2012 L/ AUG U J

UC Berkeley Art Museum & Pacific Film Archive

program guide

Barry McGee Lutz Bacher D-L Alvarez Summer Cinema on Center Street Italian Leading Ladies Les Blank universal pictures: celebrating 100 years Cool World Raj Kapoor Alexei Guerman BAM/PFA 1 EXHIBITIONS & FILM SERIES

Barry McGee p. 4

Lutz Bacher / MATRIX 242 p. 6

D-L Alvarez / MATRIX 243 p. 7

At the Edge: Recent Acquisitions p.8 2 The Reading Room p. 9

Himalayan Pilgrimage: Liberation through sight p.9

Bellissima: Leading Ladies of the Italian Screen p. 11

Always for Pleasure: The Films of Les Blank p. 14

The Eternal Poet: Raj Kapoor & the Golden

Age of Indian Cinema p. 16

Cool World p. 18

Free Outdoor Screening p. 20

A Theater Near You p. 21

Russian Inferno: The Films of Alexei Guerman p. 22

Universal Pictures: Celebrating 100 Years p. 24

Summer Cinema on Center Street p. 26 3

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Want the latest program updates and event reminders in your inbox? Sign up to receive our monthly e-newsletter, weekly film update, exhibition and program announcements, and/or L@TE event updates Cover Barry McGee: Untitled, 2005 (detail); acrylic on glass bottles, wire; dimensions at bampfa.berkeley.edu/signup. variable; Lindemann Collection, Miami Beach. Photo: Mariano Costa Peuser.

Download a pdf version of this and previous issues of the Program Guide 1. The Birds, 8.18.12, p. 25 from our website, bampfa.berkeley.edu/programguide. 2. Ed Wood, 7.14.12, p. 18

Subscribe to the BAM/PFA events calendar in iCal, 3. Open City, 7.25.12, p. 12 bampfa.berkeley.edu/calendar.

2 JULY & AUGUST 2012 Summer Cinema on Center Street

saturdays / august 4, 11, & 18 / 7:30

Free! Summer Cinema on Center Street celebrates BAM/PFA’s coming 2 move to downtown Berkeley with three free event-packed evenings under the stars. Each night culminates with the projection of a film from the PFA Collection onto the exterior wall of our future home, the former UC Berkeley printing plant located at the corner of Oxford and Center Streets. Join us for this cinematic christening of our future residence, which will serve as the architectural and cultural center- piece of Berkeley’s growing downtown arts district.

A collaboration between BAM/PFA and the Downtown Berkeley Asso- ciation, Summer Cinema on Center Street revels in Berkeley’s legacy as a worldwide center for scientific, social, cultural, and academic innovation with programs devoted to that most heady of organs, the brain. Rare screenings of campy classics The Atomic Brain, Donovan’s Brain, and The Brain that Wouldn’t Die follow a multiplicity of cerebral happenings, including brain-altering live music and DJ sets, as well as IQ-raising lectures, readings, and art performances that are sure to keep your central nervous system stimulated. See page 26 for all the details.

Events take place in the Bank of America parking lot on Center Street between Shattuck and Oxford. A limited amount of seating will be provided; we encour- age you to bring your own chairs.

Summer Cinema on Center Street is made possible by the continued contributions of the BAM/PFA Trustees. Thanks to the Bank of America for the use of their parking lot. Special thanks to our media sponsors: Berkeleyside, KFOG, East Bay Express, East Bay Loop, and Yelp.

Welcome New Cal Students!

Friday / 8.24.12 / 7:00 Free Poster Pizza Palooza & Free Outdoor Screening

Be among the first to experience our major fall exhibition spotlighting the work of San Francisco artist Barry McGee, whose paintings and installations are rooted in street art and graffiti. Take home a free exhibition poster. Get lost in the galleries. Enter a raffle for a chance to win semester-long film passes to the PFA Theater or a McGee-designed Cinelli bike saddle. Enjoy free pizza and music by one of our favorite KALX DJs. And stop by the BAM/PFA Student Committee table to find out about all the fun and creative activities they offer throughout the year.

Following the Poster Pizza Palooza, head outside to the sculpture garden at 8:30 for a free screening of Noel Black’s 1968 cult favorite, Pretty Poison—a seriocomic look at sociopaths in love, starring Tuesday Weld and Anthony Perkins (see page 20).

The Poster Pizza Palooza is an exclusive event for new Cal students—freshmen and incom- ing transfers. (Please show your Cal student ID at the door.) The free outdoor screening is open to the public.

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 3 BAM / PFA 4 JULY & AUGUST 2012 New E New The Andy Warhol Foundationfor the Visual Arts experience programs. art grade-school BAM/PFA’s of support additional their for Humanity of Citizens to thanks Special Trustees. BAM/PFA the and McEvoy, Nion Geiss, Suzanne Brandt, Frish and Fraenkel Jeffrey Anglim, Prism, Stuart Shave/Modern Foundation, Art, and Cinelli. Lehman Additional support Robert is provided The by Rena Bransten, Gallery Paule Foundation, Community Bay East the at Artists for Fund Bay East the Read, and Cheim 3, Ratio Arts, the for Endowment National the by provided is support Major Humanity. of Citizens sponsor presenting and Arts Visual the for Foundation Warhol Andy The from support lead by possible made B spring. next Boston ICA to the tour will which McGee is currently artist-in-residence as he prepares for this groundbreaking exhibition, act.” a political is chaos of creation “the Baker, writes McGee, For museum. or gallery the of frame the beyond spill often and trucks, and cars overturned incorporating street, inner-city the of vitality anarchic the express environments installation his Increasingly, gallery. the of space the into condition urban the brought has work recent more his but activism, and art for space aliving as itself city the viewed long has McGee street. the on elegant surprisingly and gallery the in informal shockingly be can work his art: of boundaries the skill—push extraordinary with wrought prints—all and drawings, painting, often-humorous His space. public of control corporate and gentrification, capitalism, of effects harmful to the attention calling time and sign painting, McGee celebrates his Mission District neighborhood while at the same art, hobo comics, graffiti, from drawn vocabulary avisual Using authorship. unique artist’s the situate precisely to difficult it make can collaborations frequent his as well Fong—as Lydia and Ray as monikers—such other and this of use McGee’s “Twist.” name tag the using often artist, agraffiti as skills his developed he where Francisco, San of streets the on but setting gallery or amuseum in not 1980s, the in work his sharing began Institute, Art Francisco San the at printmaking and painting in professionally trained who McGee, artist showcases the astonishing range of McGee’s compassionate and vivacious work. new projects, this first midcareer survey of the globally influential San Francisco–based and an elaborate re-creation of a cacophonous street-corner bodega, along with many taggers, animatronic panels, painted op-art vibrant of constellations characters, urban out down-and- of cast trademark his with painted bottles alcohol and trays printing letterpress etchings, early seen rarely Including expectations.” contradict and to surprise continued has McGee “[Barry] catalog, exhibition the in Baker Alex writes career,” his “Throughout A McGee Barry McGee arry 24–D ugust xhibitio is organized by Director Lawrence Rinder, with Assistant Curator Dena Beard. Beard. Dena Curator Assistant with Rinder, Lawrence Director by organized is e n c 9 ember B is McGee arry GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS BAM/PFA FOR FREE ALWAYS GALLERIES Photo: Sibila Savage. and Pacific Film Archive:bequest of Phoebe AppersonHearst, by exchange. Museum Art Berkeley UC the of collection ten; of edition 8 × 6 ½ in.; etching; Barry McGee: Opposite Curators /12:00 /8.29.12 Wednesday 6:00 5:00 and Jeffrey Deitch. Hardcover, 450 pages, $49.95. pages, 450 Hardcover, Deitch. Jeffrey and by Baker, Alex contributions Germano Boas, Natasha Barry McGee I Opening T P M n the /8.23.12 hursday ubli V Member Opening IP Opening c P

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5 BAM / PFA 5 BAM

EXHIBITIONS EXHIBITIONS

Lutz Bacher MATRIX 242

July 18–October 7 New Exhibition

Since Lutz Bacher’s first MATRIX exhibition in 1993, the Berkeley-based artist has become a leading figure in contemporary art; she was the subject of a retrospective at MoMA PS1 in 2009 and was included in the 2012 Whitney Biennial. MATRIX 242 presents an important but rarely seen series from 2006–07 that sheds light on the artist’s often elusive practice.

Bien Hoa is is based on a set of ten photographs Bacher discovered at a Berkeley salvage store. All of the photographs were created by an American soldier named Walter, who was stationed at Bien Hoa Air Base during the Vietnam War. Walter inscribed the backs of all but two of the pictures before mailing them home to his partner in Oakland. Bacher has enlarged and reprinted the photographs to hang above the versos of the originals, which disclose Walter’s annotations. These have a surprisingly casual tone, given what must have been the harrowing experience of being a soldier stationed in Vietnam. In some cases, Walter’s inscriptions sound almost like a tourist writing a postcard; in others, he seems to have been more concerned with the composition of the image than with the grisly content of a scene. “This is Bien Hoa looking at it from the Air Base. This is a pretty good picture. Now do you think that’s beautiful? Can you see the wire, keeping the people from attacking the Air Base? That’s what those fences are out there for.”

By strategically juxtaposing these images and texts, and placing them in a museum setting, Bacher reveals the slippery nature of perception. She prompts us to wonder, Why was Walter so concerned with the quality of his images? Why were these photographs discarded? What became of Walter?

Lutz Bacher: Bien Hoa, 2006–07 (detail); black-and-white inkjet print mounted on aluminum; 24 × 36 in.; ballpoint pen on photographic paper; 8 × 10 in.; courtesy of Ratio 3, San Francisco.

6 JULY & AUGUST 2012 D-L Alvarez MATRIX 243

July 18–October 7 New Exhibition

D-L Alvarez’s first solo museum exhibition presents a haunting meditation on the violent end of innocence. Alvarez, an Oakland-based artist, focuses on the uncanny moments when social and domestic deviance collide.

In Alvarez’s drawing series, The Closet (2006–07), we see an abstracted image of Jamie Lee Curtis as Laurie Strode in Halloween (1978), repelling the attacks of a masked psychopath while trapped in a closet. The character’s expression of horror is echoed by the drawings’ highly fractured compositions, which appear to be the result of some kind of electronic interference or degraded technology.

The Closet is shown with Something to Cry About I and II (2007), patchwork bodysuits made of children’s clothing arranged over wooden armatures. The ominous drap- ing is both vulnerable and sinister, evoking the footed pajamas of cartoon-addled kids as well as the grisly outfits and other mementos that the notorious murderer Ed Gein fashioned out of corpses’ skins.

With these two projects Alvarez explores the aesthetic guises that sometimes mask unspeakable horrors. His drawings and sculptures conjure the psychic breaks that both constitute and disrupt identity.

D-L Alvarez: The Closet #13 and #14, 2006; graphite on paper; 17 ½ × 21 ¼ in. each; courtesy of MATRIX 242 and MATRIX 243 are organized by Assistant Derek Eller Gallery, New York. Curator Dena Beard. The MATRIX Program at the UC Berkeley Art Museum and Pacific Film Archive is made possible by a generous endowment gift from Phyllis C. Wattis and the continued support of the BAM/PFA Trustees.

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 7 BAM / PFA EXHIBITIONS

At the Edge: Recent Acquisitions

July 18–December 23

New Exhibition At the Edge is organized by Director Lawrence Rinder.

This exhibition presents a selection of works that have entered our collection over the past two Glen E. Friedman: Tony Alva at the Original Dog Bowl, 1977; years. It is our first opportunity to show most of these works, some of which have never before been color photograph; 30 × 40 in.; purchase made possible through a gift of The Buddy Taub Foundation, Dennis A. exhibited anywhere. Roach and Jill Roach, Directors.

The title, At the Edge, evokes the ways in which these works convey a sense of reaching—and sometimes crossing—limits of perception and experience. Among the works on view are dreamlike, mystical, and otherworldly visions, as well as images of life at its dramatic extremes. Many feel as if they exist at a point of no return, at the edge of a sometimes frightening and sometimes marvelous abyss.

Among the artists included are Louise Bourgeois, Apichatpong Weerasethakul, William Eggleston, Ralph Eugene Meatyard, Jay Nelson, David Wilson, Jack Smith, Anna von Mertens, Jamie Vasta, and Gardar Eide Einarsson.

8 JULY & AUGUST 2012 The Reading Room

Extended through December 9 Continuing Exhibition

The Reading Room shelves have evolved over the past six months as visitors have taken home books of poetry or experimental fiction and left in exchange a surprising array of their own volumes (now themselves free for the taking), including novels (T. Coraghessan Boyle’s Water Music), a memoir (Bernie Siegel’s Love, Medicine and Miracles), numerous poetry chapbooks, and even Russell Hoban’s classic children’s story, Bedtime for Frances. As the site of our literary series, RE@DS, The Reading Room has witnessed readings by young poets and writers, some of which included activities as varied as button making and calisthenics. Our new season of RE@DS starts in the fall, animating The Reading Room on selected L@TE Friday evenings in new and provocative ways. Stop by The Reading Room this summer to participate in our ongoing experiment in free exchange.

The Reading Room is supported by a generous grant from the Kadist Art Foundation, San Francisco.

Himalayan Pilgrimage: Liberation through sight

Through november 25 CONTINUing EXHIBITION

The journey of Himalayan Pilgrimage continues with Liberation Through Sight, a reinstallation that focuses on artworks created as vehicles to enlightenment. The making of these icons is in itself a devotional act that brings merit to the artist—who is viewed as a selfless interpreter of high spiritual teaching—and to the devotee who engages in the practice of visualization through the image. New art in the gallery includes an exceptionally rare set of seven paintings depicting the lineage of the Great Fifth Dalai Lama, painted around 1815 upon the death of the ninth Dalai Lama, as well as images of compassionate and wrathful deities of the Tibetan pantheon.

