DOCSLIB.ORG

Crosscuts: Brief DVD Reviews

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Crosscuts: Brief DVD Reviews NAR ■ Maigret And the St. Fiacre Case (1959), various hangers-on await the arrival of Kino Classics, 2017, 106 mins, $23.95 Crosscuts their connection, Cowboy, and a fix of • French superstar Jean Gabin takes a BRIEF DVD REVIEWS heroin. At times, they talk directly to the wonderful turn in this second adapta- camera, pulling us into their existences. tion of Georges Simenon’s mystery GRANT TRACEY Added to the ensemble is Jim Dunn series. Gabin’s Inspector Jules Maigret (William Redfield), a documentary film- seeks comforts: food, warm fires to stand maker who exploits the group for his by, a pint of ale, puffs off his pipe. He’s own artistic ends, even agreeing to pay quiet, soft-spoken, observant and yet, for their fixes so that he can keep rolling passionate. This case is personal. Maigret film. He barks out, “be natural, be natu- returns to his countryside hometown to ral,” but he attempts to guide their con- investigate a foreboding letter received versations, creating an overdetermined by an elderly countess, a woman the narrative that he envisions. Knowing young Maigret had a crush on when he nothing about junkie life, he’s eventually was twelve. When she dies, in a church lured into his own fiction, taking his first sanctuary of a heart attack, he suspects hit of H to experience the experience. foul play. Director Jean Delannoy often The result: he loses focus, his cinéma- films Maigret with outdoor tracking vérité lens no longer zeroing in on the shots, capturing his literal and figura- lives of the people in the room, but on a tive commitment to pursuing the case rolling Hula-Hoop, a cracked window, and uncovering the crime. The finale, a bug climbing the wall. Clarke’s film is involving all the suspects gathered in the actually based on an off-Broadway play, dining room of the countess’s chateau, is written by Jack Gelber, complete with explosive. the original run’s ensemble, including OBIE winner Warren Finnerty, who is The Fortune Cookie (1965), Twilight fantastic as Leach (dig the name, cats, Time, 2017, 126 mins, $29.95 • A TV and its symbolic ramifications: he lives cameraman (Harry Hinkle) feigns a ley Kramer delivers a hard-hitting tale off the misery of others, getting free fixes back injury to collect on an insurance of dedication and unrequited love. Lucas for offering them a place to get theirs). scam. Jack Lemmon is the nebbish, a Marsh (Robert Mitchum), an arrogant, Finnerty is crude, narcissistic, but also decent guy caught up in the scheming driven medical student, will do anything capable of profound moments of exis- designs of his amoral brother-in-law, to become a doctor, including marrying tential insight. Hard-bop cool oozes out Whiplash Willie (Walther Matthau). a woman [Kristina Hedvigson (Olivia of every frame of this film. A real curio. The ambulance-chasing lawyer is played de Havilland)] he likes but doesn’t love with sarcastic aplomb, as Matthau to acquire her financial backing. After Opera (1987), Scorpion, 2018, 107 mins, draws out many of his utterances with a setting up practice in a small town, $15.39 • Confession: I don’t dig hor- sing-songy obnoxiousness that shows, Lucas eventually comes to grips with his ror films, but I love visual style, so cats hey, it’s his world, he’s driving the main own imperfections. Olivia de Havilland, like Dario Argento grab me with their melody. Hinkle agrees to participate, partially reprising her role from another audacity. Argento’s edits are action- because it appears by doing so he’ll win film about unequal distributions of love, to-action, and his gaillo has constant back his ex-wife, but when he sees the The Heiress (1949), represents the film’s movement: fast-flowing tracking shots, adverse effects his play-acting has on moral center: she’s gentle, kind, and jerky hand-held sequences, and swoop- the football player (Ron Rich as Luther loves Lucas deeply. When Kristina can’t ing subjective point-of-views from, yes, “Boom Boom” Jackson) who “injured” tell Lucas that she’s pregnant, we feel her ravens. The colors pop off the screen. The him, Hinkle has second thoughts. hurt, identify with her, and wonder if plot: a young opera singer Betty (Chris- Matthau and Lemmon are wonderfully Lucas will ever come to really appreciate tian Marscillach) takes over