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The official blog of Laemmle Theatres

THE TERMINATOR 40th Anniversary Screening with Producer Gale Anne Hurd Thursday at the Laemmle NoHo!

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Laemmle Theatres and the Anniversary Classics Series present a 40th anniversary screening of one of the most popular sci-fi films of all time, THE TERMINATOR, the movie that spawned one of the screen’s most profitable film franchises. The film stars Arnold Schwarzenegger, in his most iconic role, Linda Hamilton and Michael Biehn. We’re screening it as part of Art House Theater Day on Thursday, July 25 at 7 PM at the NoHo and will host producer Gale Anne Hurd for a Q&A. You might ask, is this really an indie film? Spoiler alert…it is!

“Knowing that many people have never seen the film or missed out on seeing it on the silver screen, I couldn’t be more thrilled to celebrate THE TERMINATOR‘s 40th anniversary with its return to cinemas on Art House Theater Day,” said producer Gale Anne Hurd (The Walking Dead, Armageddon). “People may wonder if THE TERMINATOR is truly an indie film. As the film’s producer, I can assure you it is. Jim Cameron and I made the film for $6.4 million, which included a completion bond and a 10% contingency. We had a variety of co-financiers, pre-sold rights and our distribution was through Orion Pictures rather than a major studio – the very definition of an indie film, both then and now. We hope you’ll enjoy the nostalgic experience of seeing it this summer!”

Writer-director Cameron and producer Hurd had both apprenticed at Roger Corman’s low-budget factory, New World Pictures, in the late 1970s and early 1980s when they joined forces to create THE TERMINATOR. Their original screenplay (with co-writer William Wisher, inspired by works of Harlan Ellison) chronicles the battle for the survival of the human race against Skynet, a synthetic intelligent machine network of the future. In 2029, an automaton killer, T-800 (Schwarzenegger) is dispatched through time to assassinate an unsuspecting waitress, Sarah Connor (Linda Hamilton) in 1984, who turns out to be the future mother of the twenty-first–century human resistance leader, John Connor. To protect her, Connor sends guerrilla fighter Kyle Reese (Michael Biehn). The ensuing chase, with the seemingly unstoppable Schwarzenegger, a laconic, leather-clad, and lumbering destruction machine pursuing Connor and Reese through the streets of Los Angeles, is a model of low-budget efficiency and resourcefulness.

Contemporary critics embraced the sci-fi suspense thriller, with Kirk Ellis of the Hollywood Reporter calling it “a genuine steel metal trap of a movie.” Dave Kehr of The Chicago Reader characterized its “almost graceful violence…(has) the air of a demented ballet,” and Janet Maslin in The New York Times cited it as a “B-movie with flair.” The film was a genuine sleeper, and its success led to several sequels, a television series and video games. The latest incarnation of the series, Terminator: Dark Fate, with Cameron returning to a creative role, is set to open theatrically later this year. The film that started it all, THE TERMINATOR, was added to the Library of Congress’ National Film Registry in 2008.

Cameron, of course, became one of the most sought-after filmmakers in Hollywood, staying in the sci-fi world for several landmark films (Aliens, The Abyss, Avatar) and winning Oscars for a venture into the past, Titanic, the biggest box-office hit of the twentieth century. Schwarzenegger went on to movie superstardom and political success. His terse line reading in the film, “I’ll be back,” is ranked 37th of the American Film Institute’s all-time great movie quotes, and his character Terminator is ranked as the 22nd greatest movie villain. Our guest, Gale Anne Hurd emerged as one of the most successful female producers of the era, with Aliens, Alien Nation, and Armageddon among her hits.

Michelangelo Antonioni’s RED DESERT (1964) 60th Anniversary Screenings.

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Laemmle Theatres and the Anniversary Classic Series present this month’s screening in our popular Anniversary Classics Abroad program: Michelangelo Antonioni’s vibrant masterpiece RED DESERT, which won the Golden Lion at the Venice Film Festival in 1964 and collected rave reviews around the world on its release over the next several months. We will show the film at five of our theaters at 7 PM on Wednesday, July 31.

