Repertory Cinema Archives – Page 17 Of 27

Looking Forward to Looking Back: Repertory Cinema at Laemmle Theatres with Bergman, Truffaut and more.

January 16, 2019 by Lamb Laemmle Leave a Comment

We are beginning the fifth year of our Anniversary Classics and Anniversary Classics Abroad series — our first three films back in 2015 were Exodus, Getting Straight and Where’s Poppa? — and got 2019 off to a strong start this week with Fellini’s Amarcord. Here’s what we have planning for the coming months:

We’ll screen Black Orpheus on February 20 at the Playhouse, Royal and Town Center. Winner of both the Best Foreign Language Film Oscar and the Palme d’Or at Canne, Marcel Camus’ film brings the ancient Greek myth of Orpheus and Eurydice to the twentieth-century madness of Carnival in Rio de Janeiro. With its eye-popping photography and ravishing, epochal soundtrack, Black Orpheus was an international cultural event, and it kicked off the bossa nova craze that set hi-fis across America spinning.

On February 26 at the Playhouse only we’ll screen The Wild Bunch. Sam Peckinpah’s controversial revisionist Western takes place in Texas and Mexico in 1913. The titular outlaws, headed by ethical-in-his-fashion Pike (William Holden), stages violent bank robberies in their old, time-honored tradition. After a particularly brutal holdup in the town of San Rafael, the gang — or what’s left of it — heads for the hills of Mexico, pursued by a posse led by Thornton (Robert Ryan). Our Pasadena neighbor Vroman’s Bookstore will present a Q&A and book signing with THE WILD BUNCH: Sam Peckinpah, a Revolution in Hollywood, and the Making of a Legendary Film author W.K. Stratton in conversation with Stephen Farber after the screening.

François Truffaut’s 1959 The 400 Blows is the kind of film we at Laemmle Theatres cut our teeth on, so to speak, back in a very different time for film exhibition. With Jean-Pierre Léaud playing his stand-in for the film time, Truffaut brilliantly re-creates the trials of his own difficult childhood in the film that marked his emergence as one of Europe’s most brilliant auteurs and signaled the beginning of the French New Wave. We’re bringing it back for one night, March 20, at the Playhouse, Royal and Town Center.

This year is the 45th anniversary of the U.S. release of the French slapstick masterpiece The Mad Adventures of “Rabbi” Jacob. In this riot of frantic disguises and mistaken identities, Victor Pivert, a blustering, bigoted French factory owner, finds himself taken hostage by Slimane, an Arab rebel leader. The two dress up as rabbis as they try to elude not only assassins from Slimane’s country, but also the police, who think Pivert is a murderer. Pivert ends up posing as Rabbi Jacob, a beloved figure who’s returned to France for his first visit after 30 years in the United States. We’ll show it April 17 at the Playhouse, Royal and Town Center.

On May 15 we’ll screen Wild Strawberries at the Playhouse, Royal and Town Center. Ingmar Bergman’s elegiac story of elderly Professor Isak Borg (Victor Sjöström) facing his past is the film that catapulted the Swedish auteur to the forefront of world cinema. Released in 1957, this is the 60th anniversary of its release in the States.

On June 19 we’ll enjoy some laughs to celebrate the 40th anniversary of La Cage Aux Folles, the French comedy about a gay couple living in St. Tropez who have their lives turned upside down when the son of one of the men announces his impending marriage. Screening at the Playhouse, Royal and Town Center.

For our regular Anniversary Classics series we typically stick to domestic fare. To mark Valentine’s Day we’re planning a Twofer Tuesday double feature at the NoHo, Playhouse and Royal of two 1959 romantic comedy classics: Doris Day and Rock Hudson’s Pillow Talk and Billy Wilder’s Some Like It Hot with Tony Curtis, Jack Lemmon and Marilyn Monroe. With these two films, no chance of ending up with the fuzzy end of the lollipop!

