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Ahrya Fine Arts Theater News: 25th Anniversary Screening of THE LAST KLEZMER, New Operator, Israel Film Festival,

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The propulsive Jewish folk music known as klezmer that was played by itinerant bands throughout Eastern Europe before World War II has earned many sobriquets, among them “Jewish jazz.” The pumping rhythms, modal harmonies and cantorial cry of this European roots music have filtered into countless Broadway musicals. Probably no one did more to perpetuate klezmer traditions, especially in Europe, than Leopold Kozlowski, the subject of Yale Strom’s absorbing 1994 documentary The Last Klezmer. Strom will participate in a Q&A and play his violin following a 1:00 pm screening on Sunday, November 3rd at the Fine Arts in Beverly Hills.

In other Fine Arts news, on November 1 Laemmle Theatres will cease operation of the theater, turning the facility over to Screening Services Group. SSG will return the theater to its longtime name, the Fine Arts Theatre. Laemmle operated the Fine Arts from 1985 to 1994 and again from September 2015 until now. Laemmle Theatres President Greg Laemmle said, “It has been our privilege to show movies at this beautiful single-screen theater and we’re happy that Screening Services Group will continue to maintain it as a destination for Los Angeles cinephiles.”

According to CinemaTreasures.org, the Fine Arts first opened in April 1937 as the Wilshire Regina, with seating for 800.

Longtime Beverly Hill resident Shawn Far purchased the theater in May of 2015. He has a great respect for historical buildings and owns several in the Los Angeles area. The theater was closed from 2010 to 2015 and once Mr. Far purchased it he began renovations using a state-of-the-art Digital Cinema system including a fully equipped 3D system as well as 35mm and 70mm projectors.

Screening Services Group is an excellent screening room operator in the Los Angeles area, operating three screening rooms in Beverly Hills and one in West LA. The Fine Arts Theatre will be operated as a public movie theatre and a special venue for movie premieres and other special events.

The theatre will host Israel Film Festival next month, and tickets will still be available on the Laemmle website once the schedule is finalized.  We hope to continue working with SSG on Sing-Along Fiddler on the Roof  Christmas Eve screenings (2019 host TBA) and other programs into 2020. Onward!

Laemmle’s Anniversary Classics presents THE TINGLER and THEM, a Halloween Eve Double Feature on October 30 in North Hollywood.

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Laemmle Theatres and the Anniversary Classics Series present our annual scary October program of classic fright films with a double bill of 1950s black-and-white hits: the 65th anniversary of THEM! (1954), paired with the 60th anniversary of THE TINGLER (1959). The vintage horror entries will show in a retro double feature (two movies for the price of one) on Halloween Eve, Wednesday, October 30 at the Laemmle NoHo.

THEM!, considered one of the very best of the 1950s monster movies, tapped into the era’s nuclear paranoia with its tale of giant mutated ants terrorizing the American Southwest.

Unlike many of the low-budget films that capitalized on atomic era fears, THEM! was a major production for Warner Bros., hoping to repeat the commercial success of their 1952 release, The Beast from 20,000 Fathoms. They assigned studio contract director Gordon Douglas to helm a script written by Ted Sherdeman, Russell Hughes, and George Worthing Yates with a strong cast headed by James Whitmore, Oscar winner Edmund Gwenn (Miracle on 34th Street), James Arness, Joan Weldon and newcomer Fess Parker.

Accomplished cinematographer Sidney Hickox (The Big Sleep, White Heat) and venerable composer Bronislau Kaper (San Francisco, Lili, Mutiny on the Bounty) contributed first-rate work, along with special effects that garnered an Academy Award nomination that year.

Variety capsulized the favorable reviews: “top-notch science fiction shocker. It has a well-plotted story, expertly directed and acted in matter-of-fact style to rate a chiller payoff and thoroughly satisfy fans of hackle-raising melodrama.”

THE TINGLER is a classic of another sort – cultish camp – with its outlandish story of a doctor who discovers a fear-bred organism in the base of the spine. If released, the centipede creature’s grip can kill, only alleviated by a scream.

Producer-director William Castle, one of the period’s rival “king of the Bs,” enlisted writer Robb White to concoct the story, cited by Time Out as “ingeniously ludicrous.” Castle and White had collaborated twice before and hit box office pay dirt with the low-budget hit House on Haunted Hill in 1958. But shlockmeister Castle’s real talents were as a huckstering showman, and he provided a marketing gimmick doozy in “Percepto,” with vibrating buzzers wired to theater seats to jolt the audience when the creature is unleashed.