The works in this exhibition are on long-term loan from a single private collection.

Himalayan Pilgrimage is organized by Senior Curator for Asian Art Julia M. White.

5 Vajrapani; Tibet, 16th century; gilt bronze; 8 /8 × 5 ¾ × 2 ¾ in.; on long-term loan from a private collection.

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3 S M IL F

Bellissima 1/2 Leading Ladies of the Italian Screen

Friday / 7.6.12 1. The Girl with a Suitcase, If the decades following World War II were the Italian cinema’s golden age, 7:00 7.21.12 Two Women Italian actresses were the ones who made it sparkle and gleam. The earthy, Vittorio De Sica (Italy/France, 1960) Imported Print! 2. Two Women, 7.6.12 mercurial Anna Magnani embodied the unvarnished emotional and moral (La ciociara). Cesira, a widowed mother struggling to force of neorealism. Giulietta Masina’s wide-eyed waifs animated Federico protect her adolescent daughter from the depredations Fellini’s fabulism. With lusty physicality or smoldering splendor, stars like of World War II, is the type of fierce survivor you might Gina Lollobrigida, Sophia Loren, and Claudia Cardinale seduced audiences expect to see played by Anna Magnani—and in fact, worldwide. Showcasing these celebrated performers in iconic roles, this series Magnani was originally slated for the part, with Sophia also presents stellar performances by less widely known actresses, such as Loren cast as her daughter. Instead, Loren became Cesira, the indomitable Tina Pica, as well as familiar faces in unfamiliar places: how her voluptuous volatility and pragmatic peasant mate- about Antonioni icon Monica Vitti in a madcap farce? rialism held in contrast with the restraint and idealism of a Marxist graduate played by Jean-Paul Belmondo. Of course, any tribute to great Italian performers is also a tribute to great Italian De Sica’s portrayal of wartime hardship is vivid and directors, and the series features works by Fellini, Roberto Rossellini, Pier Paolo unstinting; more surprising is the film’s bitter picture of Pasolini, Luchino Visconti, Alberto Sordi, and others, many in imported 35mm the war’s end, which for Cesira and her daughter brings prints. It amounts to a summer tour through postwar Italian film, taking in both anything but liberation. Juliet Clark major cinematic landmarks and less traveled byways, towering monuments Written by Cesare Zavattini, based on a novel by Alberto of neorealism and obscure gems of commedia all’italiana. Each stop along Moravia. Photographed by Gabor Pogany. With Sophia Loren, the route brings an encounter with another unforgettable actress. To each Jean-Paul Belmondo, Eleonora Brown, Carlo Ninchi. (105 mins, In Italian and German with English subtitles, B&W, 35mm, From of them, we say: bravissima. Cinecittà Luce S.p.A.)

Juliet Clark Saturday / 7.7.12 8:30 La strada Series curated by Senior Film Curator Susan Oxtoby. Thanks to the following individuals and Federico Fellini (Italy, 1954) institutions for their assistance with this retrospective: Camilla Cormanni and Rosaria Focarelli, Cinecittà Luce S.p.A.; Patrizia Gambarotta, Italian Cultural Institute of San Francisco; Laura (The Road). It’s hard to think of La strada apart from its Argento, Cineteca Nazionale; James Quandt and Brad Deane, TIFF Cinematheque; Grover reputation as a Humanist Classic, in which Giulietta Masina’s Crisp, Sony Pictures; Brian Belovarac, Janus Films/Criterion Collection; and Eric Di Bernardo, clownish soul Gelsomina is victimized by Anthony Quinn’s Rialto Pictures. brutish Zampanò and they call it a traveling sideshow. But that’s a good reason to see it again. Behind Masina’s tragicomic masquerade are some of the most chillingly evocative landscapes in Italian cinema, reminders that Fellini used only the tools of reality to create a fable out of time, out of place. Along with Masina, Quinn gets the Get More kudos, but Richard Basehart is quizzical and magnetic as Find expanded film notes on our website, bampfa.berkeley.edu. The Fool, who appears to Gelsomina as out of a dream Sign up for our weekly film update at bampfa.berkeley.edu/signup. to give words to the sense, already growing in her, that

she means something. Judy Bloch

Written by Fellini, Tullio Pinelli, Ennio Flaiano. Photographed by Otello Martelli. With Giulietta Masina, Anthony Quinn, Richard Basehart, Aldo Silvani. (107 mins, In Italian with English subtitles, B&W, 35mm, From Janus Films/Criterion Collection)

11 BAM / PFA Wednesday / 7.11.12 Wednesday / 7.18.12 Saturday / 7.28.12 7:00 7:00 5:30 Nights of Cabiria Sandra Bellissima Federico Fellini (Italy, 1956) Luchino Visconti (Italy, 1965) Studio Vault Print! Luchino Visconti (Italy, 1953) Imported Print! (Le notti di Cabiria). “Fellini has acknowledged [Giulietta (Vaghe stelle dell’orsa, a.k.a. Of a Thousand Delights). Anna Magnani gives a bravurissima performance Masina’s] enormous creative intuition, which defined Visconti’s wondrous mood piece is an Elektra story as a working-class woman who earns pin money as the boundaries between talent and genius. . . . Nights of incestuous passions and family secrets, set in the a “nurse,” giving cut-price injections to local hypo- of Cabiria . . . is the masterpiece of her collaboration crumbling Italian city of Volterra. Claudia Cardinale chondriacs. She enters her daughter in a Cinecittà with Fellini, and an exemplar of the actor-as-artist” brings her new American husband home to meet her talent competition, which offers her a chance to fulfill (Albert Johnson). In this film Cabiria (Masina), the mother and brother on a very particular occasion: a her dreams through her child. Ambition becomes prostitute who first appeared in Fellini’s early filmThe memorial is being unveiled for her father, who died at obsession, and obsession becomes tragedy. The film’s White Sheik (1952), comes into her own, and holds Auschwitz. It isn’t the ghosts of the dead that haunt knowing, often-satirical portrait of Italian society her own even though she is continually exploited, this home, however, but the “secret vices” of the living. is one of its virtues, but as Andrew Sarris wrote, robbed, and physically abused by the very men she With a tale so ripe that the actors should be singing, “one needs an extraordinary degree of sociological loves. Masina turns a film about prostitutes, pimps, not speaking, the ever-iconoclastic Visconti heads concentration to peer around anything featuring and johns into an ironically radiant statement about toward a Romantic ideal of emotion as narrative, and Magnani’s emotional thunderbursts.” the indestructibility of the human spirit. repression as the greatest spectacle. Jason Sanders Written by Suso Cecchi d’Amico, Francesco Rosi, Visconti, Written by Fellini, Ennio Flaiano, Tullio Pinelli. Photo- Written by Suso Cecchi D’Amico, Enrico Medioli, Visconti. based on a story by Cesare Zavattini. Photographed by Piero graphed by Aldo Tonti, Otello Martelli. With Giulietta Photographed by Armando Nannuzzi. With Jean Sorel, Portalupi, Paul Ronald. With Anna Magnani, Walter Chiari, Masina, François Périer, Amedeo Nazzari, Franca Marzi. Michael Craig, Marie Bell, Claudia Cardinale. (102 mins, In Tina Apicella, Alessandro Blasetti. (114 mins, In Italian with (116 mins, In Italian with English subtitles, B&W, 35mm, Italian with English subtitles, 35mm, From Sony Pictures) English subtitles, B&W, 35mm, From Cinecittà Luce S.p.A.) From Rialto Pictures) Saturday / 7.21.12 Wednesday / 8.1.12 7:00 Friday / 7.13.12 6:00 Mamma Roma 7:00 The Girl with a Suitcase Pier Paolo Pasolini (Italy, 1962) The Leopard Valerio Zurlini (Italy/France, 1961) Luchino Visconti (Italy, 1963) Restored Print! Imported Print! Mamma Roma captures the dispirited world of a student pick! (La ragazza con la valigia). With this film, Claudia spirited prostitute and her efforts to rise above her (Il gattopardo). Visconti integrates a family history Cardinale etched her wistful, playful character whose trade toward a petit bourgeois life for herself and into a panoramic account of the Risorgimento, the edge comes from the reality that she never knows her grown son. In stone ruins and suburban housing nineteenth-century Italian unification movement. where her next meal is coming from. Aida, a showgirl, projects, Pasolini finds a combination of the seamy Revolution informs the most intimate relationships is seduced away from her act by a playboy aristocrat, and the lyric, rough trade tempered by raw beauty. between the aristocrat Fabrizio (Burt Lancaster), his Marcello, and then quickly abandoned, only to become Pasolini, who rarely used professional actors, ques- radical nephew Tancredi (Alain Delon), and Angelica the object of fascination and finally love for Marcello’s tioned using Anna Magnani. Nevertheless, as Mamma (the compelling Claudia Cardinale), whose marriage sixteen-year-old brother Lorenzo (Jacques Perrin). A Roma walks the streets giving young johns what to Tancredi signals the symbolic merging of the moving, honest study of adolescence and class, Girl they want—her stories; gives her pimp ex-husband classes. “Perhaps no film captures the Proustian with a Suitcase is shot against the classic beauty of his due in ribald song; or dances a tango with her aesthetic more firmly,” Warren Sonbert wrote. Parma contrasted with the visually spontaneous and soon-to-be martyred son, it’s hard to picture anyone “Visconti’s camera visually caresses the passage socially chaotic sands of Rimini. Zurlini uses the precise but Magnani in the role. Judy Bloch of time, the shifting nuances among the adrift elegance of settings and camera set-ups to explore Written by Pasolini. Photographed by Tonino Delli Colli. and split characters and the recording of specifics the architecture of human relationships. Judy Bloch With Anna Magnani, Ettore Garofalo, Franco Citti, Silvana transcending to the universal.” Corsini. (105 mins, In Italian with English subtitles, B&W, Written by Zurlini, Leo Benvenuti, Piero De Bernardi, Enrico 35mm, From Janus Films/Criterion Collection) Written by Suso Cecchi D’Amico, Pasquale Festa Medioli, Giuseppe Patroni-Griffi, from a story by Zurlini. Campanile, Enrico Medioli, Massimo Franciosa, Visconti. Photographed by Tino Santoni. With Claudia Cardinale, Friday / 8.10.12 Photographed by Giuseppe Rotunno. With Burt Lancaster, Jacques Perrin, Corrado Pani, Luciana Angelillo. (113 mins, 7:00 Claudia Cardinale, Alain Delon, Paolo Stoppa. (186 mins, In Italian with English subtitles, B&W, 35mm, From Cinecittà L’amore In Italian with English subtitles, Color, ’Scope, 35mm, From Luce S.p.A., permission Intramovies) Roberto Rossellini (Italy, 1948) Criterion/Twentieth-Century Fox) Wednesday / 7.25.12 An epigraph from Rossellini calls this two-part film “an Saturday / 7.14.12 7:00 homage to the art of Anna Magnani,” but “homage” 6:00 Open City may not be strong enough to describe a work so Juliet of the Spirits Roberto Rossellini (Italy, 1945) Restored Print! Federico Fellini (Italy, 1965) deeply in the actress’s thrall. Based on a play by (Roma, città aperta). A wartime bread-riot: Pina (Anna Jean Cocteau, A Human Voice focuses intensely on (Giulietta degli spiriti). Juliet (Giulietta Masina), trying Magnani) stoops to pick up a loaf. “You?” a man asks. the voice—and face—of a desolate Magnani, alone on who she will be for her husband tonight, discov- “Should I starve?” she says. Then she gives him the bread; with the telephone, talking her way through the end ers she is nothing. Thus begins, for this diminutive he shouldn’t starve either. The raw courage, and raw of love. In The Miracle, Magnani is coarse, funny, bourgeois housewife, a psychic journey into freedom terror, of individuals caught up in the implicit violence and unsentimentally touching as a naive goatherd and the magic of experience, magnificently concretized of life under fascism is made explicit in Open City. Pina pregnant by a stranger whom she believes to be into cinema by Fellini. Fragmented (literally, by the is the pregnant lover of a Resistance worker; the priest Saint Joseph (Federico Fellini). Fellini cowrote the camera), Juliet is receptive to the seers and Dionysian who is to marry them “tomorrow,” Don Pietro, runs script, and there is a touch of La strada’s Gelsomina revelers she never knew inhabited her neighborhood, errands for the underground. Magnani’s portrait—proud, in Magnani’s peasant soul. Juliet Clark and to the bareback riders and flaming angels of her plebeian, sardonic—struck a chord, as if a human being childhood. After all the ghosts, the voices, and the Written by Rossellini, Tullio Pinelli, Federico Fellini, based had never been captured on film before. Judy Bloch circus of desire pass by, “Juliet is concerned with the on the play La voix humaine by Jean Cocteau and on a story Written by Sergio Amidei, Federico Fellini, Rossellini, by Fellini. Photographed by Robert Juillard, Aldo Tonti. daily miracle of simple reality” (Fellini). Judy Bloch from a story by Amidei, Alberto Consiglio, Rossellini. With Anna Magnani, Federico Fellini. (78 mins, In Italian Photographed by Ubaldo Arata. With Anna Magnani, Aldo with English subtitles, B&W, 35mm, From Cinecitta Luce Written by Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi. Fabrizi, Marcello Pagliero, Maria Michi. (106 mins, In Italian S.p.A., permission Janus Films/Criterion Collection) Photographed by Gianni di Venanzo. With Giulietta Masina, and German with English electronic subtitles, B&W, 35mm, Mario Pisù, Sandra Milo, Lou Gilbert. (148 mins, In Italian with From Cineteca Nazionale, permission Kino Lorber) English subtitles, Color, 35mm, From Rialto Pictures)