45th Anniversary Screenings of Federico Fellini’s AMARCORD January 16th in Encino, Pasadena, and West LA

January 9, 2019 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series launch our Anniversary Classics Abroad program for 2019 with one of the most acclaimed foreign-language films of the 1970s, Federico Fellini’s boyhood-memory masterpiece, AMARCORD. Actor Michael Forest, who worked on the film, will share some memories of working with Fellini in a Q&A before the screening at the Royal Theater.

Fellini collected his fourth and final directing Oscar nomination for the film, which won the Academy Award as the year’s best foreign language film. It was also named the best film of the year by the New York Film Critics, and Fellini was their choice for Best Director.

AMARCORD (the vernacular for “I remember” in Romagna) is an evocation of a year in the life of an Italian coastal town in the 1930s. It is not a literal recreation but more of a dreamlike memoir of a time filtered through sentimental, political, and erotic reminiscences of a bygone era.

There is no central character, but an assortment of townspeople played by an ensemble cast. Among them are Titta (Bruno Zanin), a teenager who possibly could be the young Fellini; Titta’s father (Armando Brancia), a socialist construction foreman openly at odds with the fascist government; Gradisca (Magali Noel), the town hairdresser and femme fatale; Titta’s foul-mouthed grandfather (Guiseppe Lanigro); Titta’s crazy uncle (Ciccio Ingrassia); and The Lawyer (Luigi Rossi), the narrator and master-of-ceremonies.

Fellini co-wrote the Oscar-nominated screenplay with Tonino Guerra (‘La Notte,’ ‘Blow-Up’) and employed frequent collaborator Nino Rota to compose the score, with color cinematography by Giuseppe Rotunno.

Critics of the day received the film rapturously. Time Out New York called the film “A funhouse tour through Fellini’s mind…he has mined his youth before but never with such jocularity and emotional force… [with] some of the most lyrical imagery the maestro has ever concocted.”

Vincent Canby of the New York Times was equally impressed, writing, “it’s a film of exhilarating beauty…may possibly be Fellini’s most marvelous film.”

Roger Ebert called it Fellini’s “last great film,” raving, “if ever there was a movie made entirely out of nostalgia and joy, by a filmmaker at the heedless height of his powers, that movie is Federico Fellini’s AMARCORD.”

AMARCORD screens Wednesday, January 16 at 7pm in Encino, Pasadena, and West LA. Click here for tickets.

YENTL 35th Anniversary with Oscar-winning Songwriter Alan Bergman In Person

December 20, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present a musical holiday treat, the 35th anniversary screening of Barbra Streisand’s groundbreaking romantic drama, YENTL.

After starring in many acclaimed and popular films, Streisand made her directorial debut with this adaptation of a provocative Isaac Bashevis Singer story, Yentl the Yeshiva Boy. The film was nominated for five Academy Awards and won the Oscar for Original Song Score by Michel Legrand, Alan and Marilyn Bergman. Streisand also became the first woman to win a Golden Globe for directing.

Streisand first thought of making a straight dramatic film of Singer’s story — she pursued the rights in the late 1960s, after her successful film debut in Funny Girl — but it took 15 years to realize her dream. After many rejections, her friends Marilyn and Alan Bergman suggested bringing the story to life as a musical film, which enabled Streisand to win over skeptical (and chauvinistic) Hollywood executives by guaranteeing that she would once again sing on screen.

Singer’s story tells of a young woman living in a Polish village at the turn of the 20th century. She is determined to get an education, but the strict Orthodox Jewish customs of the time forbid women from entering religious schools. So she disguises herself as a boy and makes a strong impression in her classes. But her personal life gets complicated when a man she loves (Mandy Patinkin) persuades her to marry his own fiancée (Amy Irving), who then begins to develop romantic feelings for her new “husband.”

Way ahead of its time in examining complex transgender relationships, the film became a box office hit and earned Oscar nominations for Irving, the inventive production design, and two of the songs written by the Bergmans and Legrand, including a song that would become one of Streisand’s signature numbers, “Papa Can You Hear Me?”