The good doctor, played by Vincent Price, would then instruct the theater audience to “scream for your lives” to keep the marauding tingler at bay. Price had been the star of House on Haunted Hill and then went on to become the “the master of menace” for a dueling “king of the Bs,” Roger Corman, with his adaptations of the works of Edgar Allan Poe in the early 1960s.

At the time of its release, the New York Times’ Howard Thompson dismissed THE TINGLER as a prime example of Castle “serving some of the worst, dullest little horror entries ever to snake into movie houses.”

Today audiences are mightily amused by the brand of scary mayhem Castle specialized in, endorsing Leonard Maltin’s assessment of THE TINGLER as a ”preposterous but original shocker.”

One night only, enjoy an early Halloween treat (no tricks here) – two vintage horror movies back on the big screen in a classic double feature on Wednesday, October 30 at the Laemmle NoHo. Click here for tickets.

Formats: THE TINGLER, DCP; THEM!, Blu-ray.

THE NATURAL 35th Anniversary Screening and Q&A with Cinematographer Caleb Deschanel & Screenwriter Roger Towne.

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At the climax of baseball season, Laemmle Theatres and the Anniversary Classics Series present a screening of the film regarded as one of the greatest of all baseball movies, Barry Levinson’s THE NATURAL.

Adapted from the acclaimed 1952 novel by Bernard Malamud, the film earned four Academy Award nominations in 1984: Best Supporting Actress Glenn Close, Best Cinematography Caleb Deschanel, Best Musical Score Randy Newman and Best Art Direction.

The beautiful, impeccably designed recreation of an earlier era in American sports history also scored at the box office. Robert Redford plays the title character, and the all-star cast also includes Robert Duvall, Kim Basinger, Wilford Brimley, Barbara Hershey, Richard Farnsworth, and Joe Don Baker.

Malamud’s story, adapted for the screen by Roger Towne and Phil Dusenberry, tells the story of a young baseball prodigy named Roy Hobbs (Redford) who travels from his bucolic Midwestern home to try out for the Chicago Cubs. On his journey he is assaulted by a mysterious woman, and disappears for some 15 years. When he reappears and tries out for a New York team, the owners and manager are skeptical that a middle-aged man can ever succeed in the majors. But Roy’s skills as a slugger silence the skeptics and encourage the owners to give him a shot. His rise to the top is complicated by his romance with a rather shady woman (Basinger) and by the reappearance of his childhood sweetheart (Close), who has a surprise revelation that disorients Roy.

In addition to the rousing baseball scenes and the poignant personal story, the film captivates as a lush evocation of a more innocent American past. Cinematographer Deschanel, who had made his mark with his work on Carroll Ballard’s ‘The Black Stallion’ and Philip Kaufman’s ‘The Right Stuff,’ made a major contribution in bringing the era to life. Levinson also made an unconventional choice in selecting new composer Randy Newman to create the rousing symphonic score.

Although the filmmakers altered the dark ending of Malamud’s novel, they retained his piercing insights into some of the contradictions of the American character. The film earned mixed reviews at the time, but its reputation has grown. James Berardinelli of ReelViews called THE NATURAL “arguably the best baseball movie ever made,” and ESPN also called it one of the best sports movies of all time. On its original release Gene Siskel declared, “Redford scores in an uplifting celebration of the individual.”

Deschanel has earned six Oscar nominations over the course of his career. In addition to nominations for THE NATURAL and ‘The Right Stuff,’ he was cited for his work on Mel Gibson’s blockbuster, ‘The Passion of the Christ,’ and for ‘The Patriot,’ ‘Fly Away Home,’ and last year’s Oscar nominee for best foreign language film, ‘Never Look Away.’ This year Deschanel shot Disney’s smash-hit live-action version of ‘The Lion King.’

Our 35th anniversary presentation of THE NATURAL (1984) and Q&A with cinematographer Caleb Deschanel and screenwriter Roger Towne screens Thursday, October 24, at 7PM at the Royal in West LA. Click here for tickets.

Format: DCP

On the Passing of Robert Forster.

