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Home , Alexander Sokurov, A Kind of Loving, Being Julia, Brenda de Banzie, Humphrey Jennings, Look Back in Anger

Film Program Winter 2008 of Art, Washington

Winter Series film From the Archives: 16 at 12 ’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor

Art Films and Events (Photofest) 19 Sat ii March Edward 2:00 England’s New Wave, 1958 – 1964: 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander Sokurov: Alexandra Profit motive and the 16 Sun Sat whispering wind 2 4:00 Event: Silvestre Revueltas: Music for Film 2:00 Art Film: Henri Storck’s Legacy: Radiant City Belgian Films on Art 18 Tues 4:30 Event: Films by Humphrey Jennings 12:00 From the Archives: 16 at 12: The City of Washington The Delaware Project 3 Sun 4:30 England’s New Wave, 1958 – 1964: 22 Sat Garbage Warrior The Loneliness of the Long Distance Runner; 1:00 Event: Profit motive and the whisper- Every Day Except Christmas ing wind 2:30 Event: The Delaware Project; Radiant City Tues 5 4:30 Event: Garbage Warrior January 12:00 From the Archives: 16 at 12: Duke Ellington 4 Fri at the White House 25 Tue 12:00 From the Archives: 16 at 12: Washington, 2:30 Event: Edward II Sat 9 City with a Plan 5 Sat 2:00 Event: Balázs Béla Stúdió, 1961 – 1970 2:00 Event: J. M.W. Turner and Film: 4:30 István Szabó’s 20th Century: The Age of 29 Sat Belson and Brakhage Daydreaming; Koncert 2:00 In Glorious Technicolor: I’ve Always Loved You 4:00 Event: J. M.W. Turner and Film: 10 Sun Margate, Kent 4:30 In Glorious Technicolor: Leave Her 4:00 István Szabó’s 20th Century: Father to Heaven 6 Sun 5:45 István Szabó’s 20th Century: Meeting 4:30 Event: Edward ii Venus 30 Sun 4:30 In Glorious Technicolor: The Barefoot Tues 8 Tues 12 Contessa 12:00 From the Archives: 16 at 12: Dorothea 12:00 From the Archives: 16 at 12: Duke Ellington Lange: Under the Trees; Eugène Atget (1856 – 1927) at the White House J. M.W. Turner (30 minutes) is shown regularly in 11 Fri 16 Sat the West Building Project Room through January 6. 3:30 England’s New Wave, 1958 – 1964: 12:30 István Szabó’s 20th Century: Edward Hopper is shown in the small auditorium Tales of the East Building through January 21. Both films 2:30 István Szabó’s 20th Century: Confidence screen on occasion in the large auditorium (please 12 Sat 4:30 István Szabó’s 20th Century: Taking Sides see the Web site www.nga.gov/programs/film.htm 2:00 England’s New Wave, 1958 – 1964: for times). 17 Sun 4:30 England’s New Wave, 1958 – 1964: 4:00 István Szabó’s 20th Century: Sunshine Films are shown in original format in the East 19 Tues Building Auditorium of the National Gallery at 13 Sun 12:00 From the Archives: 16 at 12: Duke Ellington 4th Street and Constitution Avenue nw. Seating is 5:00 Art Film: The Gates at the White House on a first-come basis. To ensure a seat, please plan to arrive at least ten minutes before showtime. 15 Tues 23 Sat 12:00 From the Archives: 16 at 12: Dorothea 4:00 István Szabó’s 20th Century: Programs are subject to change. For current information, visit our Web site: Lange: Under the Trees; Eugène Atget (1856 – 1927) 24 Sun www.nga.gov/programs/film.htm or call 4:00 István Szabó’s 20th Century: Relatives (202) 842-6799. 26 Tues 12:00 From the Archives: 16 at 12: Duke Ellington at the White House

film

National Gallery of Art, Washington Art, of Gallery National

Winter 2008 Winter Program Film

National Gallery of Art 4th Street and Non-Profit Org. Constitution Avenue nw U.S. Postage Paid Washington, dc Washington, DC Permit # 9712 Mailing address 2000b South Club Drive Landover, md 20785 www.nga.gov

Films are shown in the East Building Auditorium

Cover image from Mephisto (Filmunió)