Nehemiah Persoff, Steven Hill, Allan Corduner and Miriam Margolyes co-star. The elegant cinematography is by David Watkin (Out of Africa, Chariots of Fire, Moonstruck). Streisand wrote the screenplay with Jack Rosenthal. She went on to direct other films at a time when female filmmakers were still a rarity.

Pauline Kael wrote of Yentl, “It has a distinctive and surprising spirit. It’s funny, delicate, and intense—all at the same time.” Newsweek’s Jack Kroll called the film “a delight and at times an astonishment.”

Alan Bergman, our special guest speaker, co-wrote two Academy Award-winning songs, “The Windmills of Your Mind” from The Thomas Crown Affair and “The Way We Were.” He and his wife earned many other nominations, and in 1982, they had the distinction of being the only songwriters ever to write lyrics for three of the five songs nominated for best song, including the theme from the smash hit comedy, Tootsie.

Over the course of their careers, they collaborated with composers Michel Legrand, Marvin Hamlisch, Quincy Jones, Dave Grusin, John Williams, and many others. They have also written for the theater and television, and Alan Bergman still has an active career singing in nightclubs.

YENTL screens at 7:30pm on December 27th at the Ahrya Fine Arts in Beverly Hills. Oscar-winning songwriter Alan Bergman and film critic Stephen Farber in person for a discussion and Q&A. Click here for tickets.

Nicolas Roeg’s DON’T LOOK NOW 45th Anniversary Screening in Beverly Hills

December 5, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series present a tribute to director Nicolas Roeg with a screening of his eerie, atmospheric thriller, DON’T LOOK NOW, on Tuesday, December 18 at Ahrya Fine Arts Theatre in Beverly Hills.

Roeg, who began as a master cinematographer, had a distinctive visual style that received perhaps its most brilliant expression in this suspenseful film adapted from a story by Daphne Du Maurier, the author of ‘Rebecca.’ Screenwriters Allan Scott and Chris Bryant retained the basic premise of the story but embellished and expanded it under Roeg’s guidance.

Julie Christie and Donald Sutherland play a married couple whose young daughter drowns in the movie’s opening scene. A few months later, they are in Venice, where Sutherland is working to restore an old church. But they are still grief-stricken and traumatized, and when they meet two elderly sisters who claim to be able to communicate with their dead daughter, the couple embark on a supernatural journey that takes them in unexpected directions. Christie finds comfort in the sisters’ message, while Sutherland is more skeptical, though it turns out he has clairvoyant gifts that he tries to suppress.

Set in the gray of winter, the film avoids the usual Venice tourist spots and instead creates an indelible vision of a labyrinthine city cloaked in shadows and sinister portents, as a murderer also haunts the canals and byways and threatens the lives of the two lead characters.

Roeg’s fractured editing style adds to the unsettling nature of the film, but this editing also contributes to one of the most famous interludes in the film, a lovemaking scene between Christie and Sutherland that has been called one of the most erotic and influential in cinema history.

Anthony Richmond was the film’s cinematographer, Graeme Clifford was the editor, and Pino Donaggio composed the evocative score.

Pauline Kael had high praise for the performances: “Julie Christie and Donald Sutherland team up wonderfully.”

Newsweek’s Paul D. Zimmerman called the film “a dark and frightening experience unlike anything ever filmed…Roeg, a masterly technician, builds up an atmosphere of dread you can taste in your throat.”

TIME magazine’s Jay Cocks agreed, writing “this is a film of deep terrors and troubling insights—one that works a spell of continual, mounting anxiety,” and he concluded, “Roeg’s is one of those rare talents that can effect a new way of seeing.”

Roeg oversaw some of the astonishing second unit photography in ‘Lawrence of Arabia’ before graduating to cinematographer of such films as ‘Fahrenheit 451,’ ‘Far from the Madding Crowd,’ and ‘Petulia’ (all starring Christie). He made his directing debut (sharing credit with screenwriter Donald Cammell) on the Mick Jagger film ‘Performance.’ His other memorable films include ‘Walkabout,’ ‘The Man Who Fell to Earth’ with David Bowie, and ‘Bad Timing,’ which teamed Art Garfunkel with Theresa Russell, the actress who became Roeg’s wife and the star of many of his late films.

