sign in sign up
<<
Home , Akim Tamiroff, Alberto Grimaldi, Albert Zugsmith, Barbara Loden, Benny Hill, Billion Dollar Brain

AFI SILVER THEATRE AND CULTURAL CENTER APRIL 16 - JULY 1

AFI Honoree Retrospective

Akira Kurosawa Centennial

Michael Caine: A Class Act

Korean & International Disability Film Festivals

Documentary Festival June 22-27, 2010 JUNE 22-27 2010

Plus More:

Photo Courtesy of Janus Films : A CLASS ACT

MAY 14 - JULY 1 THE IPCRESS FILE FRI, MAY 14, 9:15; SAT, MAY 15, 10:10; THU, MAY 20, 9:15 FRI, MAY 21, 9:30; SAT, MAY 22, 9:45; TUE, MAY 25, 7:00 Looking for a different spin on the spy genre, , “You’re a big man, but you’re in co-producer on the early fi lms (and LOOK BACK bad shape. With me it’s a full- IN ANGER, a huge infl uence on Caine’s generation), cast time job. Now behave yourself.” Caine as the bespectacled , unimposing and Caine’s existential hard man Jack put-upon by his hardcase superiors. Palmer may be a working Carter is Number One stiff, but he’s a wised-up one, subtly sarcastic and wary of the in this hugely infl uential, -noir old-boy network that’s made a mess of MI6; just the man to classic from talented writer/ root out a traitor in the ranks, as he is called on to do. Director director . Traveling Sidney J. Furie, famously disdainful of the script (he set at least up from to Newcastle one copy on fi re) goes visually pyrotechnic with trick shots, after his brother’s mysterious tilted angles, color fi lters and a travelogue’s worth of London death, Carter begins kicking locations. Caine’s fi rst iconic role, it led to his casting as ass and taking names in his ’s father in GOLDMEMBER. DIR Sidney J. Furie; SCR search for the killer, uncovering W.H. Cananway, James Doran, based on the novel by ; PROD layer upon layer of underworld Picture Courtesy of Everett Collection Harry Saltzman. UK, 1965, color, 109 min. NOT RATED betrayal, double dealing and GET CARTER secret sleaze. Caine is magnifi cent as the antihero—arguably ZULU the fi nest performance of his 50-year career. The minimalist, SAT, MAY 15, 2:45; SUN, MAY 16, 2:45 groovy, uniquely atmospheric score is by . DIR/SCR Director Cy Endfi eld Mike Hodges, based on the novel Jack’s Return by ; PROD to struggling Michael Klinger, Michael Caine. UK, 1971, color, 112 min. RATED R Michael Caine: “It Picture Courtesy of Everett Collection was the worst screen test I’ve ever seen, but “First of all I choose the great roles, you’ve got the part … “Twisted fi lm noir parody, and yet and if none of those come I choose the mediocre don’t ask me why.” legitimate fi lm noir mystery, PULP Thus a great career ones, and if none of those come I choose the was born. Endfi eld’s pulls off the neat trick of being a ones that pay the rent.” epic re-creation of the —Michael Caine 1879 Battle of Rorke’s perfect example of the kind of fi lm Drift pits Caine’s it’s also parodying Repeatedly told that he didn’t sound “posh” upper-crust and aloof .” enough to cut it as an actor, South London-born Lt. Gonville Bromhead —Film critic Paul Mavis Michael Caine—né Maurice Micklewhite, the son against ’s of a fi shmonger—became an international star Lt. John Chard, a after his career-making turn in ZULU—ironically, commoner popular with the men in camp. playing an effete, upper-class