The official blog of Laemmle Theatres
SKID ROW MARATHON filmmakers Gabriele and Mark Hayes with guests Judge Craig Mitchell, Rafael Cabrera, Ben Shirley, Rebecca Hayes and David Askew will participate in Q&A’s on Friday, March 22 following the 7:50 PM show and after the 3:15 PM show on Saturday, March 23.
Laemmle Theatres and the Anniversary Classics Series celebrate the 50th anniversary of one of the iconic and groundbreaking movies of the ’60s, Sam Peckinpah’s THE WILD BUNCH.
This graphically violent and poetic film exploded the very concept of the traditional Western by focusing on a brutal group of outlaws trying to survive at the dawn of the 20th century. Featuring four Oscar-winning actors—William Holden, Ernest Borgnine, Ben Johnson, and Edmond O’Brien—along with a startling supporting cast, the film clearly established Peckinpah as one of the top directors of the era.
The director’s classic 1962 Western Ride the High Country had demonstrated his talent, but he ran into conflicts with producers on subsequent projects in the ’60s. The Wild Bunch marked his triumphant return to filmmaking. He wrote the Oscar-nominated screenplay with Walon Green, from a story by Green and Roy N. Sickner.
It is set in 1913, on the eve of World War I and in the midst of the Mexican Revolution. A botched robbery in the opening sequence leads the outlaws to seek refuge in Mexico, where they continue to be pursued by a group of bounty hunters hired by the railroad company they have robbed. Robert Ryan, cast as a former friend of Holden’s character, leads the pursuers.
The supporting cast includes Warren Oates, L.Q. Jones, Jaime Sanchez, Bo Hopkins, Strother Martin, Albert Decker, Emilio Fernandez, and Alfonso Arau. Lucien Ballard provided the rich cinematography, and Jerry Fielding wrote the Oscar-nominated score.
But perhaps the most crucial creative collaborator was editor Lou Lombardo, who worked closely with the director to perfect an innovative editing style that incorporated quick, almost subliminal cuts masterfully interspersed with slow motion shots.
The film’s violence was shocking to many viewers at the time, and some critics denounced the film. Others, however, saw the violence as reflecting the disruptions in American society, along with the chaos of the Vietnam War. Life magazine’s Richard Schickel called the film “one of the most important records of the mood of our times and one of the most important American films of the era.” The New York Times’ Vincent Canby hailed the film as “very beautiful and the first truly interesting American-made Westerns in years.”
When cuts that had been made shortly after the film’s release were finally restored for a 1995 reissue, critics were even more ecstatic. Writing in The Baltimore Sun, Michael Sragow declared, “What Citizen Kane was to movie lovers in 1941, The Wild Bunch was to cineastes in 1969.” The film was added to the National Film Registry of the Library of Congress in 1999.
At the screening on February 26 in Pasadena, W.K. Stratton, the author of a new book, The Wild Bunch: Sam Peckinpah, a Revolution in Hollywood, and the Making of a Legendary Film, will participate in a discussion after the screening. He will also sign copies of his book at the theater. Presented by our friends at Vroman’s Bookstore.
On March 2 in Beverly Hills, we will be joined by three of the creative participants in the film, in addition to author W.K. Stratton. Screenwriter Walon Green won an Academy Award in 1971 for directing the documentary, The Hellstrom Chronicle. He went on to write such films as Sorcerer and The Brinks Job for director William Friedkin and The Border for Tony Richardson. Later he became writer and producer on many popular television series, including Law and Order, ER, Hill Street Blues, and NYPD Blue.
Actor L.Q. Jones worked on several other Peckinpah movies, beginning with Ride the High Country, along with Major Dundee, The Ballad of Cable Hogue, and Pat Garrett and Billy the Kid. He co-starred in Hang ‘Em High, Hell Is For Heroes, and Martin Scorsese’s Casino.
Bo Hopkins co-starred in Peckinpah’s The Getaway and The Killer Elite, and he also appeared in such films as The Day of the Locust, American Graffiti, Midnight Express, and The Newton Boys. Both actors also have extensive credits in television.