The director’s nonlinear storytelling and visual acuity had a tremendous influence on other directors, including Danny Boyle, Steven Soderbergh, and Martin McDonagh, who have all paid tribute to Roeg’s gifts.

DON’T LOOK NOW screens on Tuesday, December 18 at 7:30PM at Ahrya Fine Arts in Beverly Hills. Click here for tickets.

Format: Blu-ray

GIGI 60th Anniversary Screening on December 8 at the Ahrya Fine Arts in Beverly Hills

November 29, 2018 by Lamb Laemmle Leave a Comment

Laemmle Theatres and the Anniversary Classics Series celebrate the 60th anniversary of one of the most beloved and acclaimed musicals of all time, GIGI.

The film won nine Academy Awards in 1958, including Best Picture, Best Director Vincente Minnelli, Best Adapted Screenplay by Alan Jay Lerner, and Best Scoring by Andre Previn of the original songs by Lerner and his frequent collaborator, Frederick Loewe. At the time, that was the most Oscars ever awarded to a single film, and GIGI also has the distinction of being one of only three films in cinema history to win every Oscar for which it was nominated.

GIGI was also perhaps the last great musical created for the screen. Produced by Arthur Freed for MGM, it follows in the tradition of other original musicals sponsored by the Freed unit, including ‘Meet Me in St. Louis,’ ‘Singin’ in the Rain,’ ‘The Band Wagon,’ and an earlier best picture winner, ‘An American in Paris,’ which was also directed by Minnelli and written by Lerner. After GIGI, almost all the memorable Hollywood musicals were adapted from Broadway successes like ‘West Side Story,’ ‘My Fair Lady,’ ‘The Sound of Music,’ ‘Oliver!,’ and ‘Cabaret.’

GIGI came about partly as a result of the phenomenal stage success of Lerner and Loewe’s ‘My Fair Lady,’ which conquered Broadway in 1956. The pair was looking for a follow-up, and that is how they happened to strike up a partnership with Freed and Minnelli, masters of the MGM musical. It was Leslie Caron, the star of ‘An American in Paris’ along with Lili (which earned her an Oscar nomination), who suggested the idea of adapting ‘Gigi’ into a musical.

Freed had a few qualms, since the source material was not exactly wholesome family entertainment (the bedrock of most MGM musicals). The 1944 novella by French author Colette told the story of a young woman groomed by her grandmother and great-aunt to be a courtesan in turn-of-the-century Paris. Censorship was just beginning to loosen in Hollywood, and Freed and Lerner felt they could mask the sordid subject sufficiently to get by with it. Adults would understand the racy underpinnings while family audiences could remain happily oblivious and enjoy the scenery and the songs.

Still, the daring subject matter undoubtedly helped to win the movie critical acclaim as well as Academy recognition. The New York Times’ Bosley Crowther wrote, “it is not only a charming comprehension of the spicy confection of Colette, but it is also a lovely and lyrical enlargement upon that story’s favored mood and atmosphere.” Leonard Maltin concurred, calling the film “exquisitely filmed, perfectly cast, with memorable Lerner & Loewe score.” Variety hailed “a very fair lady indeed… Miss Caron is completely captivating and convincing in the title role.”

Co-starring with Caron were Louis Jourdan, Maurice Chevalier (who earned an honorary Oscar that year), Hermione Gingold, Eva Gabor, and Isabel Jeans. The score includes the Oscar-winning title song, the lively “The Night They Invented Champagne,” and a memorable duet by Chevalier and Gingold, “I Remember It Well.” The film also won awards for cinematography, production design, and for the elegant costumes by the brilliant Cecil Beaton.

Our 60th Anniversary Screening of GIGI screens Saturday, December 8, at 7:30 PM at the Ahrya Fine Arts Theater in Beverly Hills. Click here for tickets.