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Laemmle Theatres Owner-President Greg Laemmle on the passing of actor Robert Forster:

“From the moment I saw JACKIE BROWN, Robert Forster seemed like someone I wanted to meet. I admired how effortlessly his portrayal of bail bondsman Max Cherry commanded our attention. With a quiet, naturalistic performance, he managed to play off the other actors, allowing them to go a little further afield in creating their characters. Cherry was the quiet center of it all. Here was someone who was honest, decent, and comfortable in his skin and it felt like Forster was bringing those personal qualities to the man he was portraying on screen.

Robert Foster in JACKIE BROWN. Photo courtesy of Miramax/Photofest.

“It wasn’t till 2018 that I actually had the opportunity to meet Robert. My wife and I were at an Academy screening of WHAT THEY HAD. He was part of the post-screening Q&A and the reception that followed. I tend to be shy about introducing myself to people, but my wife is not quite as shy, and knowing how much I have admired his work, she made a point of introducing herself.

“The next thing I knew, Robert was making a beeline to my seat and expressed his thanks for all the films he had seen over the years at Laemmle Theatres. He remembered meeting my grandfather, Max Laemmle, at our Los Feliz Theater when he first came to Hollywood and went on to talk about many other films that had struck a chord with him over the years. Robert Forster never stopped working, but even more than that, he never stopped being a lover of film.

Nancy Laemmle and Robert Forster. Photo courtesy of Nancy Laemmle.

“It was only a few months after this first meeting that I ran into him again. He had come to the Fine Arts on Christmas Eve to enjoy our annual FIDDLER ON THE ROOF Sing-Along and once again with his comments I saw that he was both a professional, appreciating the work of the actors in the film, but also a movie lover, simply enjoying the experience of being in a theater with an audience. And I sensed it again, his clear honesty, decency, and comfort in his own skin.

“I last saw him in March at our 50th anniversary screening of his landmark 1969 film MEDIUM COOL. He came straight to the theater from the airport, and was a little under the weather, but still engaged in a terrific discussion with host Stephen Farber and the audience. His shared stories about his first roles on stage, and then getting a huge break with a role opposite Marlon Brando in John Huston’s REFLECTIONS IN A GOLDEN EYE. Naturally, he also talked about working with Haskell Wexler on the groundbreaking MEDIUM COOL, which famously shot in and around the actual events of the 1968 Democratic Convention in Chicago. He did not shy away from discussing the next 28 years, when he worked mostly on TV or in mostly forgettable films. Those years did not seem to be any more or less valuable than the 20+ years after he returned to a greater degree of prominence following his role in JACKIE BROWN. The films may have gotten better and the paychecks may have gotten a little bigger but Robert was the same person through it all. Honest, decent, and comfortable in his skin.

From left to right: Greg Laemmle, Nancy Laemmle, Robert Forster and Robert’s longtime partner Denise Grayson. Photograph by Paige Craig.

“Thank you, Robert Forster. The world of cinema is richer for your contribution, and the world in general is a better place for you having been a part of it.”

Greg’s wife Nancy highlights the conclusion of the Hollywood Reporter obituary:

Forster said that when his career was at its lowest ebb, he had what he called an “epiphany.”

“It was the simple one,” he said, “when you realize, ‘You know what? You’re not dead yet, Bob. You can win it in the late innings. You’ve still got the late innings, but you can’t quit. Never quit.'”

Forty-Fifth Anniversary Screenings of Louis Malle’s LACOMBE LUCIEN on October 16th

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Laemmle Theatres and the Anniversary Classics Series present our Anniversary Classics Abroad program for October: Louis Malle’s LACOMBE LUCIEN, nominated for Best Foreign Language Film of 1974.

The film was one of the movies, following Marcel Ophuls’ monumental documentary ‘The Sorrow and the Pity,’ that scrutinized French collaboration with the Nazis during World War II.

Malle’s movie tells a fictional but provocative story, written by the director and novelist Patrick Modiano, about a teenage boy who savors the power he accrues when he joins the Gestapo during the final months of the war.

LACOMBE LUCIEN takes place in 1944, after the Allies have landed in Normandy but the Nazis are still fighting to retain their hold on the country. Lucien Lacombe is an uneducated peasant boy who first tries to escape his humdrum life by volunteering for the Resistance.

When they reject him for being too young, he stumbles into an opportunity working for the Gestapo in his town and discovers a taste and talent for brutality. His loyalties are complicated, however, when he falls in love with a beautiful Jewish girl who is in hiding with her father and grandmother.

