HALA Q&A with director Minhal Baig following the 7:20 pm show on Saturday, 11/23.
https://youtu.be/4aS-qGHH6E0
by Lamb L.
HALA Q&A with director Minhal Baig following the 7:20 pm show on Saturday, 11/23.
https://youtu.be/4aS-qGHH6E0
by Lamb L.
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!
by Lamb L.
FANTASTIC FUNGI Q&A’s after select showtimes.
10/25 – Fri., 5:20pm Director Louie Schwartzberg, Ryan Munevar, Decriminalize CA and Ashley Booth, Aware Project
7:40pm Director Louie Schwartzberg, Ryan Munevar, Decriminalize CA, Ashley Booth, Aware Project, Brad Adams, Los Angeles Medicinal Plant Society, and Tara Rodriquez, PsychedeliciA Integration
10/26 – Sat., 7:40pm Director Louie Schwartzberg Andy Lipkis, Founder of TreePeople
10/27 – Sun, 5:20pm Director Louie Schwartzberg, Andy Lipkis Founder of TreePeople, Michael Martinez, Founder of L.A Compost and Jonathan Palfrey, Executive Director, Climate Resolve
by Lamb L.
THE PORTAL Q&A’s after select showtimes.
Friday 11/1 5:20pm
Tom Cronin – Producer and Co-Writer
Jacqui Fifer – Director, Producer and Co-Writer
Heather Hennessy – Film Subject
Amandine – Film Subject
Friday 11/1 7:40pm
Tom Cronin – Producer and Co-Writer
Jacqui Fifer – Director, Producer and Co-Writer
Heather Hennessy – Film Subject
Saturday 11/2 5:20pm
Tom Cronin – Producer and Co-Writer
Jacqui Fifer – Director, Producer and Co-Writer
Heather Hennessy – Film Subject
Amandine – Film Subject
Saturday 11/2 7:40pm
Tom Cronin – Producer and Co-Writer
Jacqui Fifer – Director, Producer and Co-Writer
Heather Hennessy – Film Subject
by Lamb L.
Laemmle Theatres and the Culture Vulture series present GOING ATTRACTIONS: The Definitive Story of the Movie Palace, a tribute to the spectacular monuments created as temples for the enjoyment of movies.
The film’s L.A. run kicks off Thursday, October 24 with the world theatrical premiere at the historic Ahrya Fine Arts, followed by a discussion with filmmaker April Wright and subject Escott O. Norton, executive director of the Los Angeles Historic Theatre Foundation. Several of the film’s other subjects will be in attendance as well!
Other countries built palaces for royalty. In the United States, we built them to watch movies.
Following the premiere, GOING ATTRACTIONS will play for a week, from October 25-31, at the Music Hall (showtimes here), and Monday, October 28 & Tuesday, October 29 at four additional Laemmle theatres — the Claremont, Playhouse, Royal and Town Center — as part of the Culture Vulture series (see list of shows and ticketing links below).
GOING ATTRACTIONS captures the splendor and grandeur of the great historic cinemas of the U.S., built when movies were the acme of entertainment and the stories were larger than life, as were the venues designed to show them: Giant screens, thousands of seats, ornate interiors, amazing marquees, in-house organs and orchestras, and air conditioning back when peoples’ homes had none. The film also tracks the eventual decline of the palaces, through to today’s current preservation efforts — with a special focus on Los Angeles, which enjoys two separate historic theater districts (downtown and Hollywood).
“I feel passionately about both the text — these beautiful structures — and the subtext of GOING ATTRACTIONS, how we have changed so much in the past 50 years as a people in how we spend our time, socialize and experience entertainment,” director April Wright said. “Our content is personalized now, at our fingertips — but I fear we are losing something important by not having the local, communal experiences we used to have with our friends, families and fellow movie-going audiences.”
“Awesome and Wonderful!” — TC Kirkham, ECinemaOne
Culture Vulture screenings:
Claremont: |
Oct. 28, 7:30 pm |
Oct. 29, 1 pm |
Playhouse: |
Oct. 28, 7:30 pm |
Oct. 29, 1 pm |
Royal: |
Oct. 28, 7:30 pm |
Oct. 29, 1 pm |
Town Center: |
Oct. 28, 7:30 pm |
Oct. 29, 1 pm |
Speakers after three of the Culture Vulture screenings:
by Lamb L.
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.
“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.
“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.
“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.'”
by Lamb L.
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.
by Lamb L.
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.
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.
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.
“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
“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.