Format: Blu-ray

Classic Disaster Films Every Throwback Thursday in December at the NoHo 7

November 29, 2018 by Lamb Laemmle 1 Comment

This December, classic disaster films are coming to the NoHo 7 by land, by sea, and by air!

Our “Disaster December” Throwback Thursday series begins on Thursday, December 6th with EARTHQUAKE! Doors open at 7pm, trivia starts at 7:30, and movies begin at 7:40pm. Check out the full schedule below!

December 6: Earthquake

After an earthquake destroys Los Angeles, architect Stewart Graff (Charlton Heston) tries to rescue his estranged wife (Ava Gardner), help with the ongoing rescue efforts taking place around him, and locate his girlfriend (Geneviève Bujold). Richard Roundtree and Lorne Green also star. TICKETS.

December 13: The Poseidon Adventure

The Poseidon, an ocean liner larger than the Queens Elizabeth and Mary combined, is charting its course on New Year’s Eve. Just after midnight, Captain Harrison (Leslie Nielsen) spots the mother of all tidal waves. The ship is overturned, with only a handful of survivors. The ten lucky ones — including Mike Rogo (Ernest Borgnine), Linda Rogo (Stella Stevens), Acres (Roddy McDowall), Belle Rosen (Shelley Winters), and Manny Rosen (Jack Albertson) — led by no-nonsense minister Frank Scott (Gene Hackman), desperately attempt to climb from the top of the ship (now submerged) to the bottom (now “the top”). TICKETS.

December 20: Airport

Burt Lancaster and Dean Martin star in this hit disaster movie that began the genre. Based on Arthur Hailey’s 1968 novel of the same name, the film follows an airport manager trying to keep his airport open during a snowstorm while the a Boeing 707 crew tries to safely land after a terrorist detonates a bomb on board. Also starring Jean Seberg, Jacqueline Bisset, and George Kennedy. TICKETS.

December 27: No Screening

Details about January #TBT screenings are coming soon. Remember to check www.laemmle.com/tbt for updates!

Fifty-fifth Anniversary Screenings of Luchino Visconti’s THE LEOPARD on December 5th in Encino, Pasadena, and West LA

November 21, 2018 by Lamb Laemmle 2 Comments

Laemmle Theatres and the Anniversary Classics Series present a 55th anniversary screening of acclaimed director Luchino Visconti’s sumptuous masterpiece, THE LEOPARD (Il Gattopardo). The film will close out the year for the popular Anniversary Classics Abroad program of showcasing vintage foreign-language cinema.

The Leopard is based on the historical novel by Giuseppe Tomasi de Lampedusa, an international best seller upon publication in 1958. The story is set in the 1860s during the turbulent period of the “Risorgimento,” the struggle for the unification of Italy.

All this is reflected in the fate of one Sicilian aristocratic family, headed by Prince Fabrizio de Salina (Burt Lancaster). The Prince (the Leopard) at first resists all the political and social changes, but comes to accept them after their embrace by his pragmatic nephew (Alain Delon), who joins Garibaldi’s Red Shirts and marries the daughter (Claudia Cardinale) of an ambitious small-town merchant mayor to secure the family’s place in the new Italy.

Visconti was drawn to the material about fading aristocracy from his own heritage, as he was born to nobility in Milan. He had previously explored his country’s past with another historical adaptation, Senso, in 1954, and that film is also considered a masterwork.

The Leopard won the Palme D’or at the 1963 Cannes Film Festival and has been reissued on several occasions. The film is notable for its rich production design by Mario Garbuglia, cinematography by Giuseppe Rotunno, and Oscar-nominated costume design by Piero Tosi, who won an Honorary Oscar in 2014.

The original release reaped praise from The New York Times’ Bosley Crowther, “a stunning visualization of a mood of melancholy and nostalgia at the passing of an age.” Admiration has grown through the decades, with The London Observer calling it “That rare thing—a great film from a great book.” J. Hoberman in the Village Voice exclaimed, “The greatest film of its kind since World War II.”

