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Melbourne Cinémathèque 2016 Screenings

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Melbourne Cinémathèque 2016 Screenings 17 February 24 February 02 March 09 March 16 March MELBOURNE CINÉMATHÈQUE 2016 SCREENINGS Wednesdays from 7pm at ACMI Federation Square, Melbourne* Presented by the Melbourne Cinémathèque and the Australian Centre for the Moving Image. 10 FEB MAR 17 FEB–02 09–23 MAR Curated by the Melbourne Cinémathèque. OPENING01 NIGHT THE PARADE’S02 GONE BY: THE 7:00 THE LEOPARD 7:00 OSSESSIONE 7:00 THE STRANGER BARBARA03 STANWYCK: 7:00 STELLA DALLAS 7:00 DOUBLE INDEMNITY Supported by Screen Australia and Film Victoria. Luchino Visconti Luchino Visconti Luchino Visconti King Vidor Billy Wilder The opening of our 2016 program is WORLD OF LUCHINO VISCONTI (1963) 187 mins PG (1943) 140 mins PG (1967) 104 mins M BALL OF FIRE (1937) 106 mins (1944) 110 mins PG marked by a true treat for cinephiles, MINI MEMBERSHIP Luchino Visconti (1906–1976) is one of A Sicilian aristocrat—Burt Lancaster in Visconti’s directorial debut, illicitly adapting Visconti’s faithful and moody adaptation of Barbara Stanwyck (1907–1990) was a A working-class woman marries a wealthy Wilder’s urgent and brutal tale of adultery, QUE the Australian premiere of a restored Admission to 3 consecutive nights: the towering figures of Italian cinema, a towering and beautifully modulated James M. Cain’s novel The Postman Always Albert Camus’ widely celebrated existentialist/ diminutive figure who nevertheless had society man yet can never fully infiltrate his betrayal and murder is a cynical, witty È 35mm print of Ernst Lubitsch’s first colour Full: $29 / Concession: $24 (GST inclusive) a true giant of postwar neo-realism performance—wistfully reflects on Rings Twice, casts Massimo Girotti and absurdist novel is one of the director’s most a towering presence on screen and off. world, a gulf put into stark relief after the and sleazy noir derived from James M. film, Heaven Can Wait. The film has whose work flowed masterfully across the passing of the old order collapsing Clara Calamai as the doomed lovers with underrated and least seen movies. Marcello Long underrated, Stanwyck’s legendary birth of their daughter (Anne Shirley). Earning Cain’s razor-sharp crime novel, featuring recently been restored by the Academy numerous genres and adaptations. around him. Visconti’s opulent and earthy murder on their minds. The narrative is Mastroianni stars as an almost absent- life and career is the focus of several her a Best Actress Oscar nomination, this a pungent screenplay honed by Raymond ANNUAL MEMBERSHIP Film Archive and 20th Century Fox in While he made relatively few films, his masterwork (breathtakingly shot by the great embryonic film noir, while the style prefigures minded, disengaged murderer who must then recent books, stimulating an ongoing was Stanwyck’s favourite role and it’s easy Chandler (who makes a brief appearance) Admission for 12 months from date of purchase: collaboration with The Film Foundation; accomplishments spanned over three Giuseppe Rotunno) perfectly captures the neo-realism—even if, due to its banning by contemplate his own lack of empathy and interest in her eternally modern style. to see why—beneath the vulgar exterior lies and enhanced by John F. Seitz’s atmospheric, Full: $155 / Concession: $135 (GST inclusive) it comes to Melbourne very soon after decades and maintained an unqualified depth and cogent melancholy of Giuseppe Fascist authorities and copyright difficulties guilt. Visconti deploys an uncharacteristically A consummate professional who valued a vulnerable and tragically self-sacrificing chiaroscuro cinematography and Miklós MATH 10 FEB Opening Night its unveiling at its US premiere in late beauty and formal rigour. Known for his Tomasi di Lampedusa’s widely celebrated in the US, it went largely unseen until both muted stylistic palette and minimalist style good relationships with directors, actors woman. Vidor’s film, based on the novel by Rózsa’s foreboding score. Stanwyck’s slippery É 2015. Please join us downstairs at luscious mise en scène defined by often novel of the Risorgimento. A profound work movements were well-established. But the (brilliantly shot by Giuseppe Rotunno) to and crew members, Stanwyck navigated Olive Higgins Prouty and previously adapted in femme fatale manipulates Fred MacMurray’s FRIENDS OF CINÉMATHÈQUE 01 ACMI Cafe & Bar after the film to Admission for 12 months from date of purchase: epic exteriors, sumptuous interiors, of historical filmmaking, the extended ball operatic sensibility, unfettered emotion and burrow deeply into the ennui and despair of an extremely rewarding Hollywood career the 1920s, is at once a tearjerker and a biting experienced and likeable but naive insurance celebrate the launch of the Melbourne and ornamental detail, his intimate sequence is one of the great “end of an fascination with characters at the mercy of his central character. With Anna Karina. 