Film Program Winter 2008 Art Films and Events International Festival of Films on Art Balázs Béla Stúdió, 1961 – 1970 January 26 at 2:00 February 9 at 2:00 January 27 at 4:00 Edward ii The Balázs Béla Stúdió, established in Buda- January 4 at 2:30 The annual International Festival of Films pest in 1959, quickly became a vital center of January 6 at 4:30 on Art in Montreal is the most renowned avant-garde and documentary filmmaking festival devoted to films on fine art, architec- in Central Europe. A selection of short films On a near-shoestring budget, Derek Jarman ture, music, dance, and cinema. The Gallery from the first decade of thebbs will be pre- transformed Christopher Marlowe’s Elizabe- salutes this festival on the occasion of its sented in conjunction with the retrospective than play into a tour de force for the screen, twenty-fifth year in a two-day program pre- honoring Hungarian director István Szabó. supplying his own provocative reading of senting award-winning films from the 2007 (digital beta from 35 mm originals, Hungar- Marlowe’s text and imaginative staging. Argu- event. On Saturday, January 26, selections ian with subtitles, approximately 60 minutes) ably the filmmaker’s best film,Edward ii is include Car-men, a short dance interpreta- now difficult to see in its theatrical release tion of the opera by Czech choreographer version. (Derek Jarman, 1991, digital beta, Max Linder Ciné-Concert Jirí Kylián (28 minutes); The Giant Buddhas, a 90 minutes) Presented in association with the World premiere of score by Gabriel feature-length documentary on the Bamiyan Shakespeare Theater Company’s stage production Thibaudeau with Octuor de Buddhas destroyed by the Taliban in 2001 of Edward ii at the Harman Center for the Arts. March 8 at 3:00 (95 minutes); and Yves Klein, La Révolution Bleue, a portrait of the innovative artist (52 minutes). French comic Max Linder (1883 – 1925) was J. M.W. Turner and Film: Belson and Brakhage On Sunday, January 27, selections include perhaps the first true “character” to appear in January 5 at 2:00 Citizen Lambert: Joan of Architecture, a glimpse the movies. A debonair ladies’ man and bon into the world of Canadian architectural his- vivant forever getting into trouble on screen, The first segment of a two-part program torian and urban activist Phyllis Bronfman Linder directed, wrote, and starred in nearly explores J. M.W. Turner’s influence on con- Lambert (52 minutes); The Art of Henry Moore, two hundred delightfully amusing shorts temporary experimental filmmakers Jordan a new biographical survey with archival before . Not only was he adored Belson and Stan Brakhage, both of whom recordings and rare footage from the Henry by audiences, but called him have acknowledged the artist as an inspira- Moore Foundation (60 minutes); and selec- an inspiration. This program features six tion. The titles selected for the program are tions from Andy Warhol: A films from the collection of Cinémathèque masterful interpretations of Turner’s light, (120 minutes). Québécois, including Max se trompe d’étage echoing the spiritual quality of his compo- (1910), Max en convalescence (1911), Max veut sitions. Light (Jordan Belson, 1974, 16 mm, grandir (1912), Max n’aime pas les chats (1913), 8 minutes) will be followed by Text of Light Henri Storck’s Legacy: Belgian Films on Art and Max à Monaco (1913). (total running time (Stan Brakhage, 1974, 16 mm, 71 minutes) February 2 at 2:00 70 minutes) and The Lost Films (Stan Brakhage, 1995, Belgian filmmaker Henri Storck devoted A new musical score composed by 16 mm, 45 minutes). much of his life to the celebration and Gabriel Thibaudeau is performed here by the conservation of films on art, notably as the renowned Parisan ensemble Octuor de France J. M.W. Turner and Film: Margate, Kent founder of the Centre du Film sur l’Art in under the direction of Mr. Thibaudeau. Last Resort 1980. This program honors Storck’s vision as preceded by and other shorts filmmaker and advocate for a of film Silvestre Revueltas: Music for Film January 5 at 4:00 that has played a significant role in Belgian Redes (The Wave) production over the years. Storck’s short The second part of the Turner program covers also ¡Vámonos con Pancho Villa! filmsLe monde de Paul Delvaux (1946) and Paul filmic depictions of the British coastal town March 16 at 4:00 Delvaux ou les femmes défendues (1969/1970) are of Margate, Kent — a landscape Turner often followed by more recent titles from Belgium Cinematography by Paul Strand and music painted (Margate’s skies, he said, are “the that demonstrate the diverse ways the genre by Silvestre Revueltas synchronize to create loveliest in all Europe”). These films capture of films on art has been explored. Films on the raw political power of Redes, a dramatiza- a notably bleaker twentieth-century world. Belgian artists Philippe Vandenberg, Carsten tion of Mexican fishermen on