosphere and mood. Harper Lee was involved in the film’s preparation and was “very proud and very grateful” for the fidelity of the finished film.

The film received widespread praise, ranging from such varied sources as the mainstream press, presidential adviser and journalist Arthur Schlesinger Jr., Walt Disney, and numerous pop culture publications. Often considered a role model, Atticus Finch is understandably not always seen as an uncomplicated hero. But such reassessments have not diminished the popularity and appeal of To Kill a Mockingbird, which has been elevated to the level of American folklore. Witness the recent PBS poll of millions of viewers who voted it America’s most beloved novel, and Aaron Sorkin’s revisionist stage version that was sold out for the entirety of its two-year, pandemic-shortened Broadway run.

https://www.youtube.com/watch?v=QA86h4mdJ-A

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

by

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