Click here for tickets to the screening on Tuesday, February 26, at 7:00 PM at the Playhouse.
Click here for tickets to the screening on Saturday, March 2, at 7:30 PM at the Ahrya Fine Arts.
Format: Blu-ray
Come on over to Claremont for Laemmle’s Art in the Arthouse’s newest show featuring the exquisite photography of Ronald Dunlap. The show will run at the Claremont 5 till June, 2019. Sales benefit the Laemmle Foundation and its support of humanitarian and environmental causes in Los Angeles.
About the Exhibit
Photographer and artist Ronald Dunlap has been “living pictures” both in life and through his lens for forty years. Dunlap’s service in Vietnam as a Marine left an indelible mark. Over the years he has returned to Vietnam, Cambodia and toured the East to record the stark images of daily life in those regions. Many of the fifteen photographs in this collection are from those journeys.Dunlap has a refined eye and fastidious focus. His imagery is evocative and speaks volumes. According to the artist his raison d’etre is “a concern with picture structure and the ability to connect with the viewer without the need for any written explanation.”
Dunlap has studied at Laguna College of Art and Design, Chouinard Art Institute and received his BFA in Fine Art from the California Institute of the Arts. His MFA Fine Art degree is from Otis College of Art and Design.The artist has previously shown his work at both Laemmle’s Pasadena and Claremont community art shows. Dunlap lives and works at his home in Altadena, and continues to focus on honing his craft and speaking to his audience directly through his arresting images.
– Joshua Elias, curator
In celebration of Black History Month, Laemmle Theatres and the Anniversary Classics Abroad Series present 60th anniversary screenings of BLACK ORPHEUS on February 20. This retelling of the Orpheus and Eurydice story in Greek mythology is set in twentieth-century Rio de Janeiro during Carnival. Writer-director Marcel Camus’ film hit the double jackpot for foreign-language films, winning both the Palme d’Or at Cannes and the Academy Award as the year’s best foreign film.
Based on the play “Orfeu da Conceicao” by Vinicius de Moraes with a screenplay by Camus and Jacques Viot, BLACK ORPHEUS takes place in the working class slums (favela) of Rio. Orfeu (Bruno Mello), a streetcar driver by day and musician at night, falls in love with Eurydice (Marpessa Dawn), new to the city, and courts her through the frantic festival. However, a skeleton-costumed character representing Death also pursues her, and the couple’s attempt to flee results in romantic tragedy. The two unknown leads—Mello, a Brazilian soccer player, and Dawn, an American dancer— help convey a sense of naturalism, but the film is most noteworthy for its irresistible score, composed by Luiz Bonfa and Antonio Carlos Jobim, which propels the drama with a captivating samba beat. The success of the film and recordings of its main themes helped ignite the bossa nova phenomenon of the 1960s.
The film was an enormous art-house hit in its day. Frenchman Camus and the two leads remain best known for this movie, as noted by the Village Voice, “the greatest one-hit wonder import we’ve ever seen.” Ann Hornaday of the Washington Post summed up its appeal: “a riotous, rapturous explosion of sound and color. Black Orpheus is less about Orpheus’s doomed love for Eurydice than about Camus’s love for cinema at its most gestural and kinetic.”
No need to take a trip to Rio—come to Carnival via BLACK ORPHEUS at Laemmle’s Playhouse, Royal, and Town Center on Wednesday, February 20 at 7:00 PM. Click here for tickets.
With the 91st Academy Awards right around the corner, it’s time for our annual Predict the Oscars Contest! The person who most accurately predicts the Academy of Motion Picture Arts and Science’s choices in all 24 categories, from the shorts to Best Picture, will win fabulous prizes (free movies and concessions at Laemmle)!
First place wins a Laemmle Premiere Card worth $150. Second place wins a Laemmle Premiere Card worth $100. Third place wins a Laemmle Premiere Card worth $50. Entries are due by 10AM the morning of the awards ceremony on February 24th.
