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Bamcinématek Presents American Gagsters, a 50-Film Series Showcasing Some of America’S Greatest Actor/Director Comedy Teams, Aug 8— Sep 17

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Bamcinématek Presents American Gagsters, a 50-Film Series Showcasing Some of America’S Greatest Actor/Director Comedy Teams, Aug 8— Sep 17 BAMcinématek presents American Gagsters, a 50-film series showcasing some of America’s greatest actor/director comedy teams, Aug 8— Sep 17 50 films, all but one on 35mm (that’s 98%!) The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Jul 16, 2012—From August 8 through September 17, BAMcinématek presents one of its largest programs ever—an epic 50-film survey of 20th century American comedy, spanning the racy pre-Codes of the early talkie era through the high-concept action spoofs of the 80s and 90s, with 49 films in 35mm. The special focus of this series is the comedy team—not the straight-man-and-stooge pairs like Abbott and Costello and Martin and Lewis (although they‟re represented here, too), but a less heralded kind of union: that between performer and director. Many of the most famous directorial collaborations are with dramatic stars: Brando and Kazan, Dietrich and von Sternberg, Mifune and Kurosawa. But comedians need guidance as well, to define their personas and to perfect their timing, and often the directors they worked with remain unsung. Take all-purpose MGM lifer W. S. “One Take” Van Dyke, who led contract stars William Powell and Myrna Loy through The Thin Man (1934—Aug 8) in only 18 days, his speed giving the film its famously boozy, high-flying pace. My Man Godfrey (1936—Aug 9) cast Powell as the homeless butler-for-a-day who humanizes a spoiled heiress ( a radiant Carole Lombard in her only major film for Gregory La Cava). Another great screwball heroine, Irene Dunne, starred with Cary Grant as a pair of battling divorcees in The Awful Truth (1937—Aug 12), directed by silent-comedy veteran Leo McCarey. Miriam Hopkins made her most enduring films for Ernst Lubitsch, Paramount‟s ultimate Euro-sophisticate: the Noël Coward adaptation Design for Living (1933—Aug 10), opposite Gary Cooper, and the risqué Trouble in Paradise (1932—Aug 10), in which she plays a jewel thief. Sometimes, if comedians came to the movies from vaudeville, what they needed in a director was not an auteur but a traffic cop—someone who knew how to keep their timing intact and the camera in the right place. Cartoonist Norman Z. McLeod rode herd on the Marx Brothers for their funniest films, Monkey Business (1931—Aug 11) and Horse Feathers (1932—Aug 11), and gag writer Edward F. Cline directed W.C. Fields in both the oddball Million Dollar Legs (1932—Aug 15) and the iconic The Bank Dick (1940—Aug 15). Journeyman Arthur Lubin, best known for the Francis the Talking Mule movies, ended up behind the camera for Abbott & Costello‟s classic service comedies, In the Navy (1941—Aug 16) and Buck Privates (1941—Aug 16). No comedy series would be complete without Preston Sturges, who guided everyman star Joel McCrea through the Hollywood-and-hobos romp Sullivan’s Travels (1941—Aug 17) and the lesser-known, more eccentric The Palm Beach Story (Aug 17—1942), which ends with one of filmdom‟s most jaw-dropping blackout gags. Just as fast and loose are Cary Grant‟s films for Howard Hawks, who had the suave star meet cute