the part of counterpointed in this hard-boiled Billy and love her. Sudsy. Grab the Kleenex. Lady M in Verdi’s Macbeth and suddenly Wilder film and what emerges out of the Compelling. some crazed fan is killing off her friends, entanglements of their innocence and forcing her to watch, needles gating her fraudulence is a sentimental (and I mean The Connection (1961), Milestone, 2015, eyes open, so she can’t even blink. Is a that in a good way) final set piece that 110 mins, $39.95 • Shirley Clarke’s recurring childhood nightmare really a rivals Michael Curtiz’s Casablanca. avant-garde film blurs the boundar- repressed, memory flashback, holding ies between fiction and cinéma-vérité the key to solving the brutal murders? Not as a Stranger (1955), Kino Lorber, documentaries. Set in a grungy NYC Full-throttle thriller from the maestro, 2018, 135 mins, $29.95 • Director Stan- apartment, a jazz quartet, junkies, and dripping with psychological nuances. ☐ 46 NORTH AMERICAN REVIEW Spring 2018.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • J^Slirn Scenes Are Completely Unre- 40
    am ________ status Perelman said: “Frankly,l ! major in playwright-! THE EVENING STAR problems ernet Maugham about cutting.! 120 ot hFr prettleat bonnet* a* Monday, If beautiful young girls to! A-16 Washington, 0. C, April 27, 1957 were mg, because authors are Maugham said: "My model* and (Ift* to mil- go my 1 reluct- rule is—if Soviet Into Cartier's and use ant to alter a word of their you . Paul Ford will freely—it have to think about it, cut liner* re- name would be ut- masterpieces. One veteran al- it.- place David Burn* a* the May- *¦> terly meaningless.” ways ** * * I . j consoled himself: “That or in “The Music Man” . THE PASSING SHOW * * k ** which is cut can't be hissed Sally Victor is leaving for When Sol Hurok, the impre- Ernie Kovars, who never tried at." Garson Kanin asked Som- Russia ' next month. She's taking See LYONS DEN, Pace A-11 bringing a coal to Newcastle, I 1 Gabin at Marseille did bring 800 Havana cigars to m Cuba. Kovacs. who went there for a role in "Our Man in Ha- vana.” convinced the Customs A Waste of, Talent officials that he invariably car- By HARRY MarARTHUR ries this hoard with him goes •Ur aud Writer wherever he .... Gene The waste of talent Is not a caprice of the Hollywood movie Fowler's memoirs of the '2os mills alone. It can happen elsewhere, too. It happens In fact, will be titled "Skyline” .... to no leas an actor than France's Jean Gabin in “The House on Among the 100 speaking roles in "John Paul Jones” two of the Waterfront.” the week end's new arrival at the Plaza are Films More Than Routine Merit DRIVE-IN Theater.
    [Show full text]
  • Photography and Cinema
    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
    [Show full text]
  • CANNES 2014 Press Report
    CANNES 2014 THE BLUE ROOM by Mathieu Amalric Press report Quotes Selected Reviews Trades reviews Positive reviews Interviews Press & Twitter reactions Quotes “Mathieu Amalric has simultaneously carved out a career as an accomplished filmmaker with a handful of features that are as idiosyncratic as they are intriguing” THE HOLLYWOOD REPORTER “Based on the Georges Simenon novel, this brilliantly controlled movie tracks a love affair gone wrong with wit, heat, cool and economy. Each edit is as sharp as the blade of a guillotine, and as unforgiving” THE NEW YORK TIMES “Cannes favourite - and former Bond villain - Mathieu Amalric follows the success of burlesque On Tour with a slightly anti-climatic adult crime drama based on a Georges Simenon book” THE GUARDIAN “Novel The Blue Room, which director-star Mathieu Amalric has made into a film that is splendidly taut, forcefully understated and, at just 76 minutes, blessedly concise. It earns admiration both for the mood it creates and for the melodramatic excesses it avoids” TIME Selected Reviews Trades reviews THE HOLLYWOOD REPORTER - POSITIVE review by Jordan Mintzer http://www.hollywoodreporter.com/review/blue-room-la-chambre-bleue- 699849 SCREEN INTERNATIONAL – POSITIVE review by Jonathan Romney http://www.screendaily.com/reviews/the-latest/the-blue- room/5071933.article Selected Reviews Positive reviews HUFFINGTON POST (USA) - P0SITIVE review (+ interview of Mathieu Amalric) by Karin Badt http://www.huffingtonpost.com/karin-badt/mathieu-amalrics-the- blue_b_5343442.html INDIEWIRE (USA)