army offi cer (which Picture Courtesy of Everett Collection But when the 100-odd ZULU he did impeccably). His stardom was well earned; British soldiers must hold the 30-year-old Caine had toiled in live theater out against a force of 4,000 Zulu warriors, it will require and television for a full decade before his big the best from Caine, Baker and company. Spectacular break arrived. These early experiences may be photography, must-be-seen-on-the-big-screen battle scenes contributing factors to Caine’s lengthy, varied and ’s haunting soundtrack make for a stirring résumé— stardom arrived late and in the face of so cinematic experience. DIR/SCR/PROD Cy Endfi eld; SCR John much discouragement, it seems the hard-working Prebble; PROD Stanley Baker. UK, 1964, color, 138 min. In English and Caine resolved to stay on top once he got there. Zulu with English subtitles. NOT RATED The result has been 50 years of consistent fi lm ALFIE Picture Courtesy of MGM work, both starring roles and supporting character PULP assignments, with Caine always fi nding his way into FRI, MAY 21, 4:30; SAT, MAY 22, 7:30; SUN, MAY 23, 9:10 his character and audiences always coming away “My name is Alfi e. I suppose you think you’re gonna see the PULP pleased. Still going strong today, Caine can be bleedin’ titles now. Well, you’re not so you can all relax.” So SUN, MAY 23, 7:15; TUE, MAY 25, 9:20; WED, MAY 26, 9:20 seen in international blockbusters such as THE DARK says Caine’s ladies’ man directly to the camera, after Caine is pulp fi ction hack Mickey King, who, having KNIGHT as well as inventive independent efforts like leaving behind one of many “birds,” and on his way to meet left his wife and kids in Britain, is living a seedy existence the next. This poignant portrait of a charming rascal who, in in Malta, cranking out books by day and carousing at this spring’s —a hard-edged thriller his wanton pursuit of pleasure, fails to achieve anything like night. Offered a lucrative gig to ghost write the memoirs of that returns Caine to his cockney roots. happiness, became a touchstone of late- cinema and a a reclusive former star with a scandalous past massive international hit, confi rming Caine as an A-list talent. (a deliriously vulgar ), Caine is soon pressed In anticipation of Caine’s latest, AFI Silver presents , Millicent Martin, , into detective duty, not unlike one of his own characters, and a selection of his greatest, a 20-fi lm retrospective and are among Alfi e’s conquests, with Shelley fi nds himself embroiled in a surreal intrigue of murder and spanning the beloved actor’s career. Winters’s voracious party girl the table-turner Alfi e has coming corruption. The reteaming of GET CARTER’s star and director to him. The outstanding jazz score is by sax man Sonny plays remarkably well as a comic companion piece to that AFI Member passes will be accepted at all fi lms Rollins, the Burt Bacharach–Hal theme song sung by fi lm, and the wonderful cast includes , Lionel in the Michael Caine series then newcomer . Nominated for four Oscars, including Stander and Al Lettieri. DIR/SCR Mike Hodges; PROD Michael Best Picture, and Caine’s fi rst nod for . DIR/PROD Klinger, Michael Caine. UK, 1972, color, 95 min. RATED PG ; SCR . UK, 1966, color, 114 min. RATED PG