strike in the Last Resort portrays present-day Margate Höller, and Panamarenko, as well as Thierry village of Alvarado. The film is presented in as an eerily desolate backdrop for its somber Knauff’s new filmSolo that poetically cap- conjunction with Two Faces of Mexican Music: narrative. An illegal refugee from and tures a well-known dancer, constitute the Carlos Chávez and Silvestre Revueltas Revisited, her young son get caught in the impossible selection. Philip Mosley, professor of English, co-sponsored by the Library of Congress immigration procedures of their new dream communications, and comparative literature Music Division, the Mexican Cultural Insti- homeland despite help from a charming at Pennsylvania State University, introduces tute, Filmoteca unam, and the Mexican local. (Pawel Pawlikowski, 2000, digital beta, the program. Ministry of Culture. (Paul Strand and Fred 75 minutes) Zinnemann, 1936, 35 mm, 60 minutes) shot his classic short Revueltas’s music also enlivens the revo- O Dreamland in Margate’s tawdry postwar England’s Finest Hour: Films by lutionary spirit of ¡Vámonos con Pancho Villa!, a amusement park. (1953, 35 mm, 12 minutes) Humphrey Jennings story of six intrepid rancheros who join the A selection of promotional shorts culled February 2 at 4:30 army of their hero Pancho Villa to help the from Britain’s Screen Archive South East Lindsay Anderson’s description of Humphrey Mexican cause, only to be led off course. (Fer- presents nostalgic views of Margate from Jennings as “the only real poet of the British nando de Fuentes, 1936, 35 mm, Spanish with its heyday as a tourist center in the 1920s cinema” seems exactly right for this film- subtitles, 92 minutes) to the 1960s and 1970s, as it began to fade. maker who began as a documentarist, created (1920 – 1973, 25 minutes) lyrical movies about the working classes in Profit motive and the whispering wind wartime , joined the surrealist move- March 22 at 1:00 The Gates ment, and died tragically while scouting for Christo and Jeanne-Claude in person locations. Approaching each new work as an A poetic yet nearly wordless essay on the January 13 at 5:00 experiment, Jennings ultimately had a pro- history of the progressive movement in found impact on Britain’s move- America, Profit motive and the whispering wind The Gates is an hbo documentary that fol- ment and the New Wave. The four films in was shot across the continental United lows Christo and Jeanne-Claude’s decades this program — restored 35 mm prints from States among the historical vestiges of the long struggle to launch their groundbreaking the archive and the movement — tombstones, monuments, and public work of art in Central Park in 2005. Imperial War Museum — are modest in con- forgotten landscapes now in the shadow of Christo and Jeanne-Claude will be on hand cept but powerful and intricate in execution. highways and malls. Mother Jones, Susan to discuss the film following the Gallery’s The program, introduced by historian Philip B. Anthony, and Eugene Debs, along with screening. (Antonio Ferrera, Albert and David Mosley, includes Spare Time (1939, 15 minutes), lesser known proponents of the movement, Maysles, and Matthew Prinzing, 2007, high Words for Battle (1941, 8 minutes), The Silent materialize in the “spirit of place . . . the trees definition, 98 minutes) Village (1943, 36 minutes), and and meadows and blown light of the great (1942, 20 minutes). American landscape.” — Gareth Evans. (John Gianvito, 2007, digital beta, 60 minutes) Radiant City The City of Washington Room at the Top preceded by The Delaware Project March 4 and 18 at 12:00 January 12 at 4:30 March 22 at 2:30 The U. S. Treasury Department produced this Working-class born and bred Laurence Harvey “‘In some ways a suburban city can be under- unusual early film on the history of Washing- sets his sights on the boss’s daughter and stood as an intolerant city.’ If that loaded quo- ton’s plan and presented it to the President, a her social milieu but finds himself diverted tation from the Calgary-based architect Marc joint session of Congress, and the American instead by mature and earthy Boutin doesn’t tell you exactly where Radiant Institute of Architects in April 1929. (1929, (in an Oscar-winning performance for her). City stands on the issue of suburban sprawl, 16 mm, silent, 25 minutes) Bradford writer ’s 1957 angry the filmmakers have plenty more just like it young man novel was a piquant account of in this acerbic position paper on the cultural northern small town life with its fixations Washington, City with a Plan damage done by postwar architectural fads on money and class. “Harvey’s Joe Lamp- March 11 and 25 at 12:00 that lured buyers by promising huge amounts ton,” wrote one critic, “is right up there of space and no obligation to care about what Produced with the cooperation of the with the great social climbers of literature happened beyond the property line.” — Matt National Gallery of Art on the occasion of the and film . . . adrift in an alien world of the Zoller Seitz, Times. (Gary Burns and National Capital Sesquicentennial, this film moneyed.” (Jack Clayton, 1958, 35 mm, Jim Brown, 2006, 35 mm, 85 minutes) continues the story of planning for the fed- 117 minutes) The Delaware Project is a tone poem on a eral city twenty years after The City of Washing- young woman’s sense of disconnection in ton. It highlights the soon-to-be constructed A Kind of Loving a landscape undergoing rapid development. Federal Triangle, using new footage of the January 19 at 2:00 (Melanie Shatzky and Brian Cassidy, 2006, city interspersed with existing historical digital beta, 14 minutes) Both films are presented material from the earlier film. (1950, 16 mm, Up-and-coming Lancashire factory drafts- in association with the Environmental Film Festival. 25 minutes) man finds diversion with sweet, chatty typist-down-the-hall June Ritchie, but she is only after a wedding band. John Garbage Warrior Schlesinger’s feature debut boasts striking March 22 at 4:30 North Country photography, brisk salty dia- More than three decades ago American archi- England’s New Wave, logue, and an unforgettable turn by Thora tect Michael Reynolds conceived a project to Hird as Ritchie’s meddlesome mother. (John design and build sustainable architecture 1958 – 1964 Schlesinger, 1962, 35 mm, 112 minutes) from the scraps and waste of civilized society. Whether utopian idealist or eccentric crack- As the 1950s drew to a close, British cinema This Sporting Life pot, he held firmly to his notion that this sort exploded with new energy as a cluster of January 19 at 4:30 of housing can alter the way society views young filmmakers — Lindsay Anderson, , Karel Reisz, John Schlesinger, itself in an age of ecological instability. Shot “A reminder that something really was stirring and others — burst onto the scene from in the U.S., India, and Mexico, Garbage War- in those days of the . . . . This theater and television, tackling groundbreak- rior documents Reynolds arduous process of adaptation of ’s novel flaunts ing material from young new writers (John introducing his ideas to a less than accom- pubs, tenements, and North Country accents, Osborne, Shelagh Delaney, , modating community. (Oliver Hodge, 2007, but also real intelligence in its use of rugby and ) with whom they shared a 35 mm, 86 minutes) Presented in association league football as a sidelong metaphor for sense of disillusionment. These “angry young with the Environmental Film Festival. the rat race, and real passion behind the men” molded their scripts to match the skills tormented affair between ’s of powerful performers — such as Tom Cour- inarticulately demanding miner/footballer tenay, , Rita Tushingham, Alan and his dowdily uncomprehending landlady Bates, Richard Harris, and Lynn and Vanessa ” — Tom Milne. (Lindsay Redgrave — who portrayed tough working- From the Archives: 16 at 12 Anderson, 1963, 35 mm, 130 minutes) class types with passion, trampling taboos and repressed stereotypes. “We didn’t always Tuesdays at noon will feature unusual his- comprehend just why Britain’s angry young Saturday Night and Sunday Morning torical films in 16 mm from the National men were so angry,” noted film historian also The Angry Silence Gallery’s film department, including artists’ William K. Everson, “[but] their anger was January 20 at 4:30 portraits and exceptional educational films prophetic and their frustration well founded.” on topics from prehistory to the present. “‘Whatever people say I am, that’s what I’m This series recaps this intense period in eight Now considered an endangered format, these not.’ Thus spoke Arthur Seaton (Albert features and one short. 16 mm prints are sometimes unique copies. Finney), angry young man of Nottingham, factory worker by day, boozer by night, on- The Entertainer going gambler, careless lover, and philoso- Dorothea Lange: Under the Trees January 11 at 3:30 pher. Arthur is nourished by mischief — preceded by Eugène Atget (1856 – 1927) joking at the pub or mocking his parents January 8, 15, 22, and 29 at 12:00 was strictly a classical whom he calls ‘dead from the neck up.’ But until he became ’s failed Dorothea Lange: Under the Trees focuses on the Arthur’s anarchy is neither glorified nor hor- song-and-dance man Archie Rice — “the photographer and her personal philosophy rified under Karel Reisz’s direction (script by most wonderful part I’ve ever played.” While vis-à-vis her work. (Philip Greene and Rich- Alan Sillitoe), which consistently strives for all performances in the film are remark- ard Moore, 1965, 16 mm, 30 minutes) authenticity and intelligence” — Judy Bloch. able, from to Roger Livesey In the preceding short Eugène Atget (Karel Reisz, 1960, 35 mm, 89 minutes) to , Olivier manages to per- (1856 – 1927), fin du siècle is presented in “If people can’t be different . . . there’s no sonify deep pathos, his seedy music-hall sur- the alluring photographs of the French pho- point at all,” exclaims factory worker Richard roundings standing in for England’s loss of tographer, accompanied by Eric Satie’s music. Attenborough in The Angry Silence. With wife imperial self-esteem. “That’s right, chaps, we (Harold Becker, 1964, 16 mm, 10 minutes) expecting, he refuses to join an must remember we’re British!” (Tony Rich- unauthorized strike, provoking brutal back- ardson, 1960, 35 mm, 97 minutes) lash from his mates and employers. Still con- Duke Ellington at the White House troversial for its depiction of organized labor February 5, 12, 19, and 26 at 12:00 Look Back in Anger as a thuggish, mindless collective, the film Washington native Duke Ellington observes January 12 at 2:00 was “a welcome addition to the new cinema his seventieth birthday at a White House of realism,” wrote critic George Perry. (Guy Set in the cramped working-class midlands party hosted by Pat and Richard Nixon. This Green, 1960, 35 mm, 95 minutes) flat of one Jimmy Porter, John Osborne’s rare screening is part of Black History Month seminal 1956 play was the inspiration for the celebrations. (United States Information first of the new wave of revolutionary British The Loneliness of the Long Distance Runner Agency, 1969, 16 mm, 18 minutes) realist films of the 1950s. is preceded by Every Day Except Christmas Porter, raging and rebelling against society’s February 3 at 4:30 hypocrisy but unleashing most of his frustra- Alan Sillitoe was a regional working-class tions on his long-suffering wife. Together writer whose stories were fodder for the Brit- with John Osborne’s stage version, Look Back ish new wave. In his The Loneliness of the Long in Anger came to represent a new vision in Distance Runner, Colin Smith (), British theater and film. (Tony Richardson, growing up with a dying father and merciless 1959, 35 mm, 98 minutes) as husband and wife in order to protect their real-life spouses, and themselves, from the Nazis. Beautifully exploring the notion of trust between the main characters, the film uses light “so steadily as a measure of the couple’s moods,” notes one critic, “that it nearly becomes a third presence in this two- character drama.” Szabó received the Silver Bear Award in upon the international release of the film. (István Szabó, 1979, 35 mm, Hungarian with subtitles, 101 minutes)