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Vorwort 7 // Muhammad Ali 11// Woody Allen 12 // Romeo Allegria
    Vorwort 7 // Muhammad Ali 11// Woody Allen 12 // Romeo Allegria 15 // Arletty 17 // Uri Avnery 18 // Charles Aznavour 19 // Barbara 23 // Josephine Baker 25 // Brigitte Bardot 27 // Natalie Clifford Barney 29 // Sylvia Beach 30 // Jean-Paul Beimondo 31 // Ingrid Bergman 33 // Alain Bernardin 34 // Marlon Brando 38 // Thomas Brasch 40 // Jacques Brei 42 // Charles Bukowski 44 // Louis-Ferdinand Celine 46 // Axel Corti 47 // Coco Chanel 49//Jean Cocteau 50 // Leonard Cohen 52// Colette 57 // Jeanne Cordelier 58 // Salvador Dali 59 // Jules Dassin 60 // Alain Delon 62 // Nathalie Delon 67 // Catherine Deneuve 69 // Marlene Dietrich 71 // Maitre Rene Floriot 73 // Madame Frederica 74 // Gisele Freund 75 // Serge Gainsbourg 77 // Romain Gary 81 // Charles de Gaulle 84 // Valeska Gert 86 // Frangoise Gilot 87 // Juliette Greco 89 // Sacha Guitry 92 // Peter Handke 93 // Audrey Hepburn 97 // Lauren Hutton 98 // Insel Malekula 99 // Insel Samoa 101 // Curd Jürgens 103 // Alex Joseph 104 // Marcel Jouhandeau 107 // Edmond Kaiser 108 // Paul Kornfeld 111// Ron Kovic 113// Karl Kraus 114 // Hedy Lamarr 117 // Frieda Lawrence 118// Auguste Le Breton 123 // Joan London 124 // Renee Maeterlinck 126// John Malkovich 127//Anna Magnani 131// Helene Martini 133 // Groucho Marx 134 // William Somerset Maugham 136// Walter Mehring 138// Melina Mercouri 139// Russ Meyer 140 // Arthur Miller 143 // Henry Miller 144 // Yves Montand 147 // Jan Morris 148 // Anai’s Nin 150 // Edith Piaf 153// Pablo Picasso 156// Abbe Pierre 159// Samuel Pisar 161 // Roman Polanski 162 // Laurens van der Post 165 // Ezra Pound 169 // Dory Previn 171// Arthur Rimbaud 174// Helene Rochas 176 // Roberto Rossellini 178 // Arthur Rubinstein 181 // Die Kirche Saint-Severin 184 // Jean-Paul Sartre 185 // Romy Schneider 187 // Hanna Schygulla 191 // Georges Simenon 195 // George Tabori 199 // Tierfriedhof 203 // Georg Stefan Troller 204 // Liv Ullmann 205 // Die Unbekannte 209 // Sir Peter Ustinov 210// Dona Lucha Villa 211// Roswitha Völz 212.
    [Show full text]
  • Viewed One of the First “Films Parlants” in 1930 in London
    FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films.
    [Show full text]
  • Ros Schwartz on Translating the Prolific Belgian Author Georges Simenon
    4/6/2018 Ros Schwartz on Translating the Prolific Belgian Author Georges Simenon — Bookwitty Interviews | Bookwitty Interview: Ros Schwartz on Translating the Prolific Belgian Author Georges Simenon By Olivia Snaije January 14, 2018 Wit (4) This article was updated on February 19, 2018 Belgian author Georges Simenon was born on February 12, 1903, although according to one biographer he was actually born Friday the 13th and his mother, out of superstition, preferred to declare his date of birth on the 12th. An incredibly prolific writer, he published a sizeable amount of pulp fiction before inventing Inspector Maigret in 1931, for whom he is best known, and who, interestingly, is very different in character to how Simenon apparently was. He published 192 novels, of which 75 involved Inspector Maigret, 117 novels that he deemed more Georges Simenon "serious", 158 short stories, several memoirs and numerous articles. He is also the fourth most translated Francophone author. https://www.bookwitty.com/text/interview-ros-schwartz-on-translating-the-prolific/5a5b136550cef70354fd6387 1/15 4/6/2018 Ros Schwartz on Translating the Prolific Belgian Author Georges Simenon — Bookwitty Interviews | Bookwitty Ros Schwartz with her beloved Harraps dictionary Here we interview Ros Schwartz, who has been translating Simenon since 2013 for Penguin Classics, which decided to retranslate all of Simenon's detective novels, using stunning photography by the Belgian Magnum photographer Harry Gruyaert for the covers. Buy the book Buy the book Buy the book https://www.bookwitty.com/text/interview-ros-schwartz-on-translating-the-prolific/5a5b136550cef70354fd6387 2/15 4/6/2018 Ros Schwartz on Translating the Prolific Belgian Author Georges Simenon — Bookwitty Interviews | Bookwitty You have just delivered your 13th translation of a Simenon book, have they all been Inspector Maigret novels? If so, are there other works you would like to translate, and which ones? Yes, so far they’ve all been Maigret novels, which is Penguin Classics’ priority at the moment.