4 TICKETS & FULL SCHEDULE at AFI.COM/SILVER Follow us on Facebook (Facebook.com/afisilvertheatre) and (Twitter.com/afisilver) MICHAEL CAINE: A CLASS ACT

THE MAN WHO WOULD BE KING FRI, MAY 28, 4:00; SAT, MAY 29, 2:30; SUN, MAY 30, 2:45; FRI, JUN 4, 4:20; SUN, JUN 6, 1:00; WED, JUN 9, 8:45 MON, MAY 31, 2:45 Twisty country house intrigue abounds as rich writer In his youth, dreamed of adapting this Rudyard invites hairdresser-on-the-make Michael Kipling adventure yarn with and Humphrey Caine for the weekend, with an eye on murderous revenge Bogart as the reprobate British soldiers who conquer and for Caine’s affair with Olivier’s wife, Eve Channing. But lose fictional Kafiristan. Decades later, the 70-year-old Huston things are not what they seem. Joseph Mankiewicz directs realized his vision with the inspired casting of from ’s screen adaptation of his hit play. and Michael Caine as the bickering buddies, resulting in Best Actor Oscar nominations for both Olivier and Caine, a comeback hit for Huston and an enduring fan favorite for but both lost to for . “I movie lovers. plays Kipling, taking down thought I had an assistant, Michael... I see I have a partner.” the story as it’s told to him by Caine, and look for Caine’s —Olivier’s supercilious on-set praise to Caine, after nailing a wife, Shakira, as Connery’s strong-willed bride. DIR/SCR John particularly difficult scene. DIR Joseph L. Mankiewicz; SCR Anthony Huston; SCR Gladys Hill, based on the story by Rudyard Kipling; PROD John Shaffer; PROD . UK, 1972, color, 138 min. RATED PG Foreman. UK/US, 1975, color, 129 min. RATED PG FRI, JUN 4, 9:00; SAT, JUN 5, 9:15; TUE, JUN 8, 9:00; Picture Courtesy of Everett Collection SAT, MAY 29, 7:30; TUE, JUN 1, 7:00; THU, JUN 3, 7:00 THU, JUN 10, 9:00 CHILDREN OF MEN Reprising the Harry Palmer “The world has collapsed; only Britain soldiers on,” blares character, Caine sets off to the TV propaganda in 2027 London, a crumbling city host LITTLE VOICE East Berlin to assist Soviet to riot squad brutality, terrorist bomb attacks and immigrant SAT, JUN 5, 5:30; SUN, JUN 6, 5:30 security attaché Oskar concentration camps. Cynical self-preservationist Clive Caine is aging Yorkshire talent agent Ray Say, a lifelong Homolka in his bid to defect. Owen, a government paper pusher with an activist past, hard luck case who thinks he’s finally hit the big time when There he encounters Israeli is pressured by a group of underground insurgents to forge he discovers his loudmouthed girlfriend ’s secret agent Eva Renzi, on a transport papers for a very special person: a woman who oddball daughter, . She’s practically a mute, mission to track down Nazi may hold the key to the future. , Chiwetel but when she can be coaxed to sing she veritably channels war criminals. Are they after Ejiofor and Danny Huston contribute memorable supporting the ghosts of , and Marilyn the same man? Many twists, Picture Courtesy of Everett Collection turns, as does Caine, as Owen’s old hippie friend and Monroe. Is this the big break Ray’s always dreamed FUNERAL IN BERLIN turns and double crosses add confidant, Jasper. DIR/SCR Alfonso Cuarón; SCR Timothy J. Sexton, about? With Ewan McGregor as a sweetly shy telephone to the intrigue in this cult favorite, directed by ’s David Arata, Mark Fergus, Hawk Ostby; PROD Mark Abraham, Eric repairman, Horrocks’s unlikely love interest. DIR/SCR Mark . DIR Guy Hamilton; SCR Evan Jones, based on the novel by Newman, Hilary Shor, Iain Smith, Tony Smith. Japan/UK/US, 2006, color, Herman; PROD . UK, 1998, color, 97 min. RATED R Len Deighton; PROD Charles D. Kasher. UK, 1966, color, 102 min. In English 109 min. RATED R and German with English subtitles. NOT RATED

BILLION DOLLAR BRAIN SAT, MAY 29, 9:45; MON, MAY 31, 5:20; WED, JUN 2, 7:00; THU, JUN 3, 9:15 Directorial madman takes the reins of the Harry Palmer franchise and delivers the zaniest and most outlandishly fun of the lot. Palmer is sent to to infiltrate the shadowy, supercomputer-powered organization of a crazed Texas millionaire () and derail his plans to foment WWIII. Old friend Leo Newbigen () has fallen prey to Begley’s cult-like control, but Malden’s lover, Anya (the lovely Françoise Dorleac, in her final performance), has other ideas. For the love-struck Palmer, she may be the woman with whom he can finally settle down and quit the spy game. Caine performed his own stunts, including hopping between ice floes on the frigid (after which he retired from stunt work). DIR Ken Russell; SCR John McGrath, based on the novel by Len Deighton; PROD Harry Saltzman. UK, 1967, color, 111 min. NOT RATED

