sign in sign up
<<
Home , Basil Dearden, Dirk Bogarde, Helmut Berger

Melbourne Cinémathèque Cast a Dark Shadow: The Beau!ful Sadness of 2021

12 – 26 MAY WEDNESDAY 12 MAY WEDNESDAY 19 MAY WEDNESDAY 26 MAY

After beginning his theatrical career in ’s West End, Dirk Bogarde (1921-1999) became one of British cinema’s most significant and richly talented actors, his distinguished star persona balancing swooning, matinee-idol good looks with an array of dark, complex, turbulent characters. Bogarde’s proclivity 7:00PM 7:00PM 7:00PM towards multifaceted, sometimes THE SERVANT VICTIM tortured roles can perhaps be traced to the horrors – for example, he was (1963) (1974) (1961) one of the first Allied officers to 116 mins : M 118 mins : R 18 + 90 mins : M enter the Bergen-Belsen concen- The first of three collaborations Notorious upon its release, this Anchored by Bogarde’s searing tration camp after it was “liberated” between Losey and celebrated writer erotic Nazisploitation film explores performance, this courageous and – he witnessed during World War II, is an uneasy chamber the sadomasochistic relation- groundbreaking “social problem” thriller as well as his necessarily closeted drama involving the privileged Tony ship between a former SS officer – the first time the word “homosexual” homosexuality. With a sensitive, (James Fox) and his newly appointed (Bogarde) and a Holocaust survivor was spoken in a British film – played commanding demeanour, and vividly manservant, Hugo (Bogarde in one of () whose compul- a key role in the decriminalisation of expressive eyes, Bogarde’s screen his most iconic roles). Adapted from sive repetition of their past leads to homosexuality in Britain. Bogarde presence is both subtle and dom- Robin Maugham’s 1948 novel, the them “recreating” the conditions of a stars as a married lawyer who risks his ineering. As his biographer David film’s power play is permeated with concentration camp. Provocative and career and marriage to investigate the Huckvale writes: “If Bogarde was psychological and sexual tension. perverse, with dark and evocative blackmailing of several closeted gay starring, the film was simultaneously Winning three BAFTA awards, Losey’s cinematography by Alfio Contini, men – including himself – in socially always about him.” In this regard, it landmark film garnered praise for its Cavani’s controversial film examines conservative early London. Like can be said that many of Bogarde’s candid treatment of class and sexu- transgressive behaviour, love and Bogarde’s character, the film’s smooth roles well and truly belong to the ality as well as ’s suffering alongside the lasting social and mannered surface only partially actor, while often exploring the claustrophobic cinematography. With and psychological effects of fascism. obscures an undercurrent of anger, complex sexual, political and social Sarah Miles. Courtesy of Cinecittà Luce. paranoia and injustice. identity of his characters. This sea- son includes many of the landmark films of Bogarde’s mature career selected from a wealth of British and European arthouse cinema, profil- ing his work with six distinguished directors from Liliana Cavani and to . It focuses, in particular, on many of his most notable roles of the 1960s and 1970s, including 9:10PM 9:10PM 8:40PM his indelible performances in Basil DADDY NOSTALGIE DESPAIR THE DAMNED Dearden’s Victim and Joseph Losey’s Bertrand Tavernier (1990) Rainer Werner Fassbinder (1978) Luchino Viscon! (1969) The Servant, and presents a rare 105 mins : G 119 mins : M 156 mins : M screening of his valedictory film, Bertrand Tavernier’s aching Daddy A delicate three-hander is played Bogarde plays a Russian Jewish The first film in Visconti’s “German Nostalgie. out between a charming but selfish chocolatier in 1930s Germany who Trilogy” follows the trials and tribula- man (Bogarde, in his final film), his plots an escape to Switzerland after tions of an industrialist family who are estranged daughter () and becoming convinced that a vagrant brutally coerced into manufacturing embittered, neglected wife (Odette (Klaus Löwitsch) is a doppelgänger arms for the Nazis. The film’s loose, Laure). The sensitive screenplay by whose identity he can adopt – though disjointed structure and provocative, the director’s former spouse, Colo it’s clear to all that what he’s most try- operatic and expressionistic excesses Tavernier O’Hagan, may be at least ing to escape is himself. In response can be read stylistically as a parable partly autobiographical; the film, like to ’s adaptation of of the decline of the Weimar Republic a Chekhov play, allows small details Vladimir Nabokov’s absurd novel, a and the ensuing nationalistic lurch to take on a magnified significance. macabre tale laced with melancholy towards totalitarianism and fascism: Composed of discrete scenes humour, Fassbinder delivers what The an orgy that culminates in a massa- like moving photos from a private Guardian calls “an icy, psycho-melo- cre. Starring Bogarde, album, the film’s montage, Tavernier dramatic nightmare”, exploring themes and Helmut Berger, and featuring observed, is dictated not by plot but of alienation and mental breakdown in Charlotte Rampling in a supporting by emotion. oblique, playfully provocative ways. role. Courtesy of Cinecittà Luce. Melbourne Cinémathèque 2021 Screenings

Presented by the Melbourne FRIENDS OF CINÉMATHÈQUE MEMBERSHIPS AVAILABLE AT Cinémathèque and The Australian Admission for 12 months from ACMI Tickets and Information Desk Centre For The Moving Image. date of purchase: (03 8663 2583) Curated by the Melbourne Full $295 / Concession $265 Online at www.acmi.net.au (booking Cinémathèque. (GST inclusive) fees apply for online transactions) Supported by Film Victoria and Follow us on Facebook and Twitter The Friends of Cinémathèque Please note, membership does not for all Cinémathèque information. the City of Melbourne Arts Grants membership is a way for you to ensure admission: members will only Program. support the vitality and continued be admitted to cinema capacity. Website: operation of the Melbourne www.melbournecinematheque.org ANNUAL MEMBERSHIP Cinémathèque. We are a FILM CLASSIFICATIONS: Email: melbournecinematheque@ Admission for 12 months from membership-based, not-for-profit * Where a film is labelled westnet.com.au date of purchase: film society run independently by “Unclassified 15+” viewers are Full $173 / Concession $153 volunteers – the extra financial required to be 15 years or older, Join our newsletter: send a (GST inclusive) contribution Friends make helps unless accompanied by an adult. SUBSCRIBE email to our address to keep us viable and strong. listed above. † Where a film is labelled MINI MEMBERSHIP In addition to annual membership, “Unclassified 18+” viewers are Admission to 3 consecutive nights Friends receive 3 x single passes required to be 18 years or older. from date of purchase: to bring a guest to a Cinémathèque screening any time. Articles on many films in the Full $32 / Concession $27 program can be found in ‘CTEQ (GST inclusive) Annotations on Film’, online at www. sensesofcinema.com

Now open Subscribe for free and read Your museum Cinémathèque Annotations on Film of screen culture sensesofcinema.com

Melbourne Cinémathèque is grateful to its sponsor Present Company Included

For innovative and cost-effective solutions to your promotional needs contact: Present www.presentcompany.com.au Company Included Phone 03 9387 4717

Mention Melbourne Cinémathèque for VIP turnaround on quotes.

Presented with Supported by Curated by: Michael Koller, Adrian Danks, Calendar Design: Jessie Liu Eloise and Cerise Howard for the Typeset in Manifont Grotesk and Inter Melbourne Cinémathèque Calendar Project Management: Dylan Rainforth Calendar Editor: Adrian Danks and Warren Taylor (MADA)