12 JULY & AUGUST 2012 S M IL F

3/4/5

3. La strada, 7.7.12 Saturday / 8.11.12 Friday / 8.17.12 Friday / 8.24.12 6:00 7:00 7:00 4. Bellissima, 7.28.12 Bread, Love and Dreams Old-Fashioned World The Widower Luigi Comencini (Italy, 1953) Imported Print! Mario Soldati (Italy, 1941) Imported Print! student pick! Dino Risi (Italy, 1959) Imported Print! 5. Drama of Jealousy, 8.31.12 (Pane, amore e fantasia). Director Luigi Comencini (Piccolo mondo antico). Set, like The Leopard and In Risi’s rarely screened comedy of commerce, mar- was a former documentarist whose career soared Vanina Vanini, during the Risorgimento, Old-Fashioned riage, and murder, Alberto Sordi exercises his talent when he found the perfect formula: high comedy set World elegantly recreates a world of gracious manners for emphatic incompetence as Alberto Nardi, a cash- in a “realistic” framework. But in this peasant village and bitter conflicts, both political and personal. In strapped Italian industrialist whose elegant wife, Elvira near Abruzzi, realism gives way to a more entertain- Austrian-occupied Lombardy in 1850, young aristocrat (Franca Valeri), holds him in well-justified contempt. ing fantasy of poverty and the local peasants, who Franco (Massimo Serato) marries the humble Luisa When the wealthy Elvira is believed dead in a train are played tongue-in-cheek by Gina Lollobrigida, (Alida Valli), incurring the wrath of his grandmother, accident, Alberto thinks all his troubles are over—but Vittorio De Sica, and company. As the village gamine, a marchioness. As the nation of Italy begins to come Elvira turns up at her own funeral, and Alberto’s feigned whose rags can’t quite cover her almost animal together, a family is forced apart by contradictory grief turns pathetically real. Valeri matches Sordi’s artful “femininity,” Lollobrigida was the quintessential notions of propriety, honor, and justice. This was the exaggeration with sardonic, cool control in what is maggiorata: bread, love, and dream all rolled into one. role that established Valli as a serious actress; like not just a battle of the sexes but a battle of cultures,

Judy Bloch Lake Como, beside which parts of the film are set, between Elvira’s Milanese sophistication and Alberto’s

Written by Ettore M. Margadonna, Comencini, from a story she presents a surface of luminous tranquility giving coarser southern style. Juliet Clark by Margadonna. Photographed by Arturo Gallea. With way to unpredictable depths. Juliet Clark Written by Rodolfo Sonego, Fabio Carpi, Sandro Vittorio De Sica, Gina Lollobrigida, Marisa Merlini, Virgilio Continenza, Dino Verde, Risi. Photographed by Luciano Riento. (93 mins, In Italian with English subtitles, B&W, Written by Mario Bonfantini, Emilio Cecchi, Alberto Lattuada, Trasatti. With Alberto Sordi, Franca Valeri, Livio Lorenzon, 35mm, From Cinecittà Luce S.p.A., permission Intramovies) Soldati, based on a novel by Antonio Fogazzaro. Photographed Nando Bruno. (100 mins, In Italian with English subtitles, by Arturo Gallea, Carlo Montuori. With Alida Valli, Massimo B&W, 35mm, From Cinecittà Luce S.p.A., permission RCTV) Wednesday / 8.15.12 Serato, Ada Dondini, Annibale Betrone. (106 mins, In Italian with English subtitles, B&W, 35mm, From Cinecittà Luce S.p.A.) 7:00 Vanina Vanini Friday / 8.31.12 7:00 Roberto Rossellini (Italy, 1961) Studio Vault Print! Wednesday / 8.22.12 Drama of Jealousy 7:00 Based on a story by Stendhal, Rossellini’s last Oh! Sabella! Ettore Scola (Italy/Spain, 1970) Imported Print! commercial feature is set during the Risorgimento, Dino Risi (Italy/France, 1957) Imported Print! (Dramma della gelosia—tutti i particolari in cro- in 1824. Sandra Milo won Best Actress at Venice (La nonna Sabella). Veteran character actress Tina Pica naca, a.k.a. The Pizza Triangle). Monica Vitti turns with her performance as the daughter of a Roman dominates Dino Risi’s boisterous provincial comedy her Antonioni-honed angst to parodic purposes in aristocrat who falls in love with a wounded patriot. as Sabella, a grandmother as gravelly, ancient, and this antic avant-farce. Vitti plays one point of an Nursing him back to health, she follows her lover immovable as the hills around the little village whose irregular triangle with feckless leftist bricklayer Mar- to northern Italy and naively attempts to free him populace she terrorizes. Arriving in town from Naples, cello Mastroianni and sullen pizza maker Giancarlo of the political commitments that separate them in grandson Raffaele (Renato Salvatore) has an eye for a Giannini; their tormented relationships play out spirit and are bound to separate them in fact. As lively, comely ragazza (Sylva Koscina) from across the against a backdrop of political protests and piles José Luis Guarnier wrote, Vanina Vanini sets out “to square, but the tiny and formidable Sabella has other of plastic trash. With a convoluted structure and a disclose the precise social and political factors that plans for him (and for her long-suffering caretaker script spiked with intentional clichés and Brechtian dominate the characters, whose destiny is connected sister, whose engagement to a neighbor has lasted interruptions—the actors address the camera to with that of Italy.” into middle age). This being a comedy, all the lovers contradict the hyperbolic pronouncements of the

Directed by Roberto Rossellini. Written by Rossellini, Diego find their happily-ever-afters, but this being small-town offscreen narrator—Drama of Jealousy is both a satire Fabbri, Franco Solinas, Antonello Trombadori, based on Italy, there is truly no escaping la nonna. Juliet Clark and a celebration of narrative excess. Juliet Clark “Chroniques italiennes” and other works by Stendhal. Photo- graphed by Luciano Trasatti. With Sandra Milo, Laurent Written by Pasquale Festa Campanile, Massimo Franciosa, Written by Agenore Incrocci, Furio Scarpelli, Scola. Photo- Terzieff, Martine Carol, Paolo Stoppa. (113 mins, In Italian Risi, based on the novel by Campanile. Photographed by graphed by Carlo Di Palma. With Marcello Mastroianni, Monica with English subtitles, Color, 35mm, From Sony Pictures) Tonino Delli Colli. With Peppino De Filippo, Sylva Koscina, Vitti, Giancarlo Giannini, Manuel Zarzo. (107 mins, In Italian with Renato Salvatore, Tina Pica. (95 mins, In Italian with English English subtitles, Color, 35mm, From Cinecittà Luce S.p.A.) subtitles, B&W, 35mm, From Cinecittà Luce S.p.A.)

13 BAM / PFA S M IL F Always for Pleasure: The Films of 1/2 3

Les Blank Sunday / 7.8.12 Followed by: 7:00 Chulas Fronteras We pass a street sign that reads, “Joy,” and another that announces Always For Pleasure Les Blank, Chris Strachwitz (U.S., 1976) Les Blank (U.S., 1978) Archival Print! “Pleasure,” as local documentary filmmaker Les Blank takes us on In Chulas Fronteras, Flaco Jiménez’s accordion belts In Person Les Blank a journey through the back roads and main streets of American out Tex-Mex rhythms, alongside other acclaimed culture. He has an ear for regional music, from the blues to Tex-Mex His most joyous film. Craig Hubert, Bomblog Norteño musicians. Through lively dance tunes, and polka; an eye for dancing and food; and a feel for the people Always For Pleasure presents festivity as essential social protest songs, and interviews, this spirited who enjoy it all. Backyards and front porches, kitchens and cantinas, to the human spirit. In New Orleans, even a funeral and moving film reveals both the hardships and neighborhood alleys and church aisles overflow with good times procession ends with a raucous dance. Blank’s camera pleasures of everyday life on both sides of the that arise from these deep-rooted cultural practices. enters the heart of such jubilant celebrations—with “beautiful border.”

drinking, dancing, and eating in the streets—from St. (58 mins, In Spanish and English with Spanish subtitles, Since 1960, Les Blank, along with frequent collaborators Maureen Patrick’s Day with revelers dressed in green to the Color, 16mm, From Flower Films) Gosling, Chris Simon, and Chris Strachwitz, has created a body Mardi Gras Indian Parade where African American Total running time: 108 mins of work that celebrates the rich diversity of American traditions “chiefs” compete in elaborate Native American–inspired and the poetry and passion of the people who keep them alive, feathered costumes. You will ache to participate; join us Sunday / 7.22.12 whether in Berkeley, Texas, Louisiana, Chicago, or Appalachia. 5:00 at 5 p.m. for a special prescreening dinner! Madeline Horn All in This Tea Blank is especially interested in musicians—his films feature Ry Les Blank, Gina Leibrecht (U.S., 2007) Sound by Maureen Gosling. (58 mins, 16mm, Courtesy Cooder, Lightnin’ Hopkins, Flaco Jiménez, and Clifton Chenier, Academy Film Archive) In Person Les Blank among others—and the creative obsessions of individuals both Preceded by Running Around Like a Chicken With Its A delicious documentary! New York Times famous and unknown, from gap-toothed women, flower children, Head Cut Off (Les Blank with Gail Blank, Pieter Van Deusen, and tea importers to filmmakers and cowboy artists. Their stories are U.S., 1960). Blank’s first film is an homage to Ingmar Bergman’s Directors Les Blank and Gina Leibrecht follow tea The Seventh Seal. (4 mins, B&W, 16mm, From Flower Films). often set against hard social realities, including poverty and racism. importer David Lee Hoffman as he travels throughout Dry Wood (Les Blank with Maureen Gosling, U.S., 1973). China in search of handcrafted premium teas—those Blank’s beautiful, roaming camerawork will be the subject of a Behind An intimate portrait of the slow rhythms of Creole life in rural southwest Louisiana. (37 mins, Color, 16mm, From Flower Films) that have been handpicked and carefully dried and the Scenes lecture on Saturday, August 25, and on Wednesday, heated to create the fragrance, color, and taste Total running time: 99 mins August 30, Maureen Gosling will share her insights into documentary unique to each tea maker. Hoffman’s goal is to sup- sound and editing. Plan for a summer of pleasure, as special culinary Join us at Babette @ BAM/PFA at 5 p.m. for a special port small farmers and make high-quality handmade dinner before the screening, featuring red beans ’n rice events will accompany some of these feasts for the eyes and ears. teas available outside of China. The film captures his and other Creole dishes. A limited number of tickets boundless enthusiasm for the herbal essence as he Kathy Geritz, Film Curator ($25) are available; go to bampfa.berkeley.edu/tickets. sniffs bags full of leaves, samples various flavors, Sunday / 7.15.12 and discusses his love of superb tea. After seeing Series curated by Curatorial Interns Hila Abraham and Madeline Horn with 7:00 this film, you’ll never drink a cup of tea the same way Kathy Geritz. With thanks to May Haduong, Academy Film Archive. The In Heaven There Is No Beer? Les Blank with maureen gosling (U.S., 1984) Behind the Scenes programs are a collaboration between BAM/PFA and again. Chuleenan Svetvilas, SFIFF 2007 the San Francisco Film Society. Major support is provided by the National In Person Les Blank Photographed by Blank. (70 mins, Color, DigiBeta, From Endowment for the Arts. The program is also made possible in part by the From the first polka festival in Connecticut to a polka Flower Films) continued contributions of the BAM/PFA Trustees. mass in Chicago, In Heaven There Is No Beer? is a joyful, A special tea tasting with David Lee Hoffman follows energetic glimpse of Polish American music, dancing, the screening. Get More and food. Polka’s folk roots are traced back to Europe, For information on Les Blank’s Behind the Scenes workshop at but today it is largely an American phenomenon; one the San Francisco Film Society on Friday, August 24, please go enthusiast describes it as music to keep us happy, to sffs.org. with no side effects except the craving for more.