Malle found a brand new actor, Pierre Blaise, to play the part of Lucien. He was working as a woodcutter when Malle discovered him. Although his debut performance was highly acclaimed, Blaise’s career was cut tragically short when he died in a car crash just a year after the release of the film. But Aurore Clement, cast as the young Jewish girl, went on to have a long and rewarding career in French cinema, even appearing in some American movies like ‘Apocalypse Now’ and ‘Paris, Texas.’

Distinguished European actors Therese Giehse and Holger Lowenadler filled out the cast. Lowenadler, who played Clement’s cultivated father, was voted best supporting actor of the year by both the National Society of Film Critics and the National Board of Review.

Critics praised the film for its dispassionate insight into how perfectly ordinary people could be seduced by a taste of power and violence. Pauline Kael wrote, “Malle’s film is a long, close look at the banality of evil; it is—not incidentally—one of the least banal movies ever made.”

The New York Times’ Vincent Canby wrote, “’Lacombe Lucien’ is easily Mr. Malle’s most ambitious, most provocative film.” Leonard Maltin called it a “subtle, complex tale of guilt, innocence, and the amorality of power; masterfully directed.”

Although it is a vivid historical recreation, the film remains startlingly timely in its examination of the deadly lure of fascism.

LACOMBE LUCIEN screens Wednesday, October 16, at 7PM in Glendale, Pasadena, and West LA. Click here for tickets.

Director of Photography Fan Chao in Person for a Tribute Screening of the Chinese Masterpiece AN ELEPHANT SITTING STILL.

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On Sunday, October 27 at the Ahrya Fine Arts, we’ll screen one of the finest films of the year, AN ELEPHANT SITTING STILL, in honor of its late creator. Set under the gloomy skies of a small town in northern China, the movie follows different protagonists whose lives are intertwined in a furious tale of nihilistic rage. Written, directed and edited by Hu Bo, it’s the novelist-turned-director’s first and only feature. On October 12, 2017, at the age of 29, he killed himself soon after completing the film. Based on a story with the same title from his 2017 novel Huge Crack, it premiered at the 68th Berlin International Film Festival, where it won the Best First Feature (Special Mention) and FIPRESCI prizes, nominations for Best First Feature and the C.I.C.A.E. awards and acclaim from other established directors such as Bela Tarr, Wang Bing, Ang Lee and Gus Van Sant. It went on to screen at prestigious festivals and cinemas around the world.

From AN ELEPHANT SITTING STILL. Courtesy of KimStim.

As a fellow Beijing Film Academy graduate and close friend of Hu Bo, cinematographer Fan Chao was one of his chief collaborators for much of Hu’s too-brief career. Fan worked on several of Hu’s short films and served as DP to AN ELEPHANT SITTING STILL, for which Fan received a Best Cinematography nomination at the Golden Horse Awards (the Chinese language Oscars). Fan will be present for a post-screening Q&A.

Filmmaker Bo Hu. Courtesy of KimStim.

One of the most talked about films this year, AN ELEPHANT SITTING STILL is an intense epic drama sure to be remembered as a masterpiece and a landmark in Chinese cinema.

From AN ELEPHANT SITTING STILL. Courtesy of KimStim.

“Powerfully absorbing…an act of solemn, disciplined and passionate protest.” —A.O. Scott, The New York Times

“Should become an enduring classic…one of the greatest recent films.” —Richard Brody, The New Yorker

From AN ELEPHANT SITTING STILL. Courtesy of KimStim.

“This is a film of extraordinary beauty, invention, and grace.” —Jonathan Romney, Film Comment

Fan Chao’s travel is made possible through the generous support of the Beijing Contemporary Art Foundation.

Celebrate 40 years of George Harrison’s HandMade Films at THE OTHER HANDMADE’S TALE FILM FESTIVAL

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HandMade Films was the boutique movie company created by George Harrison to finance MONTY PYTHON’S LIFE OF BRIAN. Started by a Beatle to help some Pythons, the company went on to revitalize the British film industry with movies such as TIME BANDITS, WITHNAIL & I, MONA LISA, and many others.

Celebrate 40 years of HandMade Films with the first-ever U.S. retrospective of the films made by the studio. THE OTHER HANDMADE’S TALE runs Thursday, October 10th through Sunday, October 20th at the Ahrya Fine Arts in Beverly Hills. presented by The Mods & Rockers Film Festival in association with Laemmle Theatres.