Antonioni had earned critical acclaim for the three movies in his “alienation trilogy”—’L’Avventura,’ ‘La Notte,’ and ‘Eclipse’ — made during the early 1960s. RED DESERT explored some of the same themes but introduced a new element to the director’s work. The three earlier movies were all shot in black-and-white, but with RED DESERT Antonioni decided to experiment with color cinematography for the first time, and critics heralded his achievement. The New Republic’s Stanley Kauffmann declared, “With Michelangelo Antonioni’s RED DESERT, the art of the film advances…quite simply, it is the best use of color I have ever seen in a film, exquisite in itself.” Kauffmann added, “there is a buried history of modern painting in it, from the Impressionists through Mondrian to Hopper and Wyeth.”

Monica Vitti, who had starred in all three of Antonioni’s earlier movies, has the leading role of Giuliana, the wife of an industrialist in Ravenna. She is emotionally troubled and eventually begins an affair with an employee at her husband’s factory. Carlo Chionetti plays the husband, and Richard Harris — fresh from his Oscar-nominated performance in Lindsay Anderson’s ‘This Sporting Life’ — plays her lover. Antonioni wrote the screenplay with frequent collaborator Tonino Guerra.

In addition to its psychological themes, the film offers prescient critique of industrial pollution, with the color cinematography contributing to this political commentary. A key collaborator was director of photography Carlo Di Palma, who worked closely with Antonioni to paint the landscapes when necessary to create the desired mood of malaise. Antonioni and Di Palma collaborated again on the director’s most successful movie, the English-language ‘Blowup,’ an Oscar nominee in 1966. Other directors around the world — including Ettore Scola, Bernardo Bertolucci, and Sidney Lumet — worked with Di Palma. The cinematographer later established a fruitful collaboration with Woody Allen on such films as ‘Hannah and Her Sisters,’ ‘Radio Days,’ and ‘Bullets Over Broadway.’

Time magazine called RED DESERT “at once the most beautiful, the most simple and the most daring film yet made by Italy’s masterful Michelangelo Antonioni.” More recently, Geoff Andrew of Time Out hailed “perhaps the most extraordinary and riveting film of Antonioni’s entire career.” Robbie Collin of London’s Daily Telegraph declared, “Almost half a century on, RED DESERT remains a film of rare beauty and brooding erotic intensity.” The New Yorker’s Richard Brody called the film Antonioni’s “most mysterious and awe-inspiring work.”

Screening one night only at the Royal in West Los Angeles, the Town Center in Encino, and Laemmle Theatres in Glendale, Claremont, and Newhall.

Glendale Arts Summer Soiree “Under A Thousand Stars” to Honor Laemmle Theatres’ Greg & Tish Laemmle.

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Laemmle Theatres President Greg Laemmle and his wife Tish Laemmle are being honored by the good folks at Glendale Arts “in recognition of their unparalleled legacy of dedication to independent filmmakers and the art of storytelling on the screen.” Glendale Arts is an award-winning 501(c)3 non-profit organization that generates opportunities throughout greater Los Angeles to showcase, promote, encourage, and engage with the arts. From their announcement:

Glendale Arts proudly announces the organization’s highly-anticipated Summer Soiree “Under A Thousand Stars” to be held on Saturday, July 27, 2024 from 7:00-10:00 P.M. at ace/121 Gallery. Tickets for the event of the season are now available for purchase here.

Guests are invited to revel in the dazzling beauty of the gallery, transformed into an elegant indoor/outdoor spectacle of art and performance. The inspirational evening will comprise epicurean delights, artful mixology, a silent auction featuring original works of art by emerging and renowned artists from the Los Angeles area and beyond, and a celebratory program highlighting GA’s dynamic programmatic pillars – the Glendale International Film Festival, Solo Fest, and ace/121 Gallery.

A highlight of the event will be the presentation of The Aura, Glendale Arts’ inaugural award honoring luminaries who power the arts. The first-ever recipients of The Aura are Laemmle Theatres Head Greg Laemmle and his wife Tish Laemmle, Art in the Arthouse Curator at the family-run theatres which have brought the best of foreign and independent cinema to Los Angeles for over 85 years. The Laemmles will be honored in recognition of their unparalleled legacy of dedication to independent filmmakers and the art of storytelling on the screen.

Summer Soiree proceeds benefit Glendale Arts, the city’s premier arts non-profit. Funds raised will support GA’s mission to cultivate year-round opportunities for artists and audiences to convene around mutually enriching experiences that promote creativity, foster meaningful connections, and build community through the performing, cinematic, and visual arts mediums.