Assisted by Chris Simon, Cris Feringer. (50 mins, Color, 16mm, From Flower Films)

14 JULY & AUGUST 2012 4 5

Sunday / 7.29.12 Sunday / 8.12.12 1. Always For Pleasure, 7.8.12 7:00 7:00 ry cooder group ‘88 in santa cruz The Maestro: King of 2. Dry Wood, 7.8.12 Les Blank (U.S., 1988) the Cowboy Artists 3. In Heaven There Is No Beer?, Les Blank with maureen gosling, chris simon (U.S., 1994) In Person Les Blank 7.15.12 In Person Les Blank Slide-guitar great and world music alchemist Ry Cooder handpicked 4. Chulas Fronteras, 7.15.12 an orchestra of virtuoso musicians for a brief tour, including accordion- This evening’s program includes three films that celebrate individuality 5. The Blues Accordin’ to and creativity. The Maestro: King of the Cowboy Artists is a portrait ist Flaco Jiménez, eccentric pianist Van Dyke Parks, drummer Jim Lightnin’ Hopkins, 8.25.12 Keltner, and singers Bobby King and Terry Evans. One stop was The of the local artist Gerald Gaxiola, who has adopted the persona of a Catalyst in Santa Cruz, where Les Blank joined them to film a night flamboyant cowboy. Colorful and inventive, the Maestro experiments of freewheeling music, ranging from gospel and blues to rock and with virtually every possible form of art. His life, as one of his close folk. The resulting concert film is seen tonight in a rare screening. friends testifies, “is his greatest canvas.” Hila Abraham

(88 mins, Color, 16mm, Flower Films) (54 mins, 16mm, From Flower Films)

Preceded by Sworn to the Drum: A Tribute to Francisco Aguabel- Preceded by Julie: Old Time Tales of the Blue Ridge (Les Blank, Maureen la (Les Blank, U.S., 1995). The great Afro-Cuban drummer and percussionist is Gosling, Cece Conway, U.S., 1991). Eighty-year-old Julie Lyon brings an embrac- featured in riveting performances. Aguabella, born in Cuba where he was initi- ing grace to her singing and tales of life in the mountains of North Carolina. (11 ated into the ancient rhythms of the sacred batá drum, bridged traditional Cuban mins, Color, 16mm, From Flower Films). rhythms with jazz, salsa, and rock. (35 mins, Color, 16mm, From Flower Films) Gap-Toothed Women (Les Blank, Maureen Gosling, Chris Simon, Susan Kell, Total running time: 120 mins U.S., 1987). Featuring women of different ages and professions, the film playfully uses the space between their teeth to address larger issues of beauty, woman- hood, personal fulfillment, and survival. (31 mins, Color, 16mm, From Flower Films) Sunday / 8.5.12 Total running time: 96 mins 7:00 A Well Spent Life Les Blank with Skip Gerson (U.S., 1971) Sunday / 8.19.12 7:00 In Person Les Blank Special Screening Les Blank’s portraits of musicians uncover not only distinct musical Les Blank (U.S., 1974) styles but also authentic modes of living. A Well Spent Life is a moving In Person Les Blank portrait of legendary Texas blues songster and guitarist Mance A rare chance to see a film on a major rock star of the 1970s, described Lipscomb. Featuring Lipscomb’s life-affirming views on love, music, by the Washington Post as “the best film ever made on rock.” Never and human comradeship, this encounter between the bluesman’s released commercially and only shown a handful of times, this film peaceful rural life and Blank’s graceful and tender filmmaking makes cannot be screened except at a nonprofit venue, with Les Blank in for a well-spent evening. Hila Abraham person. No recording devices permitted.

(44 mins, Color, 16mm, Flower Films) (90 mins, Color, DigiBeta, From Flower Films)

Preceded by Dizzy Gillespie (Les Blank, U.S., 1965). A rare black-and-white Preceded by Cigarette Blues (Les Blank, Alan Govenar, 1985). Featur- depiction of the great jazz trumpeter. (22 mins, B&W, 16mm, From Flower Films) ing a musical warning about cigarettes from Oakland bluesman Sonny Rhodes. Sprout Wings and Fly (Les Blank, Maureen Gosling, Cece Conway, Alice (6 mins, Color, 16mm, From Flower Films) Gerrard, U.S., 1983). Featuring bluegrass fiddler Tommy Jarrell among his family Total running time: 96 mins and friends, the film vividly captures the old-timey spirit that hovers over the Appalachian Mountains. (30 mins, Color, 16mm, From Flower Films) Total running time: 96 mins

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 15 BAM / PFA Saturday / 8.25.12 5:00 Behind the Scenes: Les Blank on Documentary Cinematography In this special lecture, Les Blank will trace the evolution of his documentary filming style from his early works to the present. He will talk in between screenings of archival prints of two films from the late 1960s,God Respects Us When We Work, But Loves Us When We Dance, in which his camera glides through a 1967 love-in, and the musical portrait Blues Accordin’ to Lightnin’ Hopkins, which features the lively combination of music, food, and anecdotes that has come to characterize Blank’s style.

God Respects Us When We Work, But Loves Us When We Dance Les Blank, Skip Gerson, U.S., 1968, 20 mins, Color, 16mm, Courtesy Academy Film Archive The Blues Accordin’ to Lightnin’ Hopkins Les Blank with Skip Gerson, U.S., 1968, 31 mins, Color, 16mm, Courtesy Academy Film Archive The Eternal Poet: Followed by Hot Pepper (Les Blank with Maureen Gosling, U.S., 1973). A pulsating portrait of the Zydeco King, Clifton Chenier. (54 mins, Color, 16mm, From Flower Films) Total running time: c. 150 mins Raj Kapoor Sunday / 8.26.12 7:00 Garlic is As Good as Ten Mothers & the Golden Age Les Blank with maureen gosling (U.S., 1980) Archival Print! Presented in Aromaround! of Indian Cinema In Person Les Blank Les Blank’s paean to the history of the stinking rose features local chef Alice Waters of Chez Panisse fame and a host of other garlic lovers who praise its culinary as well as healing attributes. The San Francisco Chronicle called the film “a joyous, nose-tweaking, ear-tingling, mouth- One of the most influential figures in Indian film history, the actor/director/ watering tribute to a Life Force.” producer Raj Kapoor created a series of box-office hits in the late forties (51 mins, 16mm, Courtesy Academy Film Archive) and early fifties that helped define the appeal—and charted the future—of

Preceded by Werner Herzog Eats His Shoe (Les Blank with Maureen Gosling, commercial Indian filmmaking. (They also offered enough people-powered U.S., 1979). Archival Print! At Berkeley’s UC Theater, Herzog fulfills a promise to populism and glamorous star power to become successes across the Soviet Errol Morris upon the completion of Morris’s first film, a consumption made more palatable with the aid of Alice Waters. (26 mins, Color, 16mm, Courtesy Academy Union, the Middle East, and China.) Kapoor channeled the sturdy charm of Film Archive). Clark Gable, the underdog appeal of Charlie Chaplin, and the burning intensity Spend It All (Les Blank with Skip Gerson, U.S., 1971). A lively and beautiful of Orson Welles, though no Western stars could match the mournful passion celebration of the food and music of the French-speaking Cajuns of Louisiana. (41 mins, Color, 16mm, From Flower Films) he brought to his best roles. “You talk like an ancient poet,” one character Total running time: 118 mins says in Barsaat (1949); it’s a defining line for a performer seemingly inspired more by the doomed romanticism of Byron or Baudelaire than other actors. thursday / 8.30.12 7:00 At once glossy and realist, slapstick and sorrowful, the juxtapositions in Burden of Dreams Les Blank with maureen gosling (U.S., 1982) Archival Print! Kapoor’s delirious films are like few that Western viewers have experienced.

In Person Maureen Gosling Epic musical numbers, noirish deep-focus cinematography, and insanely elaborate sets share center stage with paeans to the homeless and pleas for Acclaimed documentary filmmaker and longtime collaborator with Les Blank, Maureen Gosling (Blossoms of Fire) was nominated for social mobility, with scripts (many written by the socialist-realist legend K.A. Best Editing for Burden of Dreams by the American Cinema Editors. Abbas) seemingly drawn from Victor Hugo or Charles Dickens, then filtered through Frank Capra and Busby Berkeley. One of the most vivid studies of the creative process ever filmed. Herald Examiner As director and producer, Kapoor helped popularize many of the tropes that Stunning footage of seething jungle and its native inhabitants sets the make up commercial Indian cinema, or “Bollywood,” today. This series offers scene for one of the more unusual films about filmmaking,Burden of a chance to see not only the power of “The Great Showman” (as Kapoor was Dreams, documenting Werner Herzog’s obsessive four-year struggle called), but also the roots of popular Indian cinema. to complete his 1982 film,Fitzcarraldo. The title character (played by Jason Sanders, Film Notes Writer Klaus Kinski) was himself obsessively driven to build an opera house in the turn-of-the-century Amazon. To finance his project, Fitzcarraldo moves a riverboat over a mountain between two rivers, which Herzog Series organized for BAM/PFA by Senior Film Curator Susan Oxtoby. Thanks to TIFF Cinematheque for orchestrating this international touring series featuring new 35mm prints. re-creates for his film, the jungle fighting him at every turn. Gosling and We are particularly grateful to Noah Cowan, Brad Deane, and Aliza Ma at TIFF Cinematheque Blank capture a story that has to be seen to be believed. Madeline Horn for their assistance. (94 mins, Color, 16mm, Courtesy Academy Film Archive) Get More Find expanded film notes on our website, bampfa.berkeley.edu. Sign up for our weekly film update at bampfa.berkeley.edu/signup.

16 JULY & AUGUST 2012 (138 mins, In Hindi with English subtitles, B&W, 35mm) B&W, subtitles, English with Hindi In mins, (138 With Raj Kapoor, Nargis, Premnath, Kamini Kaushal. Written by Inder Raj Anand. Photographed by V. N. Reddy. melodrama. of height florid hypnotic, the spectacular deep-focus photography, Aag results. Filled with baroque set designs and some dramatic with (Premnath), patron his and character Kapoor’s between triangle alove of center the becomes soon (Nargis) refugee Abeautiful name). by her lovers other his all calls even (he crush a childhood of by memories haunted remains (Kapoor) director theater Ayoung world. modern the of bleakness the fighting idealists youthful of tale to its noir of dose asurprising adds which debut, directorial intense Kapoor’s as love thwarted with aflame perversely (a.k.a. R A S 35mm) B&W, subtitles, English with Hindi In mins, (171 Singh. N. K. Premnath, Kapoor, Raj Nargis, With Written by Ramanand Sagar. Photographed by Jal Mistry. Kane Citizen of splendor deep-focus the echoes which tography, Barsaat of beauty sheer by the surprised be (a.k.a. R Barsaat T 1/2/3/4 confirms—beautiful. and—as its almost physically sensual cinematography Barsaat Proudly striking back against such modern conceits, sentimental.” to be time the have don’t people century, twentieth the “it’s to Kapoor, Premnath complains poet,” ancient an like talk “You else. anyone with a “baser” relationship with another (Nimmi)—and enjoying Premnath sleazy and (Nargis) woman one romancing chastely Kapoor moody with lovers, country find Premnath) Kapoor, (Raj Two friends city Murnau. K aj K aj hursday /7.21.12 aturday ag (I apoor (I apoor Fire Monsoon basks in all things sentimental, old-fashioned, old-fashioned, sentimental, things all in basks ). Few Hollywood melodramas are as as are melodramas Hollywood Few ). and the iconic portraitures of silent-era silent-era of portraitures iconic the and / 7.19.12 / ndia ndia ). Newcomers to Indian cinema may may cinema to Indian Newcomers ). , 1948) , 1948) , 1949) J as o N N n 35 ew S 35 ew and e rs P mm P mm rint rint J as represents ! ! ’s cinema ’s o n S

ersand 7:00 7:00 8:15 8:15 - and star power. tragedy, social commentary, swooning romance, and comedy Chaplinesque of acombination ship, but the true star—as always—is Kapoor’s showman villain, the divide class India’s and love, in falls who lawyer the Nargis athief, as raised son estranged amagistrate’s is Raj afan). supposedly was Mao across the Eastern Bloc, Africa, and Asia (Chairman famous blockbuster, international an even was it classic; give us work!” work!” us give alms, us give “don’t kids; street these sing and shout sweet” is labor of fruit “the and Gandhi!” Mahatma and proudly self-determinist nationalism. “Hail to power lies a script embodying Nehru-era reforms setmusical comedic pieces, relief, and melodramatic brilliant film’s the Beyond streets. the on orphans adorable two of tale its in commentary social pointed and flourishes Hugo-like Victor with neorealism Italian N script: a socialist-realist with all reunions, and tragedies family social hierarchies, massive musical sequences, and spans generations, and includes a love affair across (a.k.a. R Awaara S 35mm) B&W, subtitles, English with Hindi In mins, (149 Ratan Kumar, Baby Naaz, David Abraham (known as David). With Dutt. Tara by Photographed Pratap. Bhanu by Written Bombay like films on influence a major review) and Times York New 1958 the chirped picture!” lovely (“a successes Western first cinema’s Indian of One P Polish Boot T subtitles, B&W, 35mm) English with Hindi In mins, (193 Kapoor. Prithviraj Nargis, Photographed by Radhu Karmakar. With Raj Kapoor, Abbas. by a story from V.P. Sathe, Abbas, K.A. by Written A rakash K aj 35 ew /7.26.12 hursday /7.28.12 aturday (I apoor Awaara The Vagabond P mm and Slumdog Millionaire rora rint ndia has all the ingredients of an Indian film film Indian an of ingredients the all has ! , R K aj , 1951) , 1951) ; a.k.a. The Tramp ; a.k.a. (I apoor N 35 ew , ndia Boot Polish P mm , 1954) , 1954) rint ). A plot that that Aplot ). ! combines combines

Salaam, Salaam, 7:00 7:45 7:45 -

R S S Premnath. (168 mins, In Hindi with English titles, Color, 35mm) Color, titles, English with Hindi In mins, (168 Premnath. Radhu Karmakar. With Rishi Kapoor, Dimple Kapadia, Pran, by Photographed V. P. and Sathe. Abbas A. K. by Written stardom. into Kapoor a new ushered and estates, mountain and resorts, insanely decorated palatial bars, swingers' of India a Technicolor in Set love. their differences—and scheming parents—quickly threaten class but Dimple, poor but sassy meets he until Rishi tender-hearted yet wealthy for drag a Life’s films. teen-focused of genre new entirely an also but Kapadia, Dimple lovely the and Rishi, son, baby-faced his of careers the only not launched and hits biggest India’s of one became which youth, Indian of generation colored tribute to the bell-bottomed, rebellious new candy- this with swinging seventies the hit Kapoor Raj girls. Bobby after but women, Before R bb Bo S 35mm) titles, English with Hindi In mins, (169 Nadira. Photographed by Radhu Karmakar. With Raj Kapoor, Nargis, V. P. Sathe. Abbas, by a story from Abbas, A. K. by Written romance, comedy, and some legendary song numbers. cabarets providing equally spectacular settings for “government’s pavement” and the corrupt elite’s smoky slum’s teeming the both with divide, India’s of sides two the pictures lovingly 420 Shree life? honest an to him return (Nargis) ateacher of love the will but penthouse, tothe gutter the from rises persona) tramp Chaplinesque full (in Kapoor crime, of a life into Forced realities and Frank Capra’s joyful comedies. thirties urban post-Partition by India’s parts equal in informed tale, underdog delirious Kapoor’s in city the in far him (a.k.a. K aj K aj /8.4.12 aturday aturday hree 420 hree (I apoor (I apoor S Mr. 420 Mr. hahrukh Bobby Bobby y / 8.11.12 / ). A country hick finds honesty won’t get get won’t honesty finds hick Acountry ). , Indian cinema was about men and and men about was cinema , Indian ndia ndia K redefined commercial Indian cinema, han , 1955) , 1955) , 1973) , 1973) , it became about boys and and boys about became , it N N 35 ew 35 ew P mm P mm rint rint 4. 3. 2. 1. Boot Polish Awaara Barsaat Shree 420 ! ! 8:00 8:00 , 7.28.12 , , 7.19.12 , 8.4.12 , 7.26.12 , 17 BAM / PFA 17 BAM