Taking Sides February 16 at 4:30 With controversial German composer and conductor Wilhelm Furtwängler as the focus, Taking Sides returns to the theme of politi- cized art in Nazi Germany that was so skill- fully explored earlier by Szabó in Mephisto (1981, see next page). ’s eponymous 1995 play, on which Taking Sides is based, recounts the fictional investigation of Furtwängler (Stellan Skarsgard) by an Ameri- can officer (Harvey Keitel) who is shipped The Loneliness of the Long Distance Runner (Photofest) to post-World War ii Germany to examine the conductor’s ties with the Nazi regime. mother, is sent to reformatory where obses- Father Besides well-placed archival documentary sive warden Michael Redgrave sees potential February 10 at 4:00 footage, the film’s strength lies in the force- in Colin’s competitive running. “The general Containing autobiographical elements ful rendition of the confrontation between thrust is that Britain provides no sustenance (Szabó grew up fatherless), the film focuses the two men. (István Szabó, 2001, 35 mm, for the working class soul” — Brian Case. on the theme of personal loss in the context Hungarian with subtitles, 105 minutes) (Tony Richardson, 1962, 35 mm, 103 minutes) of recent Hungarian history as it centers on Lindsay Anderson’s Every Day Except Christ- the story of Bence Takó, a boy who lost his mas catches the flavor and fuss of London’s Sunshine father during the siege of Budapest in 1945. market and allows “ordinary February 17 at 4:00 With the help of some treasured personal people,” said Anderson, “to feel their dignity belongings, the boy gradually builds up fic- Sunshine ambitiously chronicles the history and importance.” (1957, 35 mm, 37 minutes) tional roles for his father, depicting him as of twentieth century Central Europe through a pivotal figure in recent historic events. As three generations of men in a wealthy Hun- Bence matures, he realizes that the myths he garian Jewish family. Subsequently living has created increasingly get in the way of his through the upheavals of world wars and dic- own development. (István Szabó, 1966, 35 tatorships, the dynasty’s rise and fall closely István Szabó’s 20th Century mm, Hungarian with subtitles, 96 minutes) intertwines with the broader context of world history. Ralph Fiennes portrays the son, Honoring the commanding career of Hungar- grandson, and great-grandson of Emmanuel ian filmmaker István Szabó on the occasion Sonnenschein, the patriarch with whom this of his seventieth birthday, this retrospective February 10 at 5:45 epic journey begins at the turn of the last cen- explores the diverse directions his films A delightful backstage drama set against a tury. (István Szabó, 1999, 35 mm, Hungarian have taken over the decades since the 1960s. huge international production of Wagner’s with subtitles, 180 minutes) While Szabó has explored various forms of Tannhauser at the Paris opera, Meeting Venus filmic representation, the most characteristic explores with a touch of the impact that aspects of his cinema remain rooted in the Being Julia interpersonal relationships can have on a col- fate of twentieth-century Central Europe. February 23 at 4:00 lective performance. “By the time of the film’s His narratives appear as recurring explora- stirring ending,” notes Janet Maslin, “it’s clear Based on W. Somerset Maugham’s 1937 novel tions of the influence of history on individual that each incident, no matter how small, has Theater, Being Julia explores the emotional and lives and interpersonal relationships. The played a role in shaping an opening night’s professional crises and triumphs of the cele- retrospective includes the director’s most triumph.” (István Szabó, 1991, 35 mm, Hun- brated British stage actress Julia Lambert. widely acclaimed work alongside a number garian with subtitles, 119 minutes) Nearing middle age, she falls for the charms of rarely seen early productions. Mr. Szabó of a young American, ignoring the conse- will be present on the concluding weekend quences the torrid affair might have on her of the series (March 1 – 2) to introduce the Budapest Tales career and marriage. As she slowly discovers programs. Special thanks to the Embassy of preceded by a selection of Budapest shorts her lover’s true intentions, however, she plots Hungary and to Filmunió, Budapest. February 16 at 12:30 revenge. ’s tour de force perfor- The imagery of post-1945 Budapest is mance as the aging Julia and cinematographer The Age of Daydreaming explored in the allegorical tale of an aban- ’s elegant rendition of 1930s Lon- preceded by Koncert doned and derailed tram discovered by a don are electrifying. (István Szabó, 2004, 35 February 9 at 4:30 group of people in the countryside. They mm, Hungarian with subtitles, 104 minutes) decide to put the vehicle back on track and Freshly graduated from college, Jancsi and push it to safety in the capital’s depot. The his friends