“We are excited to bring supporters and community, business, and industry leaders together for a night that salutes the transformative power of the arts,” said Glendale Arts Board Chair Marci DeSousa. “The Summer Soiree will not only showcase the heart and soul that drives Glendale Arts’ mission, but will also celebrate what distinguishes GA as a unique non-profit with local roots, regional impact, and a global footprint.”

“Guess what? Movies aren’t dead. So let’s stop with the prophecies of doom for a minute.” ~ Mary McNamara in the L.A. Times

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We’ve posted quite a bit about the importance of theatrical movie exhibition — most recently here, here, and here. Now the L.A. Times’ Pulitzer Prize-winning Culture Columnist and Critic Mary McNamara has weighed with her typically trenchant observations. If only her paper’s film department would return to its decades of glory when it treated the vibrant L.A. cinema scene with the respect it deserves by giving it robust coverage!) But we digress. Here’s an excerpt from McNamara’s piece:

When I became a television critic for the Los Angeles Times, way back in early 2007, many people told me it was a Very Bad Idea. Why would I give up a job as a film writer to review TV? Didn’t I know “The Sopranos” was ending? And that, with a few notable exceptions, original scripted television was dead, murdered by reality TV and endless internet content?

Mercifully, I listened to none of it; instead I was able to watch and write about one of the most stunning artistic revolutions of our time. The pendulum (and Hollywood’s penchant for excess) being what it is, television is now facing a financial crisis due, in large part, to that marvelous period of growth. But though the industry is in a belt-tightening phase, no one is predicting the demise of the art form altogether.

I think of television in 2007 every time a consortium of pundits calls time of death on anything. I certainly thought about it a month ago when so many people were announcing the demise of moviegoing.

In May, “The Fall Guy,” “Furiosa: A Mad Max Saga” and “The Garfield Movie” failed to live up to prerelease expectations. Instead of questioning the wisdom of the expectations themselves,especially given crippling writers’ and actors’ strikes, the industry, and many of those who cover it, preferred to announce that the sky was falling.

“People just don’t want to go to the movies anymore,” is something more than one person said out loud and in public.

Then “Bad Boys: Ride or Die,” “A Quiet Place: Day One” and especially “Inside Out 2” premiered and suddenly everyone was, and is, going to the movies again. The box office has roared to life and “Deadpool & Wolverine” isn’t even out yet.

As it turns out, people do still want to go to the movies.

(Read the full piece here.)

 

 

“I set out to make a film about solidarity and finding the small gestures of kindness and understanding between strangers and family alike.” Levan Akin on his film CROSSING, opening July 19 at the Royal.

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Next week at the Royal we open Crossing, the acclaimed new film by the Swedish-Georgian director Levan Akin (And Then We Danced). It follows Lia, a retired teacher living in Georgia, as she tries to fulfill a promise to find her long-lost niece, Tekla. The search takes her to Istanbul, a beautiful city that seems full of connections and possibilities. There she meets Evrim, a lawyer fighting for trans rights, and Tekla starts to feel closer than ever.
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Akin will attend the July 20 evening screening for a Q&A.
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“A piercing portrait of forgiveness across generations…Dumanli, making her screen feature debut here, is a pure joy to watch, enveloping the movie in a sense of warm coziness and safety as, just being in her presence, you feel like everything will somehow work out.” ~ Ryan Lattanzio, indieWire

“It’s seductive, fragmented, involving.” ~ Fionnuala Halligan, Screen International

“Akin makes a calculated choice to raise awareness of the trans community in Istanbul, but he does so through representation rather than manipulation.” ~ Peter Debruge, Variety

“This novelistic drama takes time to connect its central triangle but does so with a suppleness and restraint that amplify the emotional rewards of its lovely open-ended conclusion.” ~ David Rooney, Hollywood Reporter

Director’s statement: With Crossing I set out to make a film about solidarity and finding the small gestures of kindness and understanding between strangers and family alike. I also wanted to show rooms and places that are rarely explored in stories from the region. 