FILMS S M IL F

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Thursday / 7.12.12 7:00 The Hustler Robert Rossen (U.S., 1961) Paul Newman swaggered right out of the fifties and into the sixties without missing a beat. Maybe it was his rebellious spirit coupled with a pained yearning that sat right behind his big blues—too bad The Hustler’s in black and white. For this gritty realist rendering, Newman plays “Fast Eddie” Felson, a pool shark from Oakland. Fast Eddie’s Cool World got something to prove—well, everything. He seeks out the reigning low-baller, Minnesota Fats, played by the well-barreled Jackie Gleason. We asked you to vote for the coolest actors from the 1960s through the 1990s and Fast Eddie’s got a great stick, but he doesn’t know how to win. And Cool World presents the results. right on cue, he loses. But encouraged by his soused squeeze (the piping-hot Piper Laurie), Eddie returns to the tables. The Hustler is Cool is more than room temp—it’s a contradiction. When cool enters the room, the all about the felt. temperature rises. Poised, but loose, concerned, but calm: all composure in the chaos. Written by Sidney Carroll, Rosen, based on the novel by Walter Tevis. And unlike hip, which requires excess, cool is a stylish stoicism, the single gesture, Photographed by Eugene Shuftan. With Paul Newman, Jackie Gleason, George C. the telling turn of the head. Picture Paul Newman glancing up from the pool table in Scott, Piper Laurie. (134 mins, B&W, 35mm, ‘Scope, From Criterion Pictures) The Hustler, or River Phoenix peering down the highway in My Own Private Idaho. Or Saturday / 7.14.12 better yet, Pam Grier in Foxy Brown surveying her wrought wreckage with sizzling 8:50 serenity. Cool World looks calmly at four decades of cool, trying to determine with Ed Wood Tim Burton (U.S., 1994) Vault Print! indifference just who is chillin’ in American cinema. 21 Jump Street lost its teen idol when Johnny Depp jumped the show The rest of the winners: Johnny Depp, Winona Ryder, Edward Norton, Dennis Hopper, for Edward Scissorhands, a role that fit him like a glove. But this restless Jane Fonda, Sidney Poitier, Clint Eastwood, Tuesday Weld, and Matt Dillon. A hot actor found another role that fit more like a cheap angora sweater when series for the summer. Stay cool. he took on Ed Wood, the biopic of a cross-dressing director of mangled movies. Tim Burton stylishly chronicles Wood’s career as it goes timber Steve Seid, Video Curator in the faint fifties with Ed’s drug-drenched best buddy by his side, none other than Bela Lugosi, vehemently vamped by Martin Landau. Dapper All program notes written by Steve Seid and delirious, Depp is dizzily comic as the ever-optimistic junk peddler

Get More who sees a silver lining behind every overcast film. Stay informed! Sign up to receive our monthly e-newsletter at Written by Scott Alexander, Larry Karaszewski, based on Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr. by Rudolph Grey. Photographed by bampfa.berkeley.edu/signup. Stefan Czapsky. With Johnny Depp, Patricia Arquette, Martin Landau, Sarah Jessica Parker. (126 mins, B&W, 35mm, From Buena Vista)

18 JULY & AUGUST 2012 1. Foxy Brown, 7.20.12

2. Thunderbolt and Lightfoot, 7.27.12

3. The Hustler, 7.12.12

4. My Own Private Idaho, 7.20.12

3/4

Friday / 7.20.12 Sunday / 7.22.12 9:05 7:00 7:00 My Own Private Idaho Blue Velvet Thunderbolt and Gus Van Sant (U.S., 1991) David Lynch (U.S., 1986) Lightfoot Michael Cimino (U.S., 1974) If you needed an actor exuding marred innocence, Dennis Hopper was the epitome of sixties cool until It’s a draw: Clint Eastwood or Jeff Bridges, two kinds River Phoenix could go with the flow. At age twenty, the big chill set in. His commercial flop,The Last Movie, of cool, one composed, the other, crazy. But the heat’s he’d already tapped deep currents of fragile and the alleged follow-up to Easy Rider, put biker Billy on in this directorial debut by Michael Cimino, soon aqueous angst. Phoenix plays Mike, a young street kid on the skids. But he soldiered on, despite the cool to deliver Deer Hunter. Here, Thunderbolt (Clint) and whose narcoleptic episodes are like a disappearing reception of his overheated characters in such films Lightfoot (Jeff) are a couple of hoods setting up a act. He psychically zones out of the dreary encoun- as Apocalypse Now and Rumble Fish. That is until heist in Montana. Thunderbolt got his moniker using ters that mark the search for his long-gone mom. David Lynch’s color-drenched neonoir Blue Velvet a 20mm antitank gun to blow a safe; reckless and Keanu Reeves, a disaffected joyboy, tags along for and Hopper's pressurized portrayal of Frank Booth, the randy, Lightfoot is a bit, well, light on the IQ. T & L is the raunchy ride that takes them from Portland to nitrous-gulping, obscenity-lobbing bad guy. Small-town a strange bromance with Bridges wearing a dress points east. Gus Van Sant’s melancholic portrait of U.S.A. becomes a nightmare of meticulous lawns and during the robbery and Clint’s powerful cannon doing bisexual street hustlers has tragedy written all over rose bushes, sprouting from fetid soil. Cool-couple the manly thing. Look for a cameo by that Antichrist it, like the John Rechy novel, City of Night, that first Kyle MacLachlan and Laura Dern sleuth out the ugly of Cool, Gary Busey. shed its darkness on him. underneath, but it is Hopper who is a total gas. Written by Cimino. Photographed by Frank Stanley. With Written by Van Sant, based on the play Henry IV by William Written by Lynch. Photographed by Frederick Elmes. Clint Eastwood, Jeff Bridges, Gary Busey, George Kennedy. Shakespeare. Photographed by John Campbell. With River With Dennis Hopper, Laura Dern, Isabella Rossellini, Kyle (115 mins, Color, ‘Scope, 35mm, From Park Circus) Phoenix, Keanu Reeves, William Richert, James Russo. (104 MacLachlan. (120 mins, Color, 35mm, From MGM) mins, Color, 35mm, From Warner Bros.) Thursday / 8.2.12 Friday / 7.27.12 7:00 9:05 7:00 Fight Club Foxy Brown Heathers David Fincher (U.S., 1999) Jack Hill (U.S., 1974) Michael Lehmann (U.S., 1989) Edward Norton and Brad Pitt: two sides of the cool Pam Grier is a force of nature, an unrelenting and Winona Ryder, late of Petaluma, could steal anything: coin, one controlled and sweet-talkin’, the other, unruly assertive id igniter. As the lone female action star makeup, Saks Fifth Avenue fashion, your heart. Her and carefree. For David Fincher’s concussive cult film, of her time, she was driven by a fleshy physicality, simple charm could disarm and beguile, almost too Norton plays a nameless everyman bored with his nonstop aggression, and a wanky wardrobe of seven- cute to be cool. Then she harvested Heathers. As the white-collar job and suffering from insomnia. When he ties kinked-out couture. In Foxy Brown, Grier is an only non-Heather in the high-school power clique, meets Tyler Durden (Pitt), a soap salesman, the solution angel of death out to bring down a crime syndicate Veronica wants out. The collected Heathers rule to his sleepless nights is apparently a knockout. The two operating in her ‘hood. She gives better than she through contempt and conniving—everyone else form a bare-knuckle “fight club” for other dissatisfied receives, blazing her way past pusher and punks. is so two hours ago. Then she meets J.D. (Christian bruisers and the underground arena goes viral. Fight When her brother is brought down (Antonio Fargas, Slater), and they become a killer couple, literally. Club rings with anticorporate, anticonsumerist anger. the Steve Buscemi of blaxploitation), Foxy’s anger “Dear Diary,” she writes, “my teen-angst bullshit And Edward and Brad, the pugilistic alter egos? They turns from revenge to full-blown oblivion. Murder now has a body count.” No sweet-smelling flower are definitely joined at the hip. and mayhem? Director Hill knows that Foxy is too here, Heathers was a pungent satire that reeked of busy lookin’ good to even notice. Written by Jim Uhls, based on the novel by Chuck sexual insecurity, peer pressure, and teen suicide. Palahniuk. Photographed by Jeff Cronenweth. With Edward Written by Hill. Photographed by Brick Marquard. With Gag me with a spoon. Norton, Brad Pitt, Helena Bonham Carter, Meat Loaf. (139 Pam Grier, Antonio Fargas, Peter Brown. (94 mins, Color, mins, Color, 35mm, From Criterion Pictures) 35mm, From Park Circus) Written by Daniel Waters. Photographed by Francis Kenny. With Winona Ryder, Christian Slater, Shannen Doherty, Kim Walker. (102 mins, Color, 35mm, PFA Collection)

19 BAM / PFA 5. To Sir, with Love, 8.3.12

6. Drugstore Cowboy, 8.17.12

5/6

Friday / 8.3.12 9:10 To Sir, With Love James Clavell (U.K., 1967) Sidney Poitier added class to the classroom, first inBlackboard Jungle (1955) as a young punk pushing other pupils to no-good, then as Mark Thackeray, concerned teacher, in the Lulu-driven drama, To Sir, with Love. And though Poitier was one half of The Defiant Ones, it was his composure that kept him cool. And cool is what he cultivates in the classroom of North Quay High School, where an unruly mob, known as students, rules the roost. A battle of wills ensues as the ever-caring educator dodges pranks and proddings. We know the outcome: along with Poitier, To Sir, with Love was number one with a bullet.

Written by Clavell, based on the novel by E. R. Braithwaite. Photographed by Paul Beeson. With Sidney Poitier, Lulu, Christian Roberts, Judy Geeson. (105 mins, Color, 35mm, From Sony Pictures)

Friday / 8.10.12 8:40 Klute Alan J. Pakula (U.S., 1971) Free Outdoor Screening You might think of Jane Fonda as the spacey sex kitten of the sixties from her antigrav- ity grind in Barbarella. But, really, she was weightless. With Alan Pakula’s thriller with In the BAM/PFA sculpture garden a killer, Fonda comes down to earth as cool-but-cheesy Bree Daniels, a high-class call Friday / 8.24.12 girl looking for a new calling. Klute (Donald Sutherland) is a dogged detective work- 8:30 ing a missing-person case. He’s clueless until he meets Bree, whose feathered ‘do and Pretty Poison Noel Black (U.S., 1968) miniskirts do the trick. An aspiring actress, Bree’s great insight is that her best roles are Plus Surprise Shorts! between the sheets. With this Oscar-winning performance, Fonda shows us that acting Spread out a blanket on the sculpture garden lawn for our annual free outdoor is the oldest profession. screening. This year’s selection culminates our summer-long Cool World series Written by Andy Lewis, Dave Lewis. Photographed by Gordon Willis. With Jane Fonda, Donald Sutherland, Roy Scheider, Rita Gam. (114 mins, Color, ‘Scope, 35mm, From Warner Bros.) (see p. 18), featuring the coolest actors from four decades of American film, as selected by our audience. In Pretty Poison, Tuesday Weld and Tony Perkins are Friday / 8.17.12 a cower couple. Weld, a bad seed of the sixties, grabbed headlines for her very 9:05 Drugstore Cowboy kooky conduct; typecast as Psycho’s Norman Bates, Perkins had to re-Bates his Gus Van Sant (U.S., 1989) Archival Print! roles. Pretty Poison takes place in a factory town where loner Perkins thinks the There’s something about Matt Dillon that exudes trouble. He’s either feelin’ it, or stirrin’ it. Commies are dumping waste into a nearby stream. He convinces high-school From the teen rec center in Over the Edge to the wrecked teens at the center of Rumble drum majorette Weld that he is a CIA agent and needs her help to stop the Fish, Dillon captured the troubled yearning of youth. Drugstore Cowboy is mature Matt. polluters. A blend of sex, fantasy, and mayhem pushes them through this bit Here, he’s leader of the pack, jacking pharmacies with a gang of dopers determined to of toxic Americana. When the girl next door is Tuesday Weld, sell your house. dose it up and drag it down. Gus Van Sant’s breakthrough feature has a grimy sheen, the Written by Lorenzo Semple Jr., based on the novel She Let Him Continue by Stephen Geller. patina of addled highs, which powerfully convey its medicated milieu. And Dillon: can he Photographed by David Quaid. With Tuesday Weld, Anthony Perkins, Beverly Garland, John Randolph. (89 mins, Color, 16mm, Permission Criterion Pictures) marshal the moxie to detox? Look for a cameo by that King of Cool, William Burroughs.