Not sure what a Laemmle Premiere Card is? Think of it like a prepaid gift card for yourself! Use it to pay for movie tickets and concessions. Plus, Premiere Card holders receive $3 off movie tickets and 20% off concessions. To find out more, visit www.laemmle.com/premiere-cards.
We’ve got some smart cookies for customers so we have a tie-breaker question: you also have to guess the show’s running time. Take the tie-breaker seriously! In 2016, the running time question broke a tie between five entrants who correctly predicted 19 out of 24 categories!
We’ll announce the winners right here on our blog by February 26th. Good luck!
*One entry per person. One winner per household.
Instead of the Valentine’s Day massacre depicted in SOME LIKE IT HOT, Laemmle Theatres and the Anniversary Classics Series present comedy and romance to mark the holiday. Two award-winning comedies from 1959 share the bill and you can enjoy both SOME LIKE IT HOT and PILLOW TALK for one admission price!
When the American Film Institute conducted a poll of critics and filmmakers to rank the greatest American comedies, Billy Wilder’s SOME LIKE IT HOT came in at #1. The hilarious film melds violence, cross-dressing, and music, and benefits from a superb cast headed by Marilyn Monroe, Jack Lemmon (Oscar-nominated for his performance), Tony Curtis, Joe E. Brown, and George Raft. Wilder was nominated for his direction and for the screenplay he wrote with frequent collaborator I.A.L. Diamond. Orry-Kelly won the Oscar for best black-and-white costume design, especially for the stunning costumes he created for Monroe, including an almost see-through dress that she wears while performing.
The story follows two down-on-their-luck musicians who inadvertently witness the 1929 St. Valentine’s Day Massacre in Chicago and are forced to go on the run. Their only option to escape the gangsters is to disguise themselves as women and join an all-girl band on a tour of Florida.
Reviews for the film were ecstatic. The New Republic’s Stanley Kauffmann wrote, “This new Marilyn Monroe-Jack Lemmon-Tony Curtis film is a lulu… With easy mastery, [Wilder] has captured much of the scuttling, broad, vaguely surrealist feeling of the best silent comedies.” Roger Ebert declared, “Wilder’s 1959 comedy is one of the enduring treasures of the movies.” When the Library of Congress established its National Film Registry to preserve important films, SOME LIKE IT HOT was one of the first 25 movies inducted. Joe E. Brown mused in the movie’s famous final line, “Nobody’s perfect.” Maybe not, but this film comes close.
PILLOW TALK marked the first teaming of superstars Doris Day and Rock Hudson and turned out to be a box office bonanza. Although she was not always appreciated at the time, Day was one of the few actresses to regularly play career women in the conservative 1950s. In PILLOW TALK she was cast as a successful interior decorator who shares a party line with a composer and womanizer played by Hudson. Forced to listen to his unending stream of sexual conquests, Day protests vociferously, and Hudson resolves to make her change her tune by seducing her. Both antagonists score a few pointed jabs before the inevitable final clinch.
The film won the Academy Award for best original screenplay, written by Russell Rouse, Clarence Greene, Stanley Shapiro, and Maurice Richlin. It received four other nominations, including Day’s only nod for best actress. Tony Randall and Thelma Ritter head the delectable supporting cast. Ross Hunter produced, and Michael Gordon directed.
Among the film’s many favorable reviews, Bosley Crowther of The New York Times called it “one of the most lively and up-to-date comedy romances of the year.” Leonard Maltin hailed an “imaginative sex comedy… fast-moving; plush sets, gorgeous fashions.” The film’s enormous success led to two other Day-Hudson comedies, Lover Come Back and Send Me No Flowers. The picture was inducted into the National Film Registry in 2009.
Our Valentine’s Day Double Feature screens on Thursday, February 14th in Pasadena, NoHo, and West LA! Click here for tickets to the 5:10pm show of PILLOW TALK with the 7:20pm show of SOME LIKE IT HOT included. Click here for tickets to the 7:20pm SOME LIKE IT HOT, with the 9:45pm PILLOW TALK included.
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!
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.