MONA LISA SUN, MAY 30, 7:30; MON, MAY 31, 9:30; TUE, JUN 1, 9:15; WED, JUN 2, 9:15 As the thuggish London gang boss Mortwell, Caine presides over a lucrative prostitution and porn empire. When he hires hapless jailbird as a driver for call girl , the prickly twosome quickly get down to bickering, but in time discover that they oddly enjoy each other’s company. But that’s not part of the business plan in Mortwell’s world. Writer/ director nails the neo-noir atmosphere, while Hoskins’s nuanced turn as a little man with a big heart won him the Best Actor prize at the 1986 , and an Oscar nomination. DIR/SCR Neil Jordan; SCR David Leland; PROD Picture Courtesy of MGM Patrick Cassavetti, Stephen Woolley. UK, 1986, color, 104 min. RATED R

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 5 MICHAEL CAINE: A CLASS ACT

THE QUIET AMERICAN SAT, JUN 12, 12:30; MON, JUN 14, 9:30; TUE, JUN 15, 9:00; FRI, JUN 18, 4:45; SAT, JUN 19, 3:00, SUN, JUN 20, 3:00 WED, JUN 16, 9:30 Cockney crook Charlie Croker (Caine), just out of the pen, In 1952 Saigon, American aid worker arrives visits his tailor, picks up his coupe and checks into a posh to find the tense city bracing for imminent conflict between hotel to enjoy the affections of a bevy of paid-for beauties. rebel forces and the French occupying army. Caine’s London Then he gets down to business. Enlisting the talents of Times correspondent has seen it all, and in Fraser he suspects aristocratic crime lord Mr. Bridger (Noël Coward) and he sees someone who is not all he claims to be. Director chubby-chasing computer genius Prof. Peach (), ’s adaptation of the novel ranks Croker hatches a plot to hijack a busload of gold bullion in as one of the very best screen versions of the great writer’s , , by way of a citywide traffic jam and Mini Cooper works. Best Actor Oscar nomination for Caine, his sixth. DIR getaway. Genius! Which the movie’s celebrated car chase Phillip Noyce; SCR , , based on the certainly is. A beloved diversion in the UK (it’s a Boxing Day novel by Graham Greene; PROD Staffan Ahrenberg, William Horberg. TV tradition), the US cult appeal of this comic caper has /US/UK/Australia/, 2002, color, 110 min. In English, steadily grown over the years. DIR Peter Collinson; SCR Troy Kennedy- French and Vietnamese with English subtitles. RATED R Martin; PROD , Stanley Baker. UK, 1969, color, 99 min. In English and Italian with English subtitles. RATED G Picture Courtesy of Everett Collection DRESSED TO KILL FRI, JUN 18, 7:00; SUN, JUN 20, 9:30 Bored housewife Kate Miller () deals with her sexual frustration through therapy with Dr. Elliott TUE, JUN 29, 7:00; WED, JUN 30, 7:00 (Michael Caine) and then, more directly, through an In Depression-era Maine, Caine’s kindly and quirky sDr. anonymous afternoon affair. Things quickly become Larch presides over St. Cloud’s orphanage, where lifelong complicated, though, and soon a call girl (Nancy Allen) resident has become a kind of head boy/ and Kate’s son (Keith Gordon) have entered the illicit picture. heir apparent, though he longs to get out and see the world. ’s super-stylized mystery is an erotic thriller to When Paul Rudd and girlfriend arrive to see end all erotic thrillers and gives Caine a plum role as Kate’s Dr. Larch about the help he is rumored to provide for girls in sly celebrity therapist. DIR/SCR Brian De Palma; PROD George Litto. trouble—providing abortions—events are set into motion that US, 1980, color, 105 min. RATED R will take Maguire out into the wider world and home again. Seven Oscar nominations, including wins for Caine (his second) and for the he adapted from his own novel. DIR Lasse Hallström; SCR John Irving; PROD Richard N. Gladstein. US, 1999, color, 126 min. RATED PG-13