Martin Scorsese is one of the film’s champions, placing it on his own personal list of the 12 greatest films ever made, extolling “the deeply measured tone…its use of vast spaces, and also the richness of every detail.” As a lament for a lost world, the film is considered Italy’s Gone With the Wind.

Also starring Terrence Hill (Mario Girotti), Paola Stoppa et al. Music by Nino Rota (La Strada, Romeo and Juliet, The Godfather). Visconti co-wrote the screenplay with Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo Franciosca.

The Leopard screens on December 5 at 7:00 PM at the Royal, Town Center, and Pasadena Playhouse.

Joanna Lancaster, daughter of Burt Lancaster, will participate in a pre-screening Q&A moderated by film critic Stephen Farber at the Laemmle Royal in West LA.

Click here for tickets.

Running time: 187 minutes
Italian with English subtitles
Format: Blu-ray

Dyan Cannon In Person for 45th Anniversary of THE LAST OF SHEILA on November 28 in West LA

November 14, 2018 by Lamb Laemmle Leave a Comment

Following our sold-out screening of Death on the Nile, Laemmle Theatres and the Anniversary Classics Series present another treat for mystery lovers. THE LAST OF SHEILA is a modern-day whodunit, and according to Newsweek, “the story moves through intellectual gymnastics reminiscent of the best of Agatha Christie.” The scintillating screenplay represents the only script ever written by celebrated composer Stephen Sondheim, which he co-authored with actor Anthony Perkins.

Sondheim, Perkins, and director Herbert Ross were all fans of murder mystery games, and they channeled their enthusiasm into this intricate, suspenseful thriller, which also allowed them to poke fun at a whole gallery of Hollywood personalities. As Alan Howard wrote in The Hollywood Reporter, “The ingeniously constructed screenplay by Stephen Sondheim and Anthony Perkins is genuinely witty, gossipy and often downright malicious.”

The story begins with the death of Sheila, a gossip columnist who knew all the carefully guarded secrets of the stars and filmmakers in Tinseltown. She is run down in a hit-and-run accident, and the driver speeds away. A year later her husband, a wealthy and sadistic producer, invites their friends to a holiday on his yacht in the south of France. There he intends to have them join him in a series of mystery games, and he also plans to unmask one of them as the killer of his wife. But the games do not go exactly as planned, and soon a few more bodies begin to pile up.

Leonard Maltin called the elegantly photographed film a “super murder-puzzler about jet-set gamester who devises what turns into a deadly game of whodunit.” Ross assembled an all-star cast to play the conniving jet-setters: James Coburn as the producer, James Mason as a director fallen on hard times, Richard Benjamin as a struggling screenwriter, Joan Hackett as his supportive wife, Dyan Cannon as a bitchy Hollywood agent, Raquel Welch as a neurotic star, and Ian McShane as her manager husband.

Co-star Dyan Cannon received Oscar nominations for her performances in Paul Mazursky’s Bob & Carol & Ted & Alice and Warren Beatty’s Heaven Can Wait. She also earned a nomination for a short film she directed, Number One. Her other films include Such Good Friends, The Anderson Tapes, Revenge of the Pink Panther, Honeysuckle Rose, Deathtrap, Author! Author!, The End of Innocence (which she also wrote and directed), and Boynton Beach Club.

Writing of her performance in The Last of Sheila, The New York Times’ Vincent Canby declared, “Most colorful is Dyan Cannon, who plays the talent agent for all that the wisecracks are worth… she gives a very good, very comic performance. The others are also good, especially Richard Benjamin and Joan Hackett and James Mason… but the essential bitchery that makes the film work is provided by Miss Cannon and by all of the Sondheim-Perkins inside references.” The Hollywood Reporter agreed: “Dyan Cannon gives the performance of her career as a demonic Hollywood agent.”

THE LAST OF SHEILA with Dyan Cannon in person screens at 7pm on Wednesday, November 28th at the Royal Theater in West Los Angeles. Click here to purchase tickets.

Format: DVD