The film is based on a true story I was told whilst researching And Then We Danced, about a grandmother traveling from Georgia to Turkey in search of her trans granddaughter. Just like with my previous film, making Crossing was very challenging. The existence of LGBTQ+ people in Georgia and Turkey is under large pressure and Turkey’s president Erdogan ran most of his  recent presidential campaign around anti-LGBTQ+ rhetorics. 

In my film we follow retired schoolteacher Lia who is looking to fulfill her recently deceased sister’s dying wish – to find her lost trans daughter, Tekla. Together with a down on his luck  young man, Achi, who claims to have Tekla’s address in Istanbul, she travels from Georgia to  Turkey to find her niece. Lia and Achi are from different generations and as such don’t have  much in common even though they live in the same country. There is a great divide of ideology in Georgia between the Soviet and the post-Soviet generation. Achi desperately wants to leave Georgia as he lives under the oppressive rule of his older brother and he knows there is no future in Georgia for his young western leaning generation. 

As the journey unravels, so does Lia. Through her relationship to Achi and her encounters with  the trans community in Istanbul, specifically with Evrim (a trans woman who works as a lawyer for an NGO in Istanbul), Lia begins to open up and see the world and her place in it differently. All three main characters have made great sacrifices in limiting their lives and inhibitions in order to not upset the ruling hegemony. 

I myself am Georgian born in Sweden (my ancestry is from Batumi), and I have ties to Turkey (both my parents were born there). The journey from Batumi in Georgia, along the Black Sea to Istanbul is a journey I have taken many times myself as a child. I am a mix of many cultures, traditions and norms and the themes of modernity versus tradition are very personal and  something I have struggled with myself. I drew a lot from my own experiences, asking myself if  my grandparents were living today, would they accept me for who I am? Probably not – but in  showing these examples of acceptance I hope to inspire new ways forward.

40th Anniversary Screening of SUBURBIA with Writer-Director Penelope Spheeris in Person Celebrating Art House Theater Day.

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Laemmle Theatres and the Anniversary Classics Series present the 40th anniversary of SUBURBIA (1984), the first narrative feature film of acclaimed writer-director Penelope Spheeris. Co-produced by Roger Corman, with Flea of the Red Hot Chili Peppers in an ensemble cast of mostly non-actors, the film plays one night only: Wednesday, July 24 at 7:30 pm at the Laemmle NoHo as a preview of Art House Theater Day (AHTD, officially July 25). AHTD is a celebration of the contributions that art house theaters and independent films make to the cultural landscape.

SUBURBIA was a follow up to Spheeris’ debut film, the landmark documentary ‘The Decline of Western Civilization’ (1981), which focused on the emerging punk rock/hardcore scene in Southern California in the early 1980’s. While the documentary (and its two sequels) dealt with the bands, SUBURBIA looks at their audiences, displaced and disaffected children of the Baby Boomer generation who rejected the consumerism and conservatism of their parents. The movie follows a group of kids (ranging from ages 6 to 18) who squat in a condemned tract-housing development, forming a family unit of punks who call themselves The TRs (the rejected). Although the TRs commit petty crimes to survive, the ostensible villains of the movie are a pair of gun-toting working men who view them as responsible for every crime imaginable and eventually hunt them down.

Spheeris approached Roger Corman to complete financing for the film. He viewed it as a teen exploitation movie that fit into his wheelhouse of low-budget genre pictures, a formula that worked very well for him for decades. Spheeris, however, saw it as a social statement, and chose to use mostly non-actors along with a few musicians (e.g., Flea) for authenticity, pointing out, “It’s easier to teach punks to be actors than actors to be punks.” Flea now cites the film as “the punk rock bible.”

Perceptive critics of the day supported Spheeris’ vision. Vincent Canby of The New York Times called it “a clear-eyed compassionate melodrama…far better than Francis Ford Coppola’s ‘The Outsiders’ and ‘Rumblefish.’” This view was echoed by Time Out, noting the movie “combines intelligent social comment with the conventions of the teen-in-revolt exploiter to gripping effect. A justifiably angry film, fast and full of violent action, though there’s plenty of humour too; and the lack of originality is amply compensated for by its manifest sincerity.” And Clayton Dillard in Slant said, “In the end, SUBURBIA‘s greatest strength lies in its assertion of youth as a political state of mind.”