Written by Van Sant, Daniel Yost, based on the novel by James Fogle. Photographed by Robert Join us in September for our new season of L@TE: Friday Nights @ BAM/PFA Yeoman. With Matt Dillon, Kelly Lynch, James LeGros, Heather Graham. (104 mins, Color, 35mm, From UCLA Film & Television Archive, permission Lions Gate)

20 JULY & AUGUST 2012 S M IL F

A Theater Near You

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1. Gerhard Richter Painting, Friday / 7.6.12 Sunday / 7.8.12 7.7.12 9:05 5:15 Join us for our ongoing series Weekend This is Not a Film 2. El velador, 7.15.12 Jean-Luc Godard (France, 1967) New 35mm Print! Mojtaba Mirtahmasb, Jafar Panahi (Iran, 2011) featuring new prints of classic 3. Weekend, 7.6.12 films and contemporary releases [Godard’s] best film, and his most inventive. It is A moving, altogether original film that weaves almost pure movie. Roger Ebert together a series of metaphors and draws us into the of particular interest. We bring life of a courageous man. Phillip French, The Guardian you a new 35mm print of Jean- Jean-Luc Godard’s scathing late-sixties satire is one of In 2010, renowned Iranian director Jafar Panahi (The Luc Godard’s seminal Weekend cinema’s great anarchic works. Determined to collect White Balloon; Offside) received a six-year prison (1967); plus three noteworthy an inheritance from a dying relative, a petit-bourgeois sentence and a twenty-year ban from filmmaking films from 2011, Corinna Belz’s couple travel across the French countryside while as a result of his open support of the opposition Gerhard Richter Painting; This Is civilization crashes and burns around them. Featuring party in Iran’s 2009 presidential election. Panahi Not a Film, codirected by Mojtaba a justly famous centerpiece single take of an endless shares his day-to-day life in this documentary, shot Mirtahmasb and Jafar Panahi, made traffic jam,Weekend is a surreally funny and deeply clandestinely in his Tehran apartment by his close during Panahi’s house arrest; and disturbing expression of social oblivion that ended friend Mojtaba Mirtahmasb and smuggled out of El velador from Natalia Almada. the first phase of Godard’s career—and, according to the credits, cinema itself. Iran in a cake as a last-minute submission to Cannes. Susan Oxtoby, Senior Film Curator This new video essay is a work of defiance, which Written by Godard. Photographed by Raoul Coutard. With Mireille Darc, Jean Yanne, Jean-Pierre Léaud, Yves Alfonso. has been immediately heralded by the international (105 mins, In French with English subtitles, Color, 35mm, film community. From Janus Films/Criterion Collection) Photographed by Mirtahmasb, Panahi. With Panahi, Saturday / 7.7.12 Mirtahmasb. (75 mins, In Farsi with English subtitles, Color, 35mm, From Palisades Tartan) 6:30 Gerhard Richter Painting Corinna Belz (Germany, 2011) Sunday / 7.15.12 5:30 Magnificent and evocative . . . as close as cinema gets El Velador to tracking the impulses and paradoxes of a gifted Natalia Almada (Mexico, 2011) imagination. Aaron Hillis, Village Voice (The Night Watchman). “El Jardin,” a cemetery in the Gerhard Richter Painting is a strikingly visual docu- notoriously narco-friendly city of Cualican, Sinaloa, is ment of Richter’s creative process. Filmmaker Corinna a bustling necropolis where the literal spoils of drug Belz and her crew observe the seventy-nine-year-old trafficking find their resting place. The cemetery is German artist at work in his studio on a new series of filled with lavish, multistoried mausoleums built by large-scale abstract paintings. Richter’s distinctive cartel kingpins as tribute to their infamy. Natalia technique, one that involves applying paint followed Almada, whose last film,El general, was a favorite by a major reworking of the material with massive at Sundance, follows an impassive watchman who squeegees, reveals the creation/destruction process minds the ever-expanding graveyard. As workmen at play in his work. Intimate conversations with his construct the next grotesque crypt, lamentations critics, his collaborators, and his American gallerist of the bereaved can be heard echoing through the Marian Goodman provide additional insights. Gerhard sepulchers. These are not grievings for the kingpins, Richter Painting offers an insider’s view into one of but for the victims of violence, whose fate is one of

the world’s greatest living painters. the many empty graves. Steve Seid

Photographed by Johann Feindt, Frank Kranstedt, Dieter Written, photographed by Almada. (72 mins, In Spanish Stürmer. With Gerhard Richter, Marian Goodman. (97 mins, with English subtitles, Color, DigiBeta, From Icarus Films) 3 In German and English with English subtitles, Color, Digital, From Kino Lorber)

21 BAM / PFA FILMSFILMS bampfa.berkeley.edu. Find expanded filmnotes andlinks to articlesandinterviews onour website, Sanders. Jason and Geritz Kathy Curator Film by BAM/PFA at Coordinated Verlotsky. Alla and Foundas Scott the assistance of Lenfilm Studios.Generous support provided with York, New byGeorge Gund Center, III. With thanks Lincoln of to Society Film with collaboration in Films, Seagull by organized Tour ( II War World whether era, an of “soul” the to exorcise truth historical of seeking the is him for important as just yet, feasts; aesthetic are works Guerman’s cinematography, black-and-white crisp and shots tracking elaborate long, boasting stunning, Visually (1971), citing Road the its Trial on “antiheroic” film II War World stance. the debut, directorial solo his banned however, who authorities, the of afoul fell soon he career; own his launching before Kozintsev Grigori director legendary the under apprenticed Alexei Guerman, Yuri author noted of son the Leningrad, in 1938 in Born cineastes. enthusiastic many among status cult achieved has he but filmgoers, by general known little be may Guerman Alexei filmmaker Russian the U.S.), the in commercially available (none years forty-five nearly of course the over films feature five only made Having directors great of overlooked most the of One Jason Sanders, Film Notes Writer Notes Film Sanders, Jason work key Kazakh the cowrote, he afilm with along features, Guerman’s of all to present proud We are frame. in every it embody but history, Russian of inferno the embrace only not films The realist.”) greatest “cinema’s as to Fellini referred once he that surprise no (It’s landscapes. grotesque, increasingly yet realistic, across move the on relentlessly and Khrustalyov Ivan Lapshin R T Alexei Guer 2012 & AUGUST 22 JULY Get Get More Trial on the Road the Trial on he Fil he ussian I ussian , Guerman’s visual style entered another realm entirely: baroque, dense, , 1984), or Stalin’s last days ( days last Stalin’s or , 1984), ), the Red Terror ( Terror Red ), the (1990). Otrar of Fall The s of ms The Seventh Companion Khrustalyov, My Car! My Khrustalyov, nf .­ J onathan , 1967), the 1930s ( 1930s the , 1967), erno: erno: man , 1998). With Lapshin With , 1998). R omney

, Sight & S My Friend Friend My ound and and

1/2 and respect in a society devoid of any. of devoid a society in respect and dignity tomaintain struggle the at look compassionate profoundly moral man left in an amoral world, world, amoral an in left man moral only the to be appears what Chronicling character. one notes dryly amisunderstanding,” is alive are you that fact “the it; in acceptance little finds Adomov society, to released Finally nature. reflective reasoned, his Major General Adomov stands out among both prisoners and guards for status, bourgeois his for forces by revolutionary Imprisoned populace. Russian the wracked White and Red both Terrors when 1919, in set is A T S ( secondary to atmosphere. and elusive, unsettling, Strange, A Friend My S 35mm) B&W, subtitles, English with Russian In mins, (89 Chernov. Pyotr Shtil, Photographed by Eduard Rozovsky. With Andrei Popov, Aleksandr Anisimov, Lavrenyev. Georgi Boris by a novel on based Klepikov, Yuri Dubrovsky, Edgar by Written ( the best Soviet film of all time in a poll of Russian critics. Russian of poll in a time all of film Soviet best the and fabulist, a Shoah devoured by Stalinism. Simultaneously hopeful and mournful, realist tobe poised yet Communism, about optimistic still a world to discover us allow adventures whose Lapshin, inspector police the them among crowded communal flat there livefamilies, friends, andstrangers, chief a In fiction. science be could it spellbinding so technically yet era, the of portrait anear-documentary toachieve re-created painstakingly 1930s, the during Russia in life on treatise hypnotic Guerman’s as easily as (100 mins, In Russian with English subtitles, B&W/Color, 35mm) B&W/Color, subtitles, English with Russian In mins, (100 Mironov. Andrei Ruslanova, Nina Boltnev, Andrei With Fedosov. Valery by Written by Eduard Volodarsky, based on stories by Yuri Guerman. Photographed Sedmoy sputnik Moi drug Ivan Lapshin G lexei G lexei /7.29.12 unday /8.4.12 aturday he S uerman (U.S.S.R., 1984) (U.S.S.R., uerman eventh , G ). Guerman’s first film, codirected with Grigori Aronov, Aronov, Grigori with codirected film, first Guerman’s ). I van A rigori Citizen Kane and Citizen C ). Few films have merged realism and nightmare nightmare and realism merged have films Few ). o L mp J. J. (U.S.S.R., 1967) 1967) (U.S.S.R., ronov a H oberman p Lapshin anion shin The Seventh Companion , F combined, Lapshin ilm

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Thursday / 8.9.12 Saturday / 8.18.12 1. Twenty Days Without War, 7:00 6:00 8.9.12 Twenty Days Without War Khrustalyov, My Car! Alexei Guerman (U.S.S.R., 1976) Alexei Guerman (U.S.S.R., 1998) 2. My Friend Ivan Lapshin, 8.4.12 (Dvadtsaty dney bez voyny). A writer/soldier is given a brief leave from Russian cinema’s answer to Finnegan’s Wake. Jonathan Romney, the front in Guerman’s most tender film, written by Soviet war poet Sight & Sound 3. The Seventh Companion, 7.29.12 Konstantin Simonov. Having survived the Battle of Stalingrad, Lopatin (Khrustalyov, mashinu!). 1953, somewhere in a nocturnal, wintry Russia: 4. Khrustalyov, My Car!, (Yuri Nikulin, a celebrated comedian) returns to Tashkent, and bears a paranoid Stalin is dying, yet still orchestrating the infamous “Doctor’s 8.18.12 silent witness to his fellow travelers’ sorrows and desires. His encounter Plot” purge, which imprisoned and killed many predominantly Jewish with a film company producing a movie based on his writing leaves doctors. Into this real-life inferno plunges Alexei Guerman’s mesmer- a more bitter taste; his experience of war—marked by cold, fear, and izing, unrelenting film maudit, which follows a military doctor living desperation—is no match for their bombast. “We can’t have a film obliviously on the edge of doom—until, that is, a knock on the door without a heroic act!” they proclaim; the real-life censors agreed, and arrives. Visually and aurally manic, with every frame crammed full and banned this realist, antiwar work for nearly a decade. Jason Sanders a camera constantly on the move, Khrustalyov thrusts viewers deep Written by Konstantin Simonov. Photographed by Valery Fedosov. With Yuri into a collective nightmare. Befitting the times, here meaning barely Nikulin, Ludmilla Gurchenko, Alexei Petrenko. (100 mins, In Russian with English exists, only hallucinations and chaos; indeed, Khrustalyov is arguably subtitles, B&W, 35mm) not a film, but a frenzied state of mind. Jason Sanders

Thursday / 8.16.12 Written by Guerman, Svetlana Karmalita. Photographed by Vladimir Ilyne. With 7:00 Yuri Tsurilo, Nina Ruslanova, Juri Jarvet, Michael Demeniev. (137 mins, In Russian Trial on the Road with English subtitles, B&W, 35mm, From Pyramide International) Alexei Guerman (U.S.S.R., 1971/1986) New Print!

