The Official Blog of Laemmle Theatres.

blog.laemmle.com

The official blog of Laemmle Theatres

Home » Films » Page 121

WHAT OUR FATHERS DID and WELCOME TO LEITH: Two superb docs about Nazis, long ago and far away, but also here and now.

by

Next month we’ll be opening two acclaimed documentaries about that notorious and virulent ideology, Nazism, one that deals with its incarnation in Germany during World War II and another about its presence here and now.

A poignant, thought-provoking account of friendship and the toll of inherited guilt, WHAT OUR FATHERS DID: A NAZI LEGACY explores the relationship between two men, each of whom are the children of very high-ranking Nazi officials and possess starkly contrasting attitudes toward their fathers. Eminent human rights lawyer Philippe Sands investigates the complicated connection between the two, and even delves into the story of his own grandfather, who escaped the same town where their fathers carried out mass killings. The three embark on an emotional journey together, as they travel through Europe and converse about the past, examining the sins of their fathers and providing a unique view of the father-son relationship, ultimately coming to some very unexpected and difficult conclusions.

In her Screen Daily review, Fionnuala Halligan described the film as “chilling” and “a layered examination of brutality, self-deception, guilt and the nature of justice which is compelling throughout.” We’ll screen WHAT OUR FATHERS DID beginning November 2nd at the Royal and November 13th at the Town Center.

https://www.youtube.com/watch?v=QGWY59hFBsI

WELCOME TO LEITH, which we’ll open November 6th at the Music Hall, chronicles the attempted takeover of a small town in North Dakota by notorious white supremacist Craig Cobb. As his behavior becomes more threatening, tensions soar, and the residents desperately look for ways to expel their unwanted neighbor. With incredible access to both longtime residents of Leith and white supremacists, the film examines a small community in the plains struggling for sovereignty against an extremist vision. In his Variety review, Dennis Harvey called the film “as engrossing as a fictional thriller.” In the New York Times, Stephen Holden wrote, “Mr. Cobb is a truly scary presence whose eyes burn with fervor as he describes his racist, anti-Semitic agenda. At the same time, he is articulate, intelligent, determined and dangerous.”

https://vimeo.com/131895164

“Theodore Bikel: In the Shoes of Sholom Aleichem” ~ Join Aimee Ginsburg Bikel and Leonard Maltin to Celebrate the Legendary Actor-Singer-Author-Activist

by

Portraits of two beloved icons — Sholom Aleichem and Theodore Bikel — are woven together in the enchanting new documentary Theodore Bikel: In the Shoes of Sholom Aleichem. The two men had much in common: wit, wisdom and talent, all shot through with deep humanity and Yiddishkeit. The film combines Bikel’s charismatic storytelling and masterful performances with a broader exploration of Aleichem’s remarkable life and work.

We will screen Theodore Bikel: In the Shoes of Sholom Aleichem Monday, 10/19 at 7:30 PM and Tuesday, 10/20 at 1 PM at the Ahrya Fine Arts/Beverly Hills, Town Center 5/Encino, Playhouse 7/Pasadena and Claremont 5. Film critic Leonard Maltin and Mr. Bikel’s widow, Aimee Ginsburg Bikel, will introduce and participate in a Q&A after the Monday screening in Beverly Hills. Mrs. Bikel will also participate in a Q&A after the 1 PM screening of the film on Tuesday, October 20th in Encino.

Mrs. Bikel wrote the following about her husband: “Nothing gave Theodore Bikel more pleasure than telling stories and singing songs that connected deeply to his own roots. “I sing the songs of all nations,” he would say, “and all of humanity are my brothers and sisters, we are like flowers in a garden. So,” he would add, “I sing my songs not because they are better, but because they are mine. And if I don’t tend to them, they will wither, and die.”

“On July 21 Theo Bikel passed away, leaving us with an enormous vacuum. Theo was a giant and there will be no one who can walk in his shoes. Actor, singer, author, activist for peace and human rights, he did everything with a deep joy and a commitment to making our world a better place.
“Theo considered this film his crowning achievement, and spent this past year appearing in person at the many film festivals that screened it. The audiences, cheering and clapping, loved it. Theo, who made the film at 88, improved with the years, his voice and performance deepening and softening; his humor and humanity shining bright.
“This will be the first public screening and Theo would have wanted to appear in person. Please come with your friends and family and share with us in the legacy of the one and only and forever Theodore Bikel.”

Mr. Maltin wrote the following, which he titled “Celebrating Theodore Bikel.”

“The challenge in discussing Theodore Bikel is where to start? He led so many lives—as an actor, folksinger, Civil Rights activist, union leader, and more. He is the only person I could think of who could say he worked with Humphrey Bogart, Rodgers and Hammerstein, and Frank Zappa! (He played a band manager in 200 Motels, but gently refused Zappa’s request to dress as a nun for one scene.) He was the original Baron von Trapp in The Sound of Music on Broadway, a best-selling recording artist, and a busy character actor who earned an Oscar nomination playing a Southern sheriff in The Defiant Ones. Those are just a handful of his many credits.