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Colcoa-Press-2019-Part IV
    September 19, 2019 COLCOA French Film Festival Monday, September 23 – Saturday, September 28 DGA in Hollywood $$ This film festival showcases the latest work from France. It only looks like it the Coca Cola Film Festival if you read it too fast. September 3, 2019 Critic's Picks: A September To-Do List for Film Buffs in L.A Alain Delon in 'Purple Moon' (1960) A classic lesbian drama, French noirs starring Alain Delon and Jean Gabin and a series of matinees devoted to Katharine Hepburn are among the plentiful vintage and classic options for SoCal film buffs this month. OLIVIA AT THE LAEMMLE ROYAL | 11523 Santa Monica Blvd. Already underway and screening daily through Sept. 5 at the Laemmle Royal is a new digital restoration of Jacqueline Audry’s trailblazing 1951 feature Olivia, one of the first films, French or otherwise, to deal with female homosexuality. Set in a 19th-century Parisian finishing school for girls, the film depicts the struggle between two head mistresses (Edwige Feuillere and Simone Simon) for the affection of their students, and how one girl’s (Marie-Claire Olivia) romantic urges stir jealousy in the house. Audry, one of the key female filmmakers of post-World War II France, stages this feverish chamber drama (based on a novel by the English writer Dorothy Bussy) with a delicate yet incisive touch, allowing the story’s implicit sensuality to simmer ominously without boiling over into undue hysterics. Lesbian dramas would soon become more explicit, but few have matched Olivia’s unique combination of elegance and eroticism. FRENCH FILM NOIR AND KATHARINE HEPBURN MATINEES AT THE AERO | 1328 Montana Ave.
    [Show full text]
  • Download Program (PDF)
    Tickets and Passes Available at SIFF.NET FESTIVAL PASS: $150 / $100 SIFF MEMBERS • INDIVIDUAL FILM ADMISSION: $15 / $10 SIFF MEMBERS SCHEDULE TUESDAY, FEBRUARY 18 6:00 PM … AND THE FIFTH HORSEMAN IS FEAR 35MM 8:30 PM FRIDAY, FEBRUARY 14 90 DEGREES IN THE SHADE 5:45PM Music by The Ben Thomas Trio before screening WEDNESDAY, FEBRUARY 19 6:30 PM THE BEAST MUST DIE 35MM 6:00 PM 9:15 PM THE HOUSEMAID THE BLACK VAMPIRE 8:30 PM BLACK HAIR SATURDAY, FEBRUARY 15 THURSDAY, FEBRUARY 20 Seattle-based writers Vince and Rosemarie Keenan (Vince is managing editor of NOIR CITY e-magazine) take over hosting duties for Eddie Muller on Saturday, February 15. 5:15PM Music by the Dmitri Matheny Group before screening 12:30 PM 6:00 PM PANIC THE DEVIL STRIKES AT NIGHT 35MM 3:00 PM 8:30 PM RAZZIA BLACK GRAVEL 6:00 PM FINGER MAN 8:30 PM ANY NUMBER CAN WIN 35MM SUNDAY, FEBRUARY 16 12:30 PM A COLT IS MY PASSPORT 3:00 PM BRANDED TO KILL 6:00 PM PALE FLOWER 35MM 8:30 PM RUSTY KNIFE MONDAY, FEBRUARY 17 The Film Noir Foundation is a 12:30 PM non-profi t public benefi t THE FACTS OF MURDER corporation created by Eddie 3:15 PM Muller in 2005 as an educational A WOMAN’S FACE resource regarding the cultural, 6:00 PM NEVER LET GO 35MM historical, and artistic signifi cance 8:30 PM of fi lm noir as an original VICTIM 35MM cinematic movement. The Czar of Noir Even if you haven’t experienced NOIR CITY before, you may recognize Eddie Muller from the dark corridors of TCM’s Noir Alley.
    [Show full text]
  • Ambler Theater ART HOUSE
    A NONPROFIT Ambler Theater ART HOUSE Previews104A JUNE – SEPTEMBER 2018 Joan Crawford, Frederika Brown, and Norma Shearer in THE WOMEN THE and Norma Shearer in Frederika Brown, Crawford, Joan INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLERT HEATER.ORG 215 345 7855 Welcome to the nonprofit Ambler Theater The Ambler Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The Ambler Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* .............................$6.75 equipped with hearing enhancement headsets and closed You must present your membership card to obtain membership discounts. caption devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking – Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not How can you support AMBLER THEATER exist. Thank you for being a member. Contact us with your feedback the Ambler Theater? MEMBER or questions at 215 348 1878 x115 or email us at Be a member.
    [Show full text]