A bleak description of war that ranks with the stories of Solzhenitsyn Thursday / 8.23.12 and Isaac Babel. Jonathan Romney, Sight & Sound 7:00 The Fall of Otrar (Proverka na Dorogakh, a.k.a. Checkpoint). Banned for fifteen years, Ardak Amirkulov (Kazakhstan, 1990) Guerman’s solo directorial debut, set during WWII, marries the muscular (Gibel Otrara). Guerman produced and cowrote this staggering historical dynamics of the war film with a more searing, philosophical approach epic about the intrigue and turmoil preceding Genghis Khan’s systematic to the thin line between official “heroes” and “traitors.” A former Nazi destruction of the lost East Asian civilization of Otrar. Hallucinatory, collaborator rejoins his Russian brethren to fight against the Germans; visually resplendent, and ferociously energetic, the film is packed with for some partisans, he remains a traitor, but others allow him to prove eye-catching (and -gouging) detail and traverses an endless variety himself—and his commitment—on the battlefield. For Guerman, basic of parched, epic landscapes and ornate palaces. But this is also one of human concepts like loyalty, decency, and trust underline the film’s the most astute historical films ever made, its high quotient of torture train-like narrative force and breathtaking black-and-white images; and gore (Italian horror genius Mario Bava would have been envious) government censors, however, angered over the “immorality” of always grounded in the bedrock realities of realpolitik. Kent Jones portraying a former traitor as a hero, accused him of “de-heroicizing” Written by Alexei Guerman, Svetlana Karmalita. Photographed by Saparbek Soviet history. Jason Sanders Kaychumanov. With Sabira Ataeva, Ali Teukojev, Tungyshpai Djamaukolov. (165 mins, In Kazakh, Mandarin, and Mongolian with English subtitles, Color, 35mm) Written by Eduard Volodarsky, based on the novels of Yuri Guerman. Photographed by Yasha Sklansky. With Rolan Bykov, Vladimir Zamansky, Anatoly Solonitzyn, Oleg Borisov. (98 mins, In Russian with English subtitles, B&W, 35mm)

23 BAM / PFA S M IL F Universal

Pictures 1/2 3 Celebrating 100 Years

Friday / 8.3.12 Wednesday / 8.8.12 7:00 7:00 On a buying trip to Chicago in 1905, clothing merchant Carl Laemmle Imitation of Life All Quiet On the John M. Stahl (U.S., 1934) was struck by the popularity of the nickelodeon theater with its Western Front In director John Stahl’s transformation of Fannie Lewis Milestone (U.S., 1930) variety shows and short films. Within weeks, Laemmle abandoned Hurst’s warhorse tearjerker, the lives of a black maid Lewis Milestone’s film remains one of the boldest his former career and began promoting these primitive movie (Louise Beavers) and a white widow (Claudette statements ever made about the cruelty and futility houses. His efforts prospered and on April 30, 1912, the Universal Colbert) intersect in a scheme to manufacture of war, lacking as it does any conciliation to patriotism Film Manufacturing Company was created through the merger pancake batter, but their common bond is a or glory, any exploitation of spectacle or slaughter. In of several independent companies. And so was born the oldest self-manufactured suffering at the hands of their Germany, 1917, seven enthusiastic schoolboys leave continuously operating film producer and distributor in the United daughters. From the opening re-creation of a 1919 their village to enlist in the army. Brutalized and States, recognized universally by its spinning globe logo. Atlantic City boardwalk (period solidity is a Stahl disillusioned in training, they are posted to the French From its beginnings under Laemmle, there was a discernible tension specialty) to the unexpectedly uncompromising front, where further horrors await them. Begun as a between Universal’s mission to produce low-budget “programmers” ending, Imitation Of Life preserves a unity of tone silent and completed with sound, the film retains the and the desire to compete with better-financed studios and their and emotional consistency that are truly remark- visual fluidity of the late silents, including Milestone’s more reputable fare. While many of Universal’s early “prestige” titles able for its genre, and serve as confirmations of extraordinary tracking shots. are now much-admired classics, including All Quiet on the Western the individualistic talent of its unfortunately little- Written by George Abbott, based on the novel by Erich Maria Remarque. Photographed by Arthur Edeson. With Front (1930), it remains the B movies, including its iconic 1930s known director. Louis Wolheim, Lew Ayres, John Wray, Ben Alexander. (143 horror cycle (Frankenstein, Dracula, The Mummy), that epitomize its Written by William Hurlbut, from the novel by Fannie mins, 35mm, B&W) contribution to film history. Hurst. Photographed by Merritt Gerstad. With Claudette Colbert, Ned Sparks, Louise Beavers, Fredi Washington. Sunday / 8.12.12 When antitrust cases reorganized the film industry in the later (116 mins, B&W, 35mm) 4:00 Dracula 1940s, Universal was able to move into the A-list with top-notch Sunday / 8.5.12 Tod Browning (U.S., 1931) Family Fun! entertainment that validated popular genres, including melodramas 5:30 Although “modern medical science does not admit (Imitation of Life), sex farces (Pillow Talk), rollicking comedies (Francis), Never Give a Sucker an Even Break of such a creature” as Bela Lugosi’s Dracula—or so and suspense (The Birds). By the mid-1970s, Universal shook up Edward Cline (U.S., 1941) Family Fun! commonsensical Dr. Seward guarantees to the occultist the industry with the release of Jaws, redefining the notion of the “That’s too much! Airplanes with sundecks! Gorillas Van Helsing—this Hollywood-Gothic entry into the blockbuster. Throughout its history, Universal has challenged the playing post office!” Thus is W.C. Fields’s screenplay- vampire canon functions as an enduring B-movie distinctions between fine art and popular entertainment. We are within-a-film characterized by a producer at “Esoteric rebuttal to such sentiment. A compendium of lowbrow pleased to celebrate the hundred-year legacy of Universal Pictures. Pictures.” Reflecting on fame, filmmaking, and (inevi- Victorian fixations,Dracula brings bloodsucking to tably) drink, this vaudeville 8 1/2 is a fantasy of the the country house; mesmerism to the loge; and, in

In association with UCLA Film & Television Archive. Coordinated at BAM/PFA film unmade.Never Give a Sucker an Even Break opens the romance of Harker and Mina, taboo courtship by Video Curator Steve Seid. We wish to thank the following for making with a caricature of Fields: it is a token of the film’s to the sanitarium. Patrick Ellis this celebration of Universal Studios possible: Shannon Kelley, UCLA Film & cartoon logic, which enables countless set pieces, Written by Garrett Fort, based on the novel by Bram Stoker. Television Archive; Paul Ginsburg, Universal Pictures; and American Express. from Gloria Jean’s bizarre, polyglot musical numbers; Photographed by Karl Freund. With Bela Lugosi, Helen Chandler, David Manners, Dwight Frye. (75 mins, B&W, 35mm) to Fields’s personal gravity, which allows him to leap from an airplane in pursuit of parachuting tipple; to the Followed by: justly famous car chase through Los Angeles, which The Mummy Karl Freund (U.S., 1932) Family Fun! makes Bullitt look frankly pedestrian. Patrick Ellis Recapitulating Dracula against a backdrop of pop Written by John T. Neville, Prescott Chaplin. Photographed by Charles Van Enger. With W. C. Fields, Gloria Jean, Leon Egyptology, The Mummy has the same self-destructive Errol, Margaret Dumont. (70 mins, B&W, 35mm) carnality and the same antagonism between the natural and the supernatural. The Mummy differs

24 JULY & AUGUST 2012 1. Universal logo, 1940s

2. Abbott and Costello Meet Frankenstein, 8.26.12

3. Do the Right Thing, 8.25.12

4. Pillow Talk, 8.29.12

5. Francis, 8.19.12

4 5

in its sympathy for the monster (the mummy Imho- the ancient Roman world, and introducing Peter Written by Robert Lees, Frederic I. Rinaldo, John Grant. Photographed by Charles Van Enger. With Bud Abbott, Lou tep, played by Boris Karloff), who, in a flashback to Stirling (Donald O’Connor) as the hapless pariah, Costello, Lon Chaney Jr., Bela Lugosi. (83 mins, B&W, 35mm) antiquity, is shown to have been mummified alive Francis addresses serious military topics with a mulish for attempted necromancy of his lover. He returns cynicism. Patrick Ellis Wednesday / 8.29.12 7:00 to the present to resurrect Helen Grosvenor (Zita Written by David Stern, from his novel. Photographed by Pillow Talk Johann), who has, per reincarnation, a “family tree Irving Glassberg. With Donald O’Connor, Patricia Medina, Michael Gordon (U.S., 1959) ZaSu Pitts, Ray Collins. (91 mins, B&W, 35mm) that goes back miles”—thus is the idea of eternal love Sensing Rock Hudson’s potential as a comic actor, twisted into a macabre joke. Patrick Ellis Saturday / 8.25.12 the savvy producer Ross Hunter seized on the idea Written by John L. Balderston. Photographed by Charles 8:30 of teaming him with Doris Day, America’s favorite Stumar. With Boris Karloff, Zita Johann, David Manners, Do the Right Thing Spike Lee (U.S., 1989) girl-next-door, in a sophisticated bedroom farce. Arthur Byron. (78 mins, B&W, 35mm) Upon the film’s 1989 release, Village Voice critic J. Thankfully the two leads took an instant liking to Total running time: 153 mins Hoberman wrote, “Do the Right Thing is bright and each other; Hudson credits Day’s incredible comedic instinct and timing for why he became so successful Saturday / 8.18.12 brazen, and it moves with a distinctive jangling glide. 8:40 Set on a single block in the heart of Brooklyn on the in the genre. The breezy Oscar-winning screenplay The Birds also allowed pitch-perfect wisecracking costars Tony Alfred Hitchcock (U.S., 1963) hottest Saturday of the summer, it offers the funniest, Randall and Thelma Ritter a chance to display their The Birds displays some of Hitchcock’s most sophisti- most stylized, most visceral New York street scene immense natural comedic talents. Pillow Talk garnered cated technical achievements in the creation of sheer, this side of Scorseseland. Lee is a deft quick-sketch Day her only Oscar nomination and became her most seemingly inexplicable tension. There is so much artist. His Bed-Stuy block . . . is as humid as a terrarium identifiable role. Todd Wiener inaction, so much silence, so much Nothing in The and as teeming with life . . . A daring mix of naturalism Birds—and, after all, its monsters are just birds—it and allegory, agitprop and psychodrama.” It’s time Written Stanley Shapiro and Maurice Richlin. Photographed by Arthur E. Arling. With Rock Hudson, Doris Day, Tony seems Hitchcock is rummaging about in the most to take another look. Randall, Thelma Ritter. (110 mins, Color, 35mm) excruciating realms of personal terror. Donald Spoto Written by Lee. Photographed by Ernest Dickerson. With Danny Aiello, Lee, Ossie Davis, Ruby Dee. (120 mins, Color, wrote, “ the sudden rush of wings expresses and Friday / 8.31.12 35mm) 9:05 makes explicit jealousy, anger, and sexual and family High Plains Drifter tensions . . . the film is a darkly lyrical puzzle-poem Sunday / 8.26.12 Clint Eastwood (U.S., 1973) 5:15 Clint Eastwood chose High Plains Drifter for his about human need, the nature of the universe, and Abbott and Costello the possibility of salvation.” Meet Frankenstein second directorial outing, now considered one of Charles T. Barton (U.S., 1948) Family Fun! his masterpieces. A mysterious stranger wreaks Written by Evan Hunter, from a story by Daphne du Maurier. Photographed by Robert Burks. With Tippi Hedren, Rod Taylor, The title undersells it: Abbot and Costello don’t havoc on a small Western town that allowed its Jessica Tandy, Suzanne Pleshette. (120 mins, Color, 35mm) simply meet Frankenstein’s monster, but the whole sheriff to be whipped to death by a gang of thugs. As with Eastwood’s later quasi-religious Western, Sunday / 8.19.12 grotesque stable (Dracula, the Wolf Man, the Invis- 5:00 ible Man) of the Universal universe. At the outset, Pale Rider (1985), High Plains Drifter leaves it unclear Francis these icons of film history are unjustly relegated to whether The Stranger is a flesh-and-blood human Arthur Lubin (U.S., 1950) Family Fun! a Floridian house of horrors. But immortal Dracula being or a ghost. His arrival and departure is filmed Although the eponymous Francis (Chill Wills) is a (Bela Lugosi) insists that “what we need today is with a telephoto lens through hazy waves of heat, talking mule, he has little in common with his equine young blood—and brains.” This provides both a a physical materialization out of nothingness and relative Mister Ed, or indeed his leporine contemporary, raison d’être for the film—Frankenstein’s monster disappearance back into the ether, like an angel of Harvey (1950). No, the premise for Francis—a facetious (so-called “Franky-boy”) is slotted for a new brain, death. Jan-Christopher Horak creature in possession of privileged knowledge who preferably Lou Costello’s—and an analogy for the obstinately collapses the human hierarchies which Written by Ernest Tidyman, Dean Riesner. Photographed by imaginative revivification of 1930s creature features Bruce Surtees. With Clint Eastwood, Verna Bloom, Mariana he encounters—goes back to the Menippean satire Hill, Mitchell Ryan. (105 mins, Color, 35mm) that the ensuing romp undertakes: a metamorphosis of The Golden Ass. Substituting wartime Burma for of horror into farce. Patrick Ellis 25 BAM / PFA FILMSFILMS S Atomic Brain The are headliners The brow. your lower maybe, and, receptors optical your stimulate they’ll but IQ, your raise won’t films smart-ass These brain-addled beauties from the silver screen. some you webring August, this cinema: Cerebral Center Street. on home future our of wall the onto project B downtown in screenings outdoor free of aseries for us Join Center & Street Shattuck between Free Steve Seid, Video Curator Video Steve Seid, sit beneath the stars! and chair a Bring twilight. at screening films the with 7:30, at begins mania Pre-movie off-the-wall. Cerebral cinema is a no-brainer. our wit’s end. What can you say: outdoors and and hallucinatory all harangues, focused on films, musicalstimulants, freaky performances, short of mix amind-expanding with evening each westart lobe, frontal your To front-load matter. grey as a very quality offer and science with loose and fast play that Hollywood from three Die, Wouldn’t That KFOG, KFOG, sponsors, media our to thanks Special lot. parking their of use the for the BAM/PFA Trustees. Thanks to the Bank of America of contributions continued the by provided is Support Association. Berkeley Downtown the and BAM/PFA Summer Cinema on Center Street 2012 & AUGUST 26 JULY u East Bay Express, East Bay Loop Bay East Express, Bay East O utdoor utdoor mm , Donovan’s Brain erkeley this summer, as we we as summer, this erkeley

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creenin is copresented by by copresented is er C er The Brain The Brain , and Berkeleyside , and Yelp. , and O xford g s s , inem neural connections in the brain. brain. the in connections neural the mapping in thing newest the tomics, Maitin-Shepard tells us about Connec Jeremy own Cal’s sounds. neuronic emit Ganglia Guerrilla his loose lets Campos-Quinn Michael Artist formed. were functions higher our before emerged have must it old and soulful so music plays band Toad jug Smooth Pre-movie Collection) PFA 16mm, B&W, mins, Peters, Judy Bamber, Marjorie Eaton. (70 Erika Gerstle, Frank Taylor. With Alfred by Sue Dwiggins, Vi Russell. Photographed Written by Jack Pollexfen, Dean Dillman Jr., catwoman. original The Meow. afeline. from taken one with brain model’s the replaces doctor headed zombies. Eventually, the demented empty- into them turning experiments, crazed these for used and abducted are them, of a pair yes, Two pairs, au babe. ayounger of bod the into transplanted be can brain her that hope the in tist transplant experiments of a mad scien brain the finances spinster aging An J T S V. M oseph / 8.4.12 /8.4.12 aturday he he A to (U.S., 1963) (U.S., ascelli m m ic Brain ic , sensored sculptures that ania: a on C on a 7:30 2