“His lifelong connection to the celebrated author Sholom Aleichem predates his casting as Tevye in the musical Fiddler on the Roof. (He logged more than 2,000 performances, and acknowledged that the play’s universal appeal is based in part on its ability to make the author’s work palatable to a non-Jewish audience. He described it as “Sholom Aleichem lite.”)

“As for his facility with languages, Theo explained that his father spoke only Yiddish at home and prided himself on his library of Sholom Aleichem books, which they were forced to leave behind when his family fled from Vienna to Palestine in 1938. The postscript is quite amazing: his grandmother, who stayed behind, hounded the Nazis who guarded confiscated property—so much so that they eventually let her reclaim the books, which turned up on the Bikels’ doorstep in Palestine, to the utter amazement of Theo and his parents.

“His mother spoke German at home, his father spoke Yiddish, he was given Hebrew lessons as a child, and learned French while visiting a family retreat during the summer. English was his fifth language—the fifth of many. (When he played linguist Zoltan Karpathy in My Fair Lady and George Cukor asked him to draw on his skill with dialects, Bikel reminded Cukor that of the two of them, he was not the one with Hungarian roots.)

“My wife remembers attending protest rallies at Washington Square Park in the 1960s when Theo’s folk songs roused the young people. When Alice and I moved to Los Angeles and went to our first Rosh Hashanah service, we found ourselves sitting in front of Theo and had the thrill of hearing his sonorous voice in prayer all night long.

“He continued performing, and making a difference, to the very end of his life. In 2013 he was invited to appear before the Austrian Parliament to commemorate the 75th anniversary of Krystallnacht—the dreadful night that synagogues were burned to the ground throughout Germany and Austria. He recognized that today’s Austria is not run by, or populated by, the same people who were responsible for those atrocities, and while he could never forget, he was willing to move on.

“Many of his achievements are covered in the documentary Theodore Bikel: In the Shoes of Sholom Aleichem.  No one film could include every facet of Theo’s remarkable life…but this one provides a welcome overview. And, like Theo himself, it is consistently entertaining.”

https://vimeo.com/114923514

 

ROGER WATERS THE WALL to Screen Thursday, October 15th in Claremont, Pasadena, NoHo, and Beverly Hills

by

ROGER WATERS THE WALL is not just an immersive concert experience of the classic Pink Floyd album. It’s also a road movie of Waters’ reckoning with the past and a stirring anti-war event. Moviegoers will also have a unique opportunity to see The Simple Facts, a twenty-minute conversation with Roger Waters and his Pink Floyd bandmate Nick Mason where they answer questions submitted by fans from around the world.

ROGER WATERS THE WALL screens at 8PM on Thursday, October 15th at the Ahrya Fine Arts in Beverly Hills, the Claremont 5, Playhouse 7 in Pasadena, and the NoHo 7 in North Hollywood. Purchase your tickets now!

https://www.youtube.com/watch?v=jZgJqX8Dxzg

Maurice Pialat Retrospective Coming Soon to the Royal

by

“The director who has the strongest and most consistent influence on young French filmmakers is not Jean-Luc Godard, but Maurice Pialat.” — Arnaud Desplechin, filmmaker.

“To say that Pialat marched to the beat of a different drummer is to put it mildly. In fact, he didn’t really march at all. He ambled, and fuck anybody who got it into their head that they’d like to amble along with him. Or behind him. Or ahead of him.” — Kent Jones, film critic.

From September 25th to October 1st the Royal Theater will host a collection of masterworks by French filmmaker Maurice Pialat (1925-2003). We’ll be screening five of his ten feature films: 1987’s Cannes Palme d’Or winner, “Under the Sun of Satan,” with Gérard Depardieu and Sandrine Bonnaire; “Loulou,” a tale of tortured love with Isabelle Huppert and Depardieu; “Van Gogh,” a chronicle of the last days of the artist; family drama “The Mouth Agape,” with Nathalie Baye; and the slice-of-life film about teenagers in suburban France “Graduate First.”

Maurice Pialat’s influence in the years after his death in 2003 was everywhere, but while he was alive he wasn’t part of any movement. A late bloomer who was 40 before he finished his first fiction feature (1968’s “Naked Childhood”), he missed the New Wave—a fact he seemed to resent, though his irascible personality likely meant he wouldn’t have belonged to any club which would have had him as a member.