eagerly anticipate the launch Relatives symbolic journey takes the tram’s passengers of their careers and their new role in the February 24 at 4:00 through the most recent events of Hungarian grown-up world. Soon confronted, however, history, while confronting certain individuals For his most recent film, István Szabó with bureaucracy, disillusionment, and the along the way. A selection of István Szabó’s returned to a story from his homeland self-centered priorities of adult life, Jancsi short films on Budapest introduces the fea- after a hiatus of over a decade. Following a steadily sees his youthful illusions disinte- ture. (István Szabó, 1976, 35 mm, Hungarian predecessor’s scandalous demise, a naïve grate. An explicit ode to the French New Wave, with subtitles, 84 minutes) civil servant is given the title attorney general this early film already explores a number of in a small community near Budapest. In no highly personal themes that mark Szabó’s time, requests for special favors mount up, as subsequent work. The Age of Daydreaming was Confidence nearly everyone in town claims to be a distant the director’s first feature and won the Silver February 16 at 2:30 relative. Szabó turned to a novel by celebrated Sail Award at the Locarno Film Festival in Set in Hungary during the final months of Hungarian writer Zsigmond Móricz who, ac- 1965 where it was first shown to an interna- World War ii, Confidence takes up the story of cording to the director, offers “a precise and tional audience. (István Szabó, 1964, 35 mm, two fugitives who reluctantly agree to pose profound presentation of interpersonal rela- Hungarian with subtitles, 93 minutes) The tions in Hungary . . . that flawlessly conveys director’s early short Koncert precedes the feature. the tribal attitudes still driving the country to Alexander Sokurov portrays is a tribute to her legacy. The film is this day.” (István Szabó, 2006, 35 mm, Hun- one of his most affecting to date” — Dimitri garian with subtitles, 110 minutes) Eipides. (Alexander Sokurov, 2007, 35 mm, Russian director Alexander Sokurov (b. 1951) Russian with subtitles, 92 minutes) combines a poetic cinematic language with Mephisto images that are hauntingly beautiful. His István Szabó in person subjects are engaging, even mysterious, and March 1 at 2:00 “we need to uncover their secrets,” writes critic Tony Rayns. Three new films by this Szabó’s masterwork about a self-deceiving, Russian director, considered the spiritual In Glorious Technicolor narcissistic artist who rationalizes his moral heir to (1932 – 1986), compromises for the sake of personal success, include two Washington premieres. The celebrated color process known as Tech- Mephisto features Klaus Maria Brandauer as nicolor, once the most widely used motion- the actor who, under protection from a Nazi picture process in Hollywood movies, is party member, leaves behind his left-wing The Sun (Solntse) recaptured in these recently restored prints theater roots and becomes a celebrated per- Washington premiere from two major film archives. The unique former in an Aryan production of Goethe’s March 9 at 4:30 three-strip technique employed from the Faust. Despite the evident symbolic links A carefully modulated account of several 1930s through the 1950s enhances melodra- between the play and the film, Szabó “happily extraordinary days in the life of Emperor matic plots and mesmeric emotions in these refuses to overstress the Faustian parallels — following the bombings of Hiro- lavish films, while supporting their uniquely of the perverse power-pact between the cul- shima and Nagasaki — is Sokurov’s theme rich visual style. tural icon and his Goebbels-like puppeteer,” in The Sun. This director’s third entry in an notes Paul Taylor. (István Szabó, 1981, 35 mm, ongoing series about the fall of powerful Hungarian with subtitles, 139 minutes) István I’ve Always Loved You autocrats, The Sun, unlike the others in the Szabó will introduce the film. March 29 at 2:00 series, is guardedly sympathetic in its por- trayal of a man sequestered within his own I’ve Always Loved You is an unusual Republic Film production, an over-the-top melo- Colonel Redl palace, tinkering with his hobbies before dramatic tale of love between a tyrannical István Szabó in person he sets in motion Japan’s