- - F D S 3. 2. 1. nervous system. always- our in stimulants and behavior, chimp evolution, about films short sears ever-unpredictable Shudder sonically The crania. our tocaress unconscious the of metaphors deep on draws that performance sound a offers Ayofemi Binta Artist a lobotomy. as revelatory as be will that discs some spins Zain DJ Citizen Pre-movie Collection) PFA 16mm, B&W, mins, (83 Brodie. Steve Davis, Nancy Evans, Gene Ayres, Lew With Biroc. Joseph by graphed Photo Siodmak. Curt by novel the from Brooke Hugh by adapted Feist, by Written bidding. evil its do must who doctor, the over influence the megalomaniacal brain its asserts ajar. Soon in alive them keeping lobes, his liberates scientist the so dies, Donovan Walter tycoon terrible efforts, best their surgeon’s lab for emergency care. Despite tothe survivor the rush police the nearby, crashes a plane When bodies. their outside brains of monkeys, keeping them alive the extracting been has surgeon A crazed elix aturday onovan’s Brain Brain onovan’s Tiffany Shlain, 8.18.12 TiffanyShlain, Smooth Toad, 8.4.12 8.18.12 Die Wouldn’t That Brain The enter S enter F eist (U.S., 1953) (U.S., / 8.11.12 / m ania: , - 7:30 treet treet Wouldn’t Wouldn’t the Internet, a virtual nurture. nurture. a virtual Internet, the about the brain as it spreads out over film short newest her of preview a sneak The indefatigable TiffanyShlain offers accompanied by highly mental music. about a bullet passing through a brain, prose of a bit reads Santomieri Dean Artist modules. mind stored many so like music accessing mix amemory ates DJTimber, a.k.a. Harbour, Aaron J T S Pre-movie Collection) PFA 16mm, B&W, mins, (71 Brent Doris Lamont, Adele Evers, Herb Heith, Virginia With Hajnal. Stephen Written by Joseph Green. Photographed by brain. her for just her loves boyfriend her believe can’t who heroine a featuring film of experiments past. A mind-expanding creatures the to summon telepathy using wireless, goes mind-mass the Eventually body. her onto head fiancée’s his graft can aabducts disfigured model, so thathe then atray. He in alive brain her to keep manages he accident, acar in decapitated is fiancée his When transplants. organ tal A demented surgeon performs experimen G oseph aturday he Brain (U.S., 1962) (U.S., reen / 8.18.12 8.18.12 / m ania: T D hat ie

7:30 cre 3 - - 1 exhibitions, film series, andeducation programs. BAM/PFA’s of support in raised was $480,000 over that to announce thrilled We are Cissie. of honor in night meaningful a truly create us helping for Penny Cooper, and Susan Swig, Gala co-chairs, and Robert Harshorn Shimshak, auction chair, Crane, to Carla gratitude Deep guests. our of all and framers; the as well as works, donated who galleries and artists the Vodka; Angel® Blue and & Wines, Vineyards Lohr J. Vineyards, Many thanks to our generous Gala committee supporters; Christie’s and sponsors Duckhorn program. BAM/PFA’s work-study of support in paddles their rose guests of scores Borrman, Kristina senior by Cal remarks inspiring Following Cooper. Penny Trustee and Christie’s of McNeely George auctioneer of help the with homes new found McGee Barry and Bechtle, Robert Weiner, Lawrence Sherman, Cindy as such by artists works stunning year. Thirteen this 5 later Maroon with tour will who Crane, Rozzi by singer-songwriter performance live many surprises, including the first course served in the sculpture garden and a spectacular featured evening The institutions. cultural and arts national and local outstanding many so to as well as to BAM/PFA, commitment and for enthusiasm incredible her for Swig “Cissie” Roselyne alumna Cal and Trustee to honor delighted we were 1, May on Gala 2012 At the Gala 2012 BAM/PFA 10 15 6 1 11 2 12 3 7

13 8 4 6. 5. 4. 3. 2. 1. Chair Robert Harshorn Shimshak Penny Cooper; and Auction Carla Crane, Susan Swig, and Co-chairs Swig; Cissie honoree with Rinder Larry Director and Ken Goldberg Marissa Mayer, ZacharyBogue, Fisher Randi and Ach Linda Chancellor Robert Birgeneau Mary Catherine Birgeneau, and Simpson, Sharon Simpson, Director Larry Rinder, Barclay DeborahWilton Larry Rinder, and John and Coleman Fung, Director Director Larry Rinder Mary Catherine Birgeneau, and Birgeneau, honoree Cissie Swig, UC Berkeley Chancellor Robert

16 14 9 5 16. 15. 14. 13. 12. 11. 10. 9. 8. 7.

Dinner in the galleries garden sculpture the in course first the enjoy Guests Rozzi Crane Kristina Borrman Work-study student Penny Cooper auctioneer, with Gala Co-chair George McNeely, Christie’s and Claudia Ceniceros Annie Perrin, Joan Roebuck, Casey Sedlack and Swig Cissie Honoree Ehrlich Emily and Swig Marjorie Koshland Cathy and Jim President Noel Nellis BAM/PFA Board of Trustees and Swig Cissie Honoree

27 BAM / PFA 27 BAM

MEMBERSHIP 2012 CALENDARj 2012 & AUGUST 28 JULY spirits the of juliet uly . 12 p. 16 23 mon 2 9 aag . 17 p. 17 10 24 tue

3 afilm not is this . 21 p. 18 25 11 w Opens At the Edge Opens Edge At the D-L Alvarez/ Lutz Bacher/ 7:00 Opens Galleries closed Independence Day Holiday 7:00 7:00 4 ed

Sandra City Open of Cabiria Nights B p ellissima . 7 p. 6 p. MATRIX 243 MATRIX

MATRIX 242 MATRIX B p ellissima B . 12 p ellissima . 8 p.

. 12

. 12 thr fri sat 1/sun

D-L Alvarez, matrix 243 p. 7 5 6 7 8 Free First Thursday 7:00 Two Women Bellissima p. 11 6:30 Gerhard Richter Painting 5:15 This Is Not a Film Galleries free all day Theater Near You p. 21 Theater Near You p. 21 9:05 Weekend Theater Near You p. 21 8:30 La strada Bellissima p. 11 5:00 Dinner @ Babette Precedes Always for Pleasure Films of Les Blank p. 14 7:00 Always for Pleasure Les Blank in person Films of Les Blank p. 14

12 13 14 15 7:00 The Hustler Cool World p. 18 7:00 The Leopard Bellissima p. 12 6:00 Juliet of the Spirits 5:30 El velador Bellissima p. 12 Theater Near You p. 21

8:50 Ed Wood Cool World p. 18 7:00 In Heaven There Is No Beer? and Chulas Fronteras

Les Blank in person Films of Les Blank p. 14

19 20 21 22 7:00 Barsaat Kapoor p. 17 7:00 My Own Private Idaho 6:00 The Girl with a Suitcase 5:00 All in This Tea Cool World p. 19 Bellissima p. 12 Les Blank in person 9:05 Foxy Brown Cool World p. 19 8:15 Aag Kapoor p. 17 Followed by a tea tasting with David Lee Hoffman Films of Les Blank p. 14

7:00 Blue Velvet Cool World p. 19

26 27 28 29 7:00 Boot Polish Kapoor p. 17 7:00 Heathers Cool World p. 19 5:30 Bellissima Bellissima p. 12 5:00 The Seventh Companion Guerman p. 22 9:05 Thunderbolt and Lightfoot 7:45 Awaara Kapoor p. 17 Cool World p. 19 7:00 ry cooder group ’88 in santa cruz Les Blank in person Films of Les Blank p. 15

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 29 BAM / PFA T 2012 AUG

M he CALENDAR 2012 & AUGUST 30 JULY aestro : K C the of ing A owboy rtists . 15 p. 20 30 27 13 barry 6 . 5 p. mcgee / mon H igh P lains D rifter

. 25 p. 21 31 28 14 7

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TUE 22 8 29 15 7:00 7:00 7:00 7:00 12:00 7:00 1

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Oh! Sabella! U B All Quiet on the Western Front Western the on Quiet All Mamma Roma Pillow Talk Vanina Vanini Curators’ Tour Gallery w M arry p niversal ed c G p ee

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p niversal B

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p ellissima B B p ellissima p ellissima

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2/thr 3/fri 4/sat 5/sun 7:00 Fight Club Cool World p. 19 7:00 Imitation of Life 6:00 My Friend Ivan Lapshin 5:30 Never Give a Sucker Universal p. 24 Guerman p. 22 an Even Break Free First Thursday Universal p. 24 Galleries free all day 9:10 To Sir, with Love 7:30 The Atomic Brain Cool World p. 20 Plus live music, special guests 7:00 A Well Spent Life Summer Cinema on Center St. Les Blank in person p. 26 Films of Les Blank p. 15 8:00 Shree 420 Kapoor p. 17

9 10 11 12 7:00 Twenty Days Without War 7:00 L’amore Bellissima p. 12 6:00 Bread, Love and Dreams 4:00 Dracula and The Mummy Guerman p. 23 Bellissima p. 13 Universal p. 24 8:40 Klute Cool World p. 20 7:30 Donovan’s Brain 7:00 The Maestro: King of Plus DJ, live music, the Cowboy Artists special guests Les Blank in person Summer Cinema on Center St. p. 26 Films of Les Blank p. 15

8:00 Bobby Kapoor p. 17

16 17 18 19 7:00 Trial on the Road 7:00 Old-Fashioned World 6:00 Khrustalyov, My Car! 5:00 Francis Universal p. 25 Guerman p. 23 Bellissima p. 13 Guerman p. 23 7:00 Special Screening 9:05 Drugstore Cowboy 7:30 The Brain that Wouldn’t Die Les Blank in person Cool World p. 20 Plus DJ, special guests Films of Les Blank p. 15 Summer Cinema on Center St. p. 26

8:40 The Birds Universal p. 25

23 24 25 26 5:00 VIP Opening Celebration 7:00 The Widower Bellissima p. 13 5:00 Les Blank on Documentary 5:15 Abbott and Costello Meet Barry McGee p. 5 Cinematography, followed Frankenstein Universal p. 25 7:00 Poster Pizza Palooza by Hot Pepper 6:00 Members’ Opening Celebration New Student Event p. 3 7:00 Garlic Is As Good Barry McGee p. 5 Films of Les Blank p. 16 8:30 Pretty Poison As Ten Mothers 7:00 The Fall of Otrar Free Outdoor Screening p. 20 8:30 Do the Right Thing Les Blank in person Guerman p. 23 Universal p. 25 Films of Les Blank p. 16 Barry McGee Opens p. 4

30 31 7:00 Burden of Dreams 7:00 Drama of Jealousy Maureen Gosling in person Bellissima p. 13 Les Blank p. 16 9:05 High Plains Drifter Universal p. 25

mamma roma p. 13

31 BAM / PFA UC Berkeley Art Museum & Pacific Film Archive bampfa.berkeley.edu

VISITOR INFO

plan your visit PFA Theater Admission* bampfa.berkeley.edu $5.50 BAM/PFA members, (510) 642-0808 UC Berkeley students For information on parking, $9.50 General admission transportation, and accessibility, $6.50 UC Berkeley faculty/staff, go to bampfa.berkeley.edu/visit. non-UC Berkeley students, 65+, Museum entrances disabled persons, 17 & under 2626 Bancroft Way Additional feature $4.00 & 2621 Durant Ave. *Unless indicated otherwise PFA Theater PFA Theater Ticket Sales 2575 Bancroft Way online bampfa.berkeley.edu Gallery hours by phone (510) 642-5249 Wed–Sun 11-5 in person Extended hours on selected Tickets available daily 11 a.m.–5 p.m. Fridays, see calendar at BAM/PFA admissions desk, 2626 Bancroft Way, and one hour Gallery Admission before showtime at the PFA Theater Free BAM/PFA members, box office, 2575 Bancroft Way UC Berkeley students/ PFA 24-Hr Recorded Information faculty/staff, 12 & under (510) 642-1124 $10 General admission PFA Ticket & Program Information $7 Non-UC Berkeley students, (510) 642-1412 65+, disabled persons, ages 13–17 L@TE: Friday Nights @ BAM/PFA After 5 p.m., general admission is $7. Free admission the first Thursday L@TE admission free with a ticket of every month. stub from same-day PFA screening Reservations required for group visits. or gallery visit. [email protected] PFA library & film study center Mon–Wed, 1–5; (510) 642-1437

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University of California, Berkeley Art Museum and Pacific Film Archive, program guide Volume XXXVl Number 4. Published bimonthly by the University of California, Berkeley. Produced independently by the UC Berkeley Art Museum and Pacific Film Archive, which is solely responsible for its contents. BAM/PFA, 2625 Durant Avenue, Berkeley, CA 94720-2250, (510) 642-0808. Lawrence Rinder, Director. Nonprofit Organization: Periodical Postage Paid at Berkeley Post Office. Usps #003896. POSTMASTER: Send address change to: UC Berkeley Art Museum and Pacific Film Archive, The Leopard, 7.13.12, p. 12 2625 Durant Avenue, Berkeley CA 94720-2250. Copyright © 2011 The Regents of the University of California. All rights reserved.