Pialat made rule-breaking, violently disorienting movies full of temporal leaps and jagged improvisations, impolite movies about insoluble dilemmas and impossible personalities—women and men who can’t or won’t allow themselves to be tamed, and the tug-of-war between desire and responsibility. While intensely grounded in the cinema, citing the Lumière Brothers as his masters, Pialat rejected cinephile culture and lunged headlong into the material stuff of life, love, sex, and death. (He’s often compared to John Cassavetes, but this overlooks the particularities of both men.) Pialat’s films aren’t exercises but exorcisms, wounded howls at the injustice of existence whose anguished power is intensified by an acute awareness of the beauty of being alive. In a national cinema often associated with dainty sophistication, Maurice Pialat is the epitome of raw power.

FULL SCHEDULE:

"Under the Sun of Satan"
“Under the Sun of Satan”

Friday, 9/25
12:00PM – GRADUATE FIRST
02:00PM – VAN GOGH
05:15PM – UNDER THE SUN OF SATAN
07:35PM – LOULOU
10:15PM – THE MOUTH AGAPE

Saturday, 9/26
12:00PM – THE MOUTH AGAPE
02:00PM – GRADUATE FIRST
04:05PM – VAN GOGH
07:25PM – UNDER THE SUN OF SATAN
09:45PM – LOULOU

"Loulou"
“Loulou”

Sunday, 9/27
12:00PM – LOULOU
02:40PM – THE MOUTH AGAPE
04:40PM – GRADUATE FIRST
06:45PM – VAN GOGH
10:00PM – UNDER THE SUN OF SATAN

Monday, 9/28
12:00PM – UNDER THE SUN OF SATAN
02:15PM – LOULOU
04:55PM – THE MOUTH AGAPE
07:00PM – GRADUATE FIRST
09:00PM – VAN GOGH

"Graduate First"
“Graduate First”

Tuesday, 9/29
12:00PM – VAN GOGH
03:15PM – UNDER THE SUN OF SATAN
05:30PM – LOULOU
08:10PM – THE MOUTH AGAPE
10:10PM – GRADUATE FIRST

Wednesday, 9/30
12:00PM – GRADUATE FIRST
02:10PM – VAN GOGH
05:30PM – THE MOUTH AGAPE
07:30PM – UNDER THE SUN OF SATAN
09:45PM – LOULOU

"Van Gogh"
“Van Gogh”

Thursday, 10/01
12:00PM – THE MOUTH AGAPE
02:00PM – GRADUATE FIRST
04:10PM – VAN GOGH
07:25PM – LOULOU
10:00PM – UNDER THE SUN OF SATAN

https://www.youtube.com/watch?v=U0Kue5bskEY

Zhang Yimou on His Potent New Historical Romance COMING HOME: “This type of film is very difficult to make. It needs to be made in a state of serenity.”

by

Zhang Yimou’s new film is set in the last days of China’s Cultural Revolution, following a newly-released political prisoner (Chen Daoming) as he tries to reconnect with his wife (frequent Yimou collaborator Gong Li), who is stricken with amnesia. We open the movie 9/9 at the Royal, 9/18 at the Playhouse and 10/2 at the Town Center. The director wrote this about his powerful new work: “Based on Yan Geling’s novel The Criminal Lu Yanshi, COMING HOME is a love story about joy and sadness, as well as separation and reunion. We used the end of the original story – with Lu Yanshi returning home – as the starting point of the script. Everyone knows that Chen Daoming and Gong Li are the finest actors working in China, and they were my first and only choices for their respective roles. I’ve learned a lot from working with them. They offered a lot of constructive opinions about even the smallest details in the story. That’s why their contribution to the film extends far beyond the portrayal of the characters.

“Having a so-called “rising star” in the daughter’s role was not a must as her character serves a very important function in the story. When I first met [Zhang] Huiwen, I noticed her bright shining eyes, which resembled the aura of young Red Guards. It was what I needed. For the second part of the film, I needed to change the way her eyes look. They should look as if they are in a trance, always hesitant. Huiwen had the ability to do that.

“This type of film is very difficult to make. It needs to be made in a state of serenity. If I thought about benefits and profits even a little, then I would lose my way. That’s why, for me, this film represents a return to an earlier state of mind and an older approach to creativity. The most important thing for me is whether the audience will keep this film in their hearts and whether they will truly remember the emotions behind COMING HOME.”

https://www.youtube.com/watch?v=Hoea7Cz3Hj0

One of the most important and influential filmmakers in China, and a core member of China’s “Fifth Generation” directors, Zhang Yimou started his career as a cinematographer and became a director in 1987. Over the years, Zhang has directed films which received accolades from around the world: RED SORGHUM (1987, Golden Bear winner at the Berlin International Film Festival), JU DOU (1990, In Competition at the Cannes Film Festival and nominated for Best Foreign Language Film at the Academy Awards®), RAISE THE RED LANTERN (1991, Silver Lion winner at the Venice International Film Festival and nominated for Best Foreign Language Film at the Academy Awards®), TO LIVE (1994, Grand Jury Prize at the Cannes Film Festival), to name a few.