with Katharine Hepburn in Bringing Up Baby (1938—Aug 18) and trade machine gun-paced barbs with liberated reporter Rosalind Russell in His Girl Friday (1940—Aug 18). Screwball-certified by Hawks, Hepburn became the muse of George Cukor, Hollywood‟s ultimate “woman‟s director,” who located the vulnerability beneath Hepburn‟s archness in two urbane dramedies, Holiday (1938—Aug 19) and The Philadelphia Story (1940—Aug 19). Cukor found an ideal on-and-off-screen partner for Hepburn in the unflappable Spencer Tracy, pairing the two as rival lawyers in Adam’s Rib (1949—Aug 22) and then as sparring sportswriters in Pat and Mike (1952—Aug 22). A supporting player in Adam‟s Rib, daffy blonde Judy Holliday was Cukor‟s protégée for the 50s, winning an Oscar for Born Yesterday (1950—Aug 23) and playing a pre- fab celebrity in the timely It Should Happen to You (1954—Aug 23). Holliday‟s leading man in the latter film, the bundle of nervous energy known as Jack Lemmon, became a major star under the direction of Billy Wilder, in drag with Tony Curtis in the gender-bending Some Like It Hot (1959—Aug 25) and pining after Shirley MacLaine in the Mad Men world of The Apartment (1960— Aug 26). Lemmon‟s other director of note, Richard Quine, paired him with Dadaist cult TV star Ernie Kovacs in the madcap Operation Mad Ball (1957—Aug 31) and the bewitched romance Bell, Book and Candle (1958—Aug 31). Another animator, Frank Tashlin, advanced the surrealism hinted at in Quine‟s films, first with Bob Hope, for whom he reshot much of The Lemon Drop Kid (1951—Aug 24) and then with the cult western spoof Son of Paleface (1952—Aug 24). Tashlin also directed the liveliest films made by nightclub sensations Dean Martin and Jerry Lewis, the gorgeous Artists and Models (1955—Aug 30) and Hollywood or Bust (1956—Aug 30; IB Technicolor print). Equally adept at drama and humor, Blake Edwards created the character of the bumbling Inspector Clouseau for Peter Sellers, seen here in A Shot in the Dark (1964— Sep 1) and The Return of the Pink Panther (1975—Sep 1). The director and star reteamed for the sustained slapstick of The Party (1968—Sep 2), with Sellers as the unwanted guest who demolishes an ultra-modern Hollywood home. Manic Gene Wilder first teamed with Mel Brooks as one of The Producers (1968—Sep 2) who tries to lose money on a Broadway show, but instead makes a hit out of Springtime For Hitler. He went on to star in two of the writer-director‟s enduringly popular genre parodies: the slapstick western Blazing Saddles (1974—Sep 3) and the gothic horror send-up Young Frankenstein (1974—Sep 3). The other half of the famous 2,000-Year-Old Man duo, Carl Reiner, cast ultra-dry stand-up comic Steve Martin as The Jerk (1979—Sep 5) and reunited with him for the goofy body-swapping fantasies The Man With Two Brains (1983—Sep 7) and All of Me (1984—Sep 7). At the same time that Brooks and Reiner were gleefully reviving lowbrow physical comedy, Woody Allen courted classy leading lady Diane Keaton in his own genre send-ups, of science fiction (Sleeper, 1973—Sep 8) and period epics (Love and Death, 1975— Sep 9)—and then in his rueful, literate odes to the women that got away, Annie Hall (1977—Sep 8) and Manhattan (1979—Sep 9). The disaster-movie spoof Airplane! (1980—Sep 14) fed absurd deadpan lines to a roster of stiff TV actors, but only Leslie Nielsen (“And don‟t call me Shirley”) was reinvented as an unlikely