35mm spanning the pre-Code era, the rise of social critique of a society obsessed with salesman into murdering her husband. Their Full: $280 / Concession: $250 (GST inclusive) 17 FEB– The Parade’s Gone By: Cinémathèque’s 2016 program. control of the frame is apparent not only era” passages in the cinema. The stellar romantic obsession are pure Visconti. 35mm print courtesy of Cinecittà Luce. TV, Westerns, comedies, melodramas class and social climbing. “The picture is all crime is near perfect but, slowly, Edward The Friends of Cinémathèque membership is a way for you 02 MAR The World of Luchino Visconti 02 in his formal compositions, but in the supporting cast includes Terence Hill, Pierre print courtesy of Cinecittà Luce. and films noir. On screen she called Stanwyck’s, and worth seeing for her brassy, G. Robinson’s methodical fraud investigator to support the vitality of the Melbourne Cinémathèque, an independently deployment of both black-and-white and Clémenti and Serge Reggiani as well as the shots, constantly delivering superb touching, all-out performance” (Pauline Kael). unravels their cold-blooded scheme. organised, not-for-profit organisation. In addition to annual membership colour cinematography (often lensed Claudia Cardinale and Alain Delon as the performances illuminated by her you will receive: 09–23 Barbara Stanwyck: by the greats of European cinema), film’s almost impossibly beautiful young expressive face, distinctive voice and • 1 complimentary ticket for an ACMI programmed cinema session MAR Ball of Fire 03 impressive cinematic vistas and potent romantic couple. Score by Nino Rota. 35mm unequalled intuition. Forever in control, • 3 × single passes to bring a friend to a Cinémathèque screening any time in the political allegories. Visconti drew strong print courtesy of Cinecittà Luce. she was the toughest screen goddess calendar year performances from non-professional of the Golden Age, equally adept at • Discounted member prices for ACMI programmed cinema sessions 30 MAR Footage Fetishist: Erich von actors in his early films and worked with comedy and melodrama in a film career • 15% discount at ACMI Cafe & Bar and the ACMI Store Stroheim, Total Filmmaker an impressive slate of stars, both titans of bridging four decades and over 80 films. • Exclusive invitations to cinema events, previews and screenings Part One 04 the Italian film industry and accomplished She worked with some of the leading • Subscription to the ACMI Film Member e-news actors from Hollywood (Marcello directors of her time, including William A. • An ACMI Film Membership card that can be used to scan into Cinémathèque sessions. 06 APR Fassbinder: A Collaboration Mastroianni, Burt Lancaster, Claudia Wellman, Preston Sturges, Douglas Sirk, with the Melbourne Queer Cardinale, Anna Magnani, Alain Delon). Billy Wilder, King Vidor and Frank Capra, Film Festival MEMBERSHIPS AVAILABLE AT: MELBOURNE CIN 05 Born a Milanese nobleman, Visconti after which she successfully moved 2016 SCREENINGS later famously became invested in leftist to television as both an actress and • ACMI Tickets and Information Desk (03 8663 2583) 13 APR– Beautiful Losers: • Online at www.acmi.net.au (booking fees apply for online transactions) 7:00 HEAVEN CAN WAIT politics, and his subsequent love of music, 9:30 BELLISSIMA 8:55 LA TERRA TREMA producer. Her impeccable comic timing, 9:00 THE LADY EVE 9:00 THE STRANGE LOVE 02 MAY Robert Altman’s Ernst Lubitsch theatre and opera infuse his work with Luchino Visconti Luchino Visconti passionate intelligence and devastating Preston Sturges OF MARTHA IVERS * Admission 18+ except where classification is indicated. 06 Panoramic Cinema a deep lyricism. Through multi-layered melodramatic prowess, cements her as * Membership does not ensure admission: Members will only be admitted to cinema (1943) 112 mins G (1952) 108 mins PG (1948) 160 mins G (1941) 97 mins PG Lewis Milestone Lubitsch’s first colour film is a remarkably plots and daring formal complexity A rare early comedy from the great Marxist Emerging from an aborted Italian Communist one of the most consistent and essential This brilliant romantic screwball comedy (1946) 116 mins PG capacity. 04 MAY Footage Fetishist: Erich von gentle and deeply humanistic fantasy Visconti repeatedly explores the depths of aesthete of Italian cinema becomes Visconti’s Party commission to produce a documentary feminist screen icons of her generation. bears all the quintessential hallmarks of In the Midwestern industrial city of Iverstown, Stroheim, Total Filmmaker featuring Don Ameche as an inveterate romance, melancholy, aesthetics and the first great infiltration of operatic swoop into on fishermen in
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