Penelope Spheeris is a multitalented film director (SUBURBIA, ‘The Boys Next Door,’ ‘Wayne’s World,’ ‘The Beverly Hillbillies’) producer (‘Real Life’), documentarian (‘The Decline of Western Civilization’ trilogy, ‘We Sold Our Souls for Rock ‘n Roll’), actress, screenwriter, and videographer. She has enjoyed success in both the independent film and Hollywood studio arenas, collecting numerous honors and currently receiving well-earned lifetime achievement awards. She joins us to introduce SUBURBIA and discuss her five-decade career making cinematic art.

“Remembering Norman Mailer and His Thorny Legacy ‘HOW TO COME ALIVE With Norman Mailer’ hits on an ingenious structure that avoids hagiography even as it includes friends and family.”

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From Alissa Wilkinson’s New York Times review of the superb new documentary we are opening next week, HOW TO COME ALIVE with Norman Mailer:

Given the hagiographic bias of most celebrity documentaries, HOW TO COME ALIVE with Norman Mailer sails into choppy waters. The director Jeff Zimbalist had to figure out a way to sum up one of the 20th century’s most admired, and most notorious, cultural figures. Mailer’s legacy as a novelist, speaker, filmmaker and pop culture icon — the movie reminded me how often he’s mentioned in “Gilmore Girls” — is full of bad behavior and also brilliant work, and making a film about such a person seems nearly impossible in our nuance-averse climate.

The key is to play with the documentary’s structure, eschewing the usual soup-to-nuts setup. HOW TO COME ALIVE with Norman Mailer is admittedly designed as a roughly chronological recounting of the writer’s life, covering all the highlights: six wives (one of whom he famously, horribly stabbed with a penknife), nine children, a stint in the military, best-selling novels, a fascination with brawling, combative TV appearances, opinions about God and machines and Americans’ midcentury impulse toward conformity.

But Zimbalist hits on a great idea: arrange the film in terms of what Mailer’s friends, enemies and acquaintances believe his “rules for coming alive” might be. The author’s life and legacy can thus be traced through those rules, and his evolution as a person — and he did evolve, constantly, insatiably — starts to make more sense. What emerges is a portrait of a man as often at war with himself as with his family, friends and countrymen, driven relentlessly toward machismo and always spoiling for a fight. This is not a person you can present neutrally to an audience.

There are seven rules, announced in intertitles, including, “Don’t Be a Nice Jewish Boy,” “Be Wrong More Than You’re Right” and “Be Willing to Die for an Idea.” It’s an appealing structure, and the many interviewees discuss the ways Mailer embodied them, supported by archival film and interviews with the man himself. There’s a lot of footage to work with. By midcareer, Mailer was ubiquitous on camera; as one person notes, he seemed to never turn down an opportunity to be interviewed or share his views publicly.

I’m impressed by how well the film balances criticism and fondness. Several of Mailer’s children are among the interviewees, as are ex-wives, all of whom have frank stories, while also respecting his rapacious intellectual curiosity, his drive to always be thinking and questioning. Especially delightful is the segment that revisits his appearance as rabble-rouser in an explosive panel discussion on feminism held in 1971 and documented in D.A. Pennebaker’s excellent documentary “Town Bloody Hall” (streaming on the Criterion Channel). Mailer was set up on the panel as the opposing voice to feminist theorists, and came in for a drubbing; this film reminds us that Mailer was there because he was valued by those same interlocutors, some of whom are interviewed expressing their respect for his input.

I expect every viewer of HOW TO COME ALIVE with Norman Mailer will have some quibble with it, but it’s an accomplishment nonetheless — a model for how to reimagine a standard documentary structure to accommodate a multifaceted subject without smoothing over the rough spots and slapping on a halo. And for those who don’t know his work, it’s a worthy introduction: a study in how not to live, but also in how to come alive.

A SUMMER PLACE 65th Anniversary Screening July 11.

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A SUMMER PLACE 65th Anniversary Screening July 11 with special introduction by film music historian Steven C. Smith celebrating the career of composer Max Steiner.

Laemmle Theatres and the Anniversary Classics Series present the 65th anniversary of the teen angst romance classic A SUMMER PLACE (1959) starring Sandra Dee and Troy Donahue on Thursday, July 11 at 7 PM at the historic Royal Theatre in West Los Angeles. Written and directed by Delmer Daves, the lavish melodrama is now best remembered for introducing the phenomenally successful “Theme from A Summer Place,” the best-selling instrumental in pop music history.