Opening night on Thursday, October 10th will feature the U.S. Premiere of the brand-new documentary about HandMade Films, AN ACCIDENTAL STUDIO, with unreleased archive interviews and footage with Harrison, new and exclusive interviews with Michael Palin, Terry Gilliam, Richard E. Grant and Neil Jordan plus previously-unseen interview footage with Bob Hoskins.

A few additional highlights from the festival include:

  • A Bob Hoskins double feature of MONA LISA (1986) and THE LONG GOOD FRIDAY (1981).
  • MONTY PYTHON’S LIFE OF BRIAN (1979) with producer John Goldstone and musical director John Altman in person!
  • A Richard E. Grant double feature of HOW TO GET AHEAD IN ADVERTISING (1989) and WITHNAIL AND I (1987).
  • TIME BANDITS (1981).
  • NUNS ON THE RUN (1990) in 35mm.
  • And much, much more!

Click here for full details and schedule of films!

New Restoration of Joseph Losey’s MR. KLEIN Starring Alain Delon and Jeanne Moreau Opens October 11 at the Playhouse, Royal & Town Center.

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Joseph Losey’s MR. KLEIN (1976), a long-unseen masterwork from the director of The Servant and Accident and writer Franco Solinas (The Battle of Algiers), starring Alain Delon, with a special appearance by Jeanne Moreau, opens Friday, October 11 at Laemmle’s Playhouse/Pasadena, Royal/West L.A. and Town Center/Encino.

MR. KLEIN was blacklisted American director Losey’s first film in French, with a screenplay by Solinas and assistant director Fernando Morandi, and an uncredited Costa-Gavras (Z), who was originally to direct. In a full-length article in a recent issue of the New Yorker, critic Anthony Lane calls Rialto Picture’s reissue of MR. KLEIN “an event” and adds that “all good films come to those who wait.” Lane compares MR. KLEIN to another film about the Occupation, Jean-Pierre Melville’s Army of Shadows, which Rialto released in the U.S. for the first time in 2006.

Alain Delon in Joseph Losey’s MR. KLEIN (1976). Courtesy: Rialto Pictures/Studiocanal

An indictment of French complicity on the eve of the infamous Vélodrome d’Hiver roundup, with Claude Levy (one of the chief interviewees in Marcel Ophüls’ The Sorrow and the Pity) as historical consultant, MR. KLEIN was received coldly by French audiences, who objected to its depiction of wartime collaboration. Yet it still went on to represent France for the Cannes Film Festival Palme d’Or and would win three Césars (French Oscars) for Best Film, Director, and Production Design by the legendary Alexandre Trauner, whose remarkable credits include everything from Marcel Carné’s Children of Paradise and Jules Dassin’s Rififi to Orson Welles’ Othello and Billy Wilder’s The Apartment.

Occupied Paris, 1942. Alain Delon’s Catholic Robert Klein seems to be sitting pretty, with attractive mistress Juliet Berto (Rivette’s Céline and Julie Go Boating), and an apartment crammed full of expensive paintings, sculpture, tapestries — and mirrors — most of which he’s bought at fire sale prices from Jews eager to emigrate/flee. But then he finds a Jewish newspaper delivered to his doorstep, and the protests and desperate search for his Aryan heritage begins, so desperate that his attempts to establish his identity start to come second to a frenzied search for his doppelgänger, a search that comes to an unforeseen, but perhaps inevitable end.

“For hunters of rarities and students of wartime oppression, the emergence of MR. KLEIN will be an event to match that of another fierce appraisal of Occupied France, Jean-Pierre Melville’s Army of Shadows, which finally arrived on American screens in 2006, thirty-seven years after it was made. All good films come to those who wait.”
— Anthony Lane, The New Yorker

“MR. KLEIN remains as strong and thought-provoking a film as it was over 40 years ago.” — Mitchell Abidor, Jewish Currents

“Long unseen and worth revisiting…a historical reconstruction with a modernist tone, evoking both Kafka and Borges.” — J. Hoberman

“Played off Losey’s acquired paranoia from the McCarthy days…it has insidious things to say about the bonhomie of collaboration…Delon’s KLEIN, numb but deeply intelligent, cut off from society by some masquerade but then through the discovery of alienation itself, is extraordinary…It is a film of frozen, listless faces, the perfect currency of occupation.” — David Thomson