comedy star after the directing team of Zucker, Abrahams, and Zucker cast him as the overconfident idiot cop Frank Drebin in The Naked Gun (1988—Sep 14). Also represented are the other titans of 80s comedy, National Lampoon and SCTV, whose various alumni overlapped in the funniest mainstream movies of the decade. Second City‟s Harold Ramis cast former Saturday Night Live star Chevy Chase as the golf guru in Caddyshack (1980—Sep 16) and then as Clark Griswold, the suburban dad who unravels en route to Walley World in National Lampoon’s Vacation (1983—Sep 16). Droll Bill Murray, Caddyshack‟s gopher- fighting groundskeeper, became the smart-aleck center of director Ivan Reitman‟s comedy-of-destruction hits Stripes (1981—Sep 15) and Ghostbusters (1984-Sep 15), both co-starring and co-written by Ramis. Heavyset Stripes sidekick John Candy went on to star in Planes, Trains, and Automobiles (1987—Sep 10), a raunchy (“those aren‟t pillows!”) but bittersweet odyssey of travel mishaps that was director John Hughes‟ most mature film. Finally, John Landis brings his usual inside gags—and another theme park setting, this time “Wonder World”—to Beverly Hills Cop III (1994—Sep 17), his third collaboration with megastar Eddie Murphy and an unsung masterpiece of early 90s comedies. Press screenings to be announced. For screeners or press information, please contact Gabriele Caroti at 718.724.8024 / [email protected] Lisa Thomas at 718.724.8023 / [email protected] Film Schedule Wed, Aug 8 4:30, 6:50, 9:15pm: The Thin Man Thu, Aug 9 6:50, 9:15pm: My Man Godfrey Fri, Aug 10 2, 6:50pm: Design for Living 4:30, 9:15pm: Trouble in Paradise Sat, Aug 11 2, 6:50pm: Monkey Business 4:30, 9:15pm: Horse Feathers Sun, Aug 12 2, 4:30, 6:50, 9:15pm: The Awful Truth Wed, Aug 15 6:30, 9:15pm: Double Feature: Million Dollar Legs + The Bank Dick Thu, Aug 16 4:30, 8pm: Double Feature: In the Navy + Buck Privates Fri, Aug 17 6:50pm: Sullivan‟s Travels 4:30, 9:15pm: The Palm Beach Story Sat, Aug 18 2, 6:50pm: Bringing Up Baby 4:30, 9:15pm: His Girl Friday Sun, Aug 19 2, 6:50pm: Holiday 4:30, 9:15pm: The Philadelphia Story Wed, Aug 22 4:30, 9:15pm: Pat and Mike 6:50pm: Adam‟s Rib Thu, Aug 23 4:30, 9:15pm: It Should Happen to You 6:50pm: Born Yesterday Fri, Aug 24 2, 6:50pm: The Lemon Drop Kid 4:30, 9:15pm: Son of Paleface Sat, Aug 25 2, 4:30, 6:50, 9:15pm: Some Like it Hot Sun, Aug 26 4:30, 7, 9:30pm: The Apartment Thu, Aug 30 4:30, 9:15pm: Artists and Models 6:50pm: Hollywood or Bust Fri, Aug 31 2, 6:50pm: Operation Mad Ball 4:30, 9:15pm: Bell Book and Candle Sat, Sept 1 2, 6:50pm: A Shot in the Dark 4:30, 9:15pm: The Return of the Pink Panther Sun, Sept 2 2, 6:50pm: The Producers 4:30, 9:15pm: The Party Mon, Sept 3 2, 6:50pm: Blazing Saddles 4:30, 9:15pm: Young Frankenstein Wed, Sept 5 6:50, 9:15pm: The Jerk Fri, Sept 7 2, 6:50pm: All of Me 4:30, 9:15pm: The Man with Two Brains Sat, Sept 8 2, 6:50pm: Annie Hall 4:30, 9:15pm: Sleeper Sun, Sept 9 2, 6:50pm: Manhattan 4:30, 9:15pm: Love and Death Mon, Sept 10 4:30, 6:50, 9:15pm: Planes, Trains, and Automobiles Fri, Sept 14 2, 6:50pm: Airplane! 4:30, 9:15pm: The Naked Gun Sat, Sept 15 2, 6:50pm: Stripes 4:30, 9:15pm: Ghostbusters Sun, Sept 16 2, 6:50pm: Caddyshack 4:30, 9:15pm: National Lampoon‟s Vacation Mon, Sept 17 4:30, 6:50, 9:15pm: Beverly Hills Cop III Film Descriptions All films on 35mm except where noted.
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