Adapted from a popular novel by Sloan Wilson (The Man in the Grey Flannel Suit), the film deals with two families intertwined through their teenage children while on summer holiday at a coastal resort in Maine. Bert and Sylvia Hunter (Arthur Kennedy and Dorothy McGuire) are the proprietors of a faded resort and the parents of a teenage son Johnny (Troy Donahue) who play host to a vacationing wealthy businessman, Ken Jorgensen (Richard Egan), his wife Helen (Constance Ford), and their daughter Molly (Sandra Dee). Johnny and Molly embark on a summer romance while Ken and Sylvia rekindle an illicit affair, reuniting twenty years after Ken worked at the resort. The rest of the film deals with the hot button topics (this was the 1950s after all) of infidelity, scandal, divorce, and teenage pregnancy, which raised the hackles of the watch-guard censors.

Warner Bros. hoped to emulate the box office smash Peyton Place, which had depicted similar subject matter just two years earlier, even casting one of its Oscar-nominated supporting actors (Arthur Kennedy). Lushly mounted, with Technicolor cinematography by veteran Harry Stradling, Sr. and a sumptuously romantic score by Max Steiner, the film also echoes the extravagant 1950s melodramas of Douglas Sirk. Sandra Dee, who had become a teen favorite in Gidget and Sirk’s Imitation of Life that same year, was elevated to a four-year run as a top ten box office star, while Troy Donahue, who had been in small parts in a few previous films (including Imitation of Life) had a star breakthrough.

The box office success of A SUMMER PLACE overrode contemporary critics’ concerns. Howard Thomson in The New York Times called it a “raucously sensual drama…and one of the most garishly sex-scented movies in years.” Variety also pointed out its obvious appeal, saying “it makes the most of Hollywood’s newly discovered freedom to display the voluminous vocabulary of sex,” while the Harvard Lampoon kiddingly named it one of the ten worst movies of the year. The dubious notices and controversial subject matter, combined with the repressive morality of the era, made the film ripe for “camp” evaluation. Seemingly innocent dialogue like Molly’s inquiry “Johnny, have you been…bad…with girls?” and Constance Ford’s overwrought performance as Molly’s shrewish mother unknowingly contributed to that camp reputation, with one wag citing Ford’s part as the “Wicked Witch of the West.”

Daves had been an accomplished director in different genres since the 1940s (Pride of the Marines, Dark Passage, Broken Arrow, 3:10 to Yuma, An Affair to Remember), but after the commercial success of A Summer Place he finished his career mostly helming similar but inferior melodramas like Parrish, Susan Slade, and Youngblood Hawke in the 1960s. Despite critical reservations, A SUMMER PLACE remains a consummate example of top-notch craftsmanship at the end of the studio era. It has also achieved extended notoriety by its inclusion in a memorable scene in Barry Levinson’s Diner (1982) and the use of its hit instrumental theme in a number of films over the past 60 years.

Max Steiner was one of the original founders of the Hollywood Sound in motion picture scoring, and “did more than any other composer to introduce and establish the language of film music.” Over the course of a four-decade film career he provided memorable scores to such classics as King Kong, Gone with the Wind, Now, Voyager, Casablanca, The Big Sleep, White Heat, and The Searchers, among many others, while winning three Academy Awards. “Theme from A Summer Place” was recorded by Percy Faith and had a then record-breaking nine week run at the top of the pop charts, winning the Grammy as Record of the Year, while Steiner collected a nod for Song of the Year and a bounty of royalties.

Our guest commentator Steven C. Smith is a four-time Emmy-nominated journalist and producer of more than 200 documentaries about music and cinema. He is the author of the definitive biography, “Music by Max Steiner: The Epic Life of Hollywood’s Most Influential Composer,” which will be available for sale and signing.

A SUMMER PLACE and the celebration of Max Steiner shows one night only: Thursday, July 11 at 7:00 PM at the historic Royal Theatre, enjoying its centennial year as a continuously operating movie theatre since opening in 1924. Coming attractions for the Anniversary Classics Series include the 40th anniversary of Suburbia on July 24 at the NoHo with guest writer-director Penelope Spheeris as a preview of Art House Day.