POSTPONED: 50th Anniversary sing-along screenings of JESUS CHRIST SUPERSTAR with stars Ted Neeley and Yvonne Elliman in person.
July 17, 2023 update: The Jesus Christ Superstar actors postponed their appearances in support of the SAG-AFTRA strike. They plan to reschedule once the work stoppage is over. All tickets will be refunded at the point of purchase. For tickets purchased through Laemmle, call 310-478-3836.
Adapted from Andrew Lloyd Webber and Tim Rice’s Broadway rock opera, Jesus Christ Superstar recounts the last days of Christ (Ted Neeley) from the perspective of Judas (Carl Anderson), his betrayer. As Jesus’ following increases, Judas begins to worry that Jesus is falling for his own hype, forgetting the principles of his teachings and growing too close to the prostitute Mary Magdalene (Yvonne Elliman). After Jesus has an outburst in a temple, Judas turns on him.
Neeley and Elliman will attend our Jesus Christ Superstar screenings at the Royal on July 25th, NoHo 7 on July 26th, and the Claremont 5 on July 27th with a brand-new, remastered sing-a-long digital print! Both stars will do pre-film talks about the making of the movie, which was filmed completely on location in Israel. All screenings start at 7 pm.
Celebrating the 50th anniversary of the film, the reunited cast members will also sign autographs and take photos with fans.
Fritz Lang: “One must suffer.” Paul Javal: “That’s for sure.” Godard’s CONTEMPT 60th anniversary screenings at the Royal starting July 7.
Rialto Pictures’ new 60th anniversary restoration of Jean-Luc Godard’s Contempt (1963), the director’s look at a crumbling marriage stars Brigitte Bardot, Michel Piccoli, Jack Palance, and, as a veteran European director, Fritz Lang. “One of the masterworks of modern cinema, a singular viewing experience… a seductive bouquite of enchantments… a many-layered odyssey of intelligence and sensuality.” (Phillip Lopate, New York Times) “Bardot + Godard = Movie Greatness.” (Time Out New York)
Contempt: That’s what ex-typist Brigitte Bardot has for husband playwright/screenwriter Michel Piccoli—but why? Does she think he used her to get that lucrative assignment (to rewrite an adaptation of The Odyssey) from overbearing American producer Jack Palance (“I like gods. I know exactly how they feel.”)? Was it that (innocent) fanny pat to multilingual interpreter Giorgia Moll? Or does she just “not love him anymore?” New Wave wild man Godard, given international stars, a best-selling novel by Alberto Moravia, two high-maintenance producers (Joseph E. Levine and Carlo Ponti), and the biggest budget of his career, still succeeded, as usual, in overturning the conventions of mainstream filmmaking, while producing a meditation on post-Hollywood filmmaking; the pitfalls of international productions; CinemaScope (“only for snakes and funerals,” chortles Lang); imposing modern psychological interpretations on classical themes; and Bardot’s derrière. From the beginning, as Godard’s voiceover recites the credits and his cameraman Raoul Coutard films at Rome’s Cinecittà; Piccoli meets Palance amid endless side-tracking shots; Lang (playing “Fritz Lang”), in the screening room, casually switches from English to French to German—with a Prego thrown in—as Giorgia Moll simultaneously translates (sometimes with a twist) for monoglots Palance and Piccoli; and a studiedly fake death scene; we’re obviously in Godardland. But a tour de force 30-minute sequence that never strays from the Bardot/Piccoli apartment, with the couple hashing over their problems in seeming “real time” amid carefully complex mise en scène, could fit easily into a Bergman heart-searcher. (Although Piccoli also sports a cigar and hat in his bath in homage to Dean Martin in Some Came Running.) Godard’s most sun-splashed production, unfolding amid the airiest and most fabulous of apartments and villas, and against dazzling seascapes, with a complex color scheme featuring a retina-searing red – always the same shade – on robes, railings, convertibles, etc. And with Godard himself as Lang’s Assistant Director in the final scene.
“One of the masterworks of modern cinema that has influenced a generation of filmmakers… What makes Contempt so unique a viewing experience, even more than in 1963, is the way it stimulates an audience’s attention as well as its senses… Godardians regard Contempt as an anomaly, the master’s most ‘orthodox’ movie. The paradox is that it may also be his finest…with Contempt Godard was able to strike his deepest human chords.” – Phillip Lopate, The New York Times
“It seems like an elegy for European art cinema, at once tragic and serene. This myth of baleful movie gods is also the story of Godard’s victory over temptation. Lashed to the mast of irascible genius, he heard the song of the sirens and lived to tell the tale.” – J. Hoberman
“Possibly Godard’s most melancholy film and probably his most beautiful.” ~ Stephanie Zacharek, Village Voice
“What’s the price of selling out? Contempt asks the question of its characters, its audience, and its own director.” ~ Ty Burr, Boston Globe
“It takes its artistic agenda seriously, but also luxuriates in the sensuality and plasticity of film images.” ~ Edward Guthmann, San Francisco Chronicle
Bergman, Deneuve, Buñuel, Fellini, Eustache and more: The Anniversary Classics Abroad series returns with THE MOTHER AND THE WHORE.