In 2002, his martial arts epic HERO ushered in a new era of blockbusters for Chinese cinema, and was followed by the equally successful HOUSE OF FLYING DAGGERS (2004), and CURSE OF THE GOLDEN FLOWER (2006)

The French Hit Comedy PAULETTE Stars Legendary Actress Bernadette Lafont in One of Her Last Roles.

by

Next Friday, September 11th we’ll be opening a French comedy that stars the wonderful actress Bernadette Lafont in one of her last performances, playing the title character in PAULETTE. A brash and opinionated retiree, Paulette lives alone in a housing project on the outskirts of Paris. One evening, upon observing some mysterious dealings outside her building, she discovers a surprising way to supplement her meager pension: an unlikely but successful career selling cannabis.

Writing in Film Journal International, Doris Toumarkine wrote that “PAULETTE offers a heap of laughs and ultimately delights like a shelf of colorful fresh pastries.”

In his L.A. Weekly review, Chuck Wilson wrote that Lafont “died in 2013, at age 74, one year after PAULETTE became a hit in France. A working actress since she was 19 [IMDB lists 190 credits over the course of her career], Lafont was at the forefront of the French New Wave, with François Truffaut, who discovered her, once calling her, lovingly, ‘a wild child.’ It would appear that she remained so all her working life.”

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

New York Times: “In WE COME AS FRIENDS, Hubert Sauper Takes Flight to Survey the Pain Below in Sudan.”

by

Academy Award® nominated director Hubert Sauper’s WE COME AS FRIENDS, which we are proud to open at the Royal, Playhouse and Town Center on Friday, August 21, is a modern odyssey, a dizzying, science fiction-like journey into the heart of Africa. At the moment when the Sudan, the continent’s biggest country, is being divided into two nations, an old “civilizing” pathology re-emerges – that of colonialism, the clash of empires, and new episodes of bloody (and holy) wars over land and resources. The director of DARWIN’S NIGHTMARE takes us on this voyage in his tiny, self-made, tin and canvas flying machine. He leads us into improbable locations and into people’s thoughts and dreams, in both stunning and heartbreaking ways. Chinese oil workers, U.N. peacekeepers, Sudanese warlords, and American evangelists ironically weave common ground in this documentary, a complex, profound and bitterly humorous cinematic endeavor.

On July 31, the New York Times published Nicolas Rapold’s fascinating piece about the film in their Sunday Arts & Leisure section. Here’s how it starts:

There’s no shortage of jaw-dropping moments in Hubert Sauper’s new film, “We Come as Friends,” an illustrated essay on contemporary colonialism. But the most haunting may be a lightning-streaked nighttime visit to a South Sudanese tribal leader. Mr. Sauper brandishes a copy of a contract to confirm a terrible truth, and the leader’s moistening eyes and dejected bearing say everything. The old man has signed away hundreds of thousands of acres of land to a Texas firm.

“This was history unfolding in its best and most sarcastic form in front of my camera. And then the storm came,” Mr. Sauper said in a Skype interview from Paris. “As a filmmaker, it’s too good to be true. And it’s terrifying.”

It’s one example of how Mr. Sauper, the Austrian-born director of “WeCome as Friends,” portrays complicated contemporary realities through vivid and industrious reportage. Ten years ago his Academy Award-nominated documentary, “Darwin’s Nightmare,” sifted through the wreckage of globalization by way of the fishing export industry in Lake Victoria, the impact on local Tanzanians, and a fast-and-loose subculture of Russian cargo-plane pilots.

Read the rest of the piece here.

https://www.youtube.com/watch?v=E0MgQLk2OCQ

Acclaimed New Indian Film COURT, Opening August 14th, Featured in the New Yorker: “The Endless Indian Trial.”

by

Winner of top prizes at the Venice and Mumbai film festivals, Chaitanya Tamhane’s Court is a quietly devastating, absurdist portrait of injustice, caste prejudice, and venal politics in contemporary India. An elderly folk singer and grassroots organizer, dubbed the “people’s poet,” is arrested on a trumped-up charge of inciting a sewage worker to commit suicide. His trial is a ridiculous and harrowing display of institutional incompetence, with endless procedural delays, coached witnesses for the prosecution, and obsessive privileging of arcane colonial law over reason and mercy. What truly distinguishes Court, however, is Tamhane’s brilliant ensemble cast of professional and nonprofessional actors; his affecting mixture of comedy and tragedy; and his naturalist approach to his characters and to Indian society as a whole, rich with complexity and contradiction. —New Directors/New Films

court

The New Yorker recently published this excellent appraisal of the film with background information about the scandal of India’s infamously slow justice system. It’s not required reading before seeing Court, but it’s informative — and shocking — nonetheless.

https://www.youtube.com/watch?v=D0I6jtTXVco