surrender. “[He conductor and his talented young pianist March 1 at 4:30 appears] more like a Japanese Chauncey Gar- diner than a descendent of the sun goddess protégée. Cinematographer Tony Gaudio’s Set against the atmosphere of a crumbling Amaterasu” — Andrew Grant. (Alexander striking use of Technicolor, as well as the Austro-Hungarian empire, Colonel Redl (Klaus Sokurov, 2005, 35 mm, Japanese with sub- inserts of Arthur Rubenstein’s virtuoso play- Maria Brandauer) probes the character of a titles, 115 minutes) ing (dubbing the onscreen piano sequences), man who rises from his Ruthenian working support an “orgy of sentimental, chromatic class roots to become a notorious colonel effects that fearlessly mix the improbable and spy for the Hapsburg army. Relinquish- Elegy of Life: Rostropovich Vishnevskaya and the sublime, the ridiculous and the inge- ing racial, sexual, and social identity, Redl’s March 15 at 2:30 nious, lightened by a touch of irony” — Hervé submissive nature, paired with ambition, The subject of Sokurov’s documentary is one Dumont. (Frank Borzage, 1946, 35 mm, becomes the driving force of his existence. of the most colorful and beloved husband- 117 minutes) Print from ucla Film and Televi- His true nature is exposed again only in the and-wife teams, and sion Archive final dramatic moments. (István Szabó, 1984, (both 79 when these 35 mm, Hungarian with subtitles, 149 min- interviews were carried out at the time of utes) István Szabó will introduce the film. Leave Her to Heaven their fiftieth wedding anniversary). She, a March 29 at 4:30 legendary soprano, and he, a renowed cellist- Gene Tierny’s beautiful yet destructively Hanussen conductor, reminisce on their working meth- possessive character is at the center of this István Szabó in person ods, their life together, and the cruel ironies melodramatic noir-ish masterpiece in which March 2 at 4:30 fate bestowed on them. Archival footage and concert sequences provide more details. each act of transgression is magnificently rendered by legendary cinematographer Leon While recovering from a wound after World (Alexander Sokurov, 2006, Russian with sub- Shamroy. As David Thomson remarks, “[The] War i, Austrian soldier Klaus Schneider dis- titles, 100 minutes) scenes in which Tierney allows her child covers his impressive talents as a clairvoyant. brother-in-law to drown and coldly throws Deciding to market his gift in the show busi- Alexandra herself downstairs to abort her baby, and the ness milieu frequented by the decadent post- Washington premiere moment when, on horseback, she scatters her war elite, he gains increasing fame in March 15 at 4:30 father’s ashes, reveal Stahl as a thrilling artist and Berlin under the stage name Hanussen. in the cause of self-destructive Technicolor Despite his apolitical stance, his predictions “Sokurov’s new film is a characteristically emotionalism.” (John M. Stahl, 1945, 35 mm, and powers inevitably lead him to associate beautifiul and elemental tale of a grand- 110 minutes) Print from the Academy Film Archive with the National Socialist rule. This final mother (Galina Vishnevskaya) traveling to segment of Szabó’s informal trilogy (with Grozny to visit her twenty-seven-year-old Mephisto and Colonel Redl) is another striking grandson, a Russian army captain posted in The Barefoot Contessa collaboration between Szabó, actor Klaus Chechnya whom she has not seen in seven March 30 at 4:30 Maria Brandauer, and cinematographer Lajos years. As one might expect from a director Koltai. (István Szabó, 1984, 35 mm, Hungar- with metaphysical tendencies, Sokurov’s sub- A film à clef tells the tale of an untamed ian with subtitles, 130 minutes) ject is not only Chechnya but every war . . . and Spanish flamenco dancer transformed by Alexandra is Sokurov’s love letter to Vishnevs- American movie executives into a Hollywood kaya — the iconic, commanding character she star. The title’s contessa (Ava Gardner) was allegedly inspired by the life of Rita Hay- worth. Gardner’s stunning looks, “made for Technicolor,” were rendered unforgettable by British cinematographer Jack Cardiff, a true pioneer of color cinematography and the Technicolor technique. (Joseph L. Mankie- wicz, 1954, 35 mm, 128 minutes) Print from ucla Film and Television Archive

Alexandra (CinemaGuild)