We’re re-launching our popular Anniversary Classics Abroad series, screening superb foreign films once or twice a month at our West L.A., Glendale, Claremont and Newhall theaters.
First up, The Mother and the Whore, newly restored. After the French New Wave, the sexual revolution, and May ’68 the legendary, autobiographical magnum opus by Jean Eustache captured a disillusioned generation navigating the post-idealism 1970s within the microcosm of a ménage à trois. The aimless, clueless, Parisian pseudo-intellectual Alexandre (Jean-Pierre Léaud) lives with his tempestuous older girlfriend, Marie (Bernadette Lafont), and begins a dalliance with the younger, sexually liberated Veronika (Françoise Lebrun, Eustache’s own former lover), leading to a volatile open relationship marked by everyday emotional violence and subtle but catastrophic shifts in power dynamics. Transmitting his own sex life to the screen with a startling immediacy, Eustache achieves an intimacy so deep it cuts.
“A classic that remains as burningly alive and shocking today as it was in 1973.” ~ Michael Wilmington, Chicago Tribune
“The Mother and the Whore made an enormous impact when it was released. It still works a quarter-century later because it was so focused on its subjects, and lacking in pretension.” ~ Roger Ebert, Chicago Sun-Times
The full schedule:
July 19 ~ The Mother and the Whore
August 9 ~ The Heroic Trio
August 30 ~ Belle De Jour
September 20 ~ Nowhere in Africa
October 11 ~ Ugetsu
November 1 ~ 8 1/2
November 21 ~ Babette’s Feast
December 13 ~ Fanny & Alexander
Stephen Farber’s Reel Talk returns with BIOSPHERE and THE MIRACLE CLUB.
Veteran film critic Stephen Farber’s popular Reel Talk advance screening series has returned to the Royal. Mr. Farber has booked a couple of top-notch comedies and will moderate Q&As with Biosphere director/co-writer Mel Eslyn on June 26 and The Miracle Club director Thaddeus O’Sullivan on July 10.
“Post-apocalyptic survival meets the anxious buddy humor of Humpday in Biosphere, a mysterious and hilarious pic that really can’t be discussed much without saying things a prospective viewer would be better off not hearing.” ~ John DeFore, Hollywood Reporter
The Miracle Club hasn’t been reviewed yet but the cast is led by Laura Linney, Kathy Bates, Maggie Smith and Stephen Rea, so, safe to say it’s gonna be a hit.
Recent guests and titles in the Reel Talk series have included Paul Weitz and Andrew Miano, writer-director and producer of Moving On; John Scheinfeld and Bobby Colomby, director and lead band member from What the Hell Happened to Blood, Sweat & Tears?; Sarah Haskins and Emily Halpern, screenwriters of 80 for Brady; Jerzy Skolimowski and Ewa Piaskowska, director/co-writer and co-writer/producer of the Oscar-nominated film EO; Oscar and Emmy-winner James L. Brooks and Julie Ansell, producers of Are You There God? It’s Me, Margaret; Sean Mullin, director of It Ain’t Over; Nicole Holofcener, writer-director of You Hurt My Feelings.
Kate Beckinsale and Brian Cox star in Catherine Hardwicke’s PRISONER’S DAUGHTER, opening June 30.
Next week we’ll be opening the new indie thriller Prisoner’s Daughter. Directed by Catherine Hardwicke (Twilight, Thirteen, many more), Brian Cox (Succession and many more) stars as Max, an ex-con trying to reconcile with his estranged daughter, Maxine, played by Kate Beckinsale (Cold Comfort Farm and many more). Here’s a clip:
Max is terminally ill and granted a compassionate release with the condition he live with his daughter. She’d much rather say no but desperate for money to support herself and her son, Ezra (Christopher Convery), she grudgingly agrees. As Max seeks one final chance to redeem himself in her eyes, Maxine’s abusive, drug addict ex-husband turns up. Max’s history of violence reappears too, with explosive consequences. Tyson Ritter and Ernie Hudson co-star.
We open Prisoner’s Daughter June 30 at the Monica Film Center and Town Center/Encino and are hosting a free advance sneak preview screening on June 28 at the NoHo where Ms. Hardwicke will participate in a post-screening Q&A.
ANCHORAGE Filmmaker Q&As at Laemmle NoHo.
THE NIGHT OF THE 12TH “never stops sending chills up your spine.” Opening Friday at the Royal, Town Center & Glendale.
“The grandeur of the film comes from the depth of emotion. These may be the hard-boiled characters, but they are still human.” ~ Paul Byrnes, Sydney Morning Herald
“The Night of the 12th keeps tricking us into thinking it’s a more conventional thriller than it is. ~ Owen Gleiberman, Variety
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