LAST ORDERS

Picture Courtesy of MGM WED, JUN 30, 9:10; THU, JUL 1, 7:00 Lifelong South London friends Bob Hoskins, and David Hemmings gather at the to mourn the HANNAH AND HER SISTERS passing of the departed leader of their pack, Michael SAT, JUN 12, 7:45; SUN, JUN 13, 2:45; THU, JUN 17, 9:00 Caine. Son is there but widow spins an Ophülsian roundelay from the lustings stays away, and in a series of crosscutting flashbacks, and longings of a family: sensible, grounded the complex, interconnected lives these friends have has quit her stage career for motherhood; her shared become clear. Director Fred Schepisi’s adaptation husband, Michael Caine, secretly pines for Farrow’s sensuous of Graham Swift’s Booker Prize-winning novel finds the sister , who’s stuck in a difficult relationship bittersweet essence of remembrance, and the history- with moody painter ; meanwhile, her ex- spanning, best-of-Britain cast is in fine form. DIR/SCR/PROD husband and the father of her children, Allen, is drawn to her Fred Schepisi; PROD Elisabeth Robinson. UK/Germany, 2001, color, 109 troubled sister , a nervous wreck with a coke min. RATED R

habit. Should make for a fun Thanksgiving! Caine’s fourth Picture Courtesy of MGM Oscar nomination resulted in his first win, but he wasn’t on DRESSED TO KILL hand to receive it: he was on location in the Caribbean shooting : THE REVENGE. DIR/SCR Woody Allen; PROD THE PRESTIGE Robert Greenhut. US, 1986, color, 103 min. RATED PG-13 FRI, JUN 18, 9:15; SAT, JUN 19, 9:30; MON, JUN 21, 9:00 Michael Caine plays John Cutter, an engineer of magic tricks who bears witness to a blood feud between two rival SUN, JUN 13, 12:30; TUE, JUN 15, 6:45; THU, JUN 17, 6:45 magicians ( and ) at the start of Reunited with ALFIE director Lewis Gilbert after a lengthy dry the 20th century. Director (best known patch, Caine gives one of his greatest performances as Frank for pulling a magic trick of a different sort: revitalizing the Bryant, a dissolute alcoholic English professor brought back films) spins a complex tale of intrigue and mystery to life by student , a working-class woman with with surprisingly powerful humanity. Featuring Scarlett a husband and child who is determined to return to school Johansson and an enigmatic David Bowie as Nikola Tesla, and finish her degree. This gentle and joyful comedy earned with sumptuous cinematography by AFI Conservatory alum Oscar nominations for both Caine and Walters, here making Wally Pfister. DIR/SCR/PROD Christopher Nolan; SCR Jonathan Nolan, her screen debut after originating the role on stage. DIR/PROD based on the novel by Christopher Priest; PROD Aaron Ryder, Emma Lewis Gilbert; SCR . UK, 1983, color, 110 min. RATED PG Thomas. US/UK, 2006, color, 130 min. RATED PG-13 Picture Courtesy of Repertory

6 TICKETS & FULL SCHEDULE at AFI.COM/SILVER Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) ELIA KAZAN: A CENTENNIAL RETROSPECTIVE, PART II

APRIL 24- MAY 24 One of the most celebrated, infl uential and, for some, SAT, MAY 1, 4:15 SAT, MAY 8, 4:00 controversial of American fi lmmakers, Elia Kazan The sexiest movie In post-WWII (1909-2003) left a lasting legacy of fi lms that both of 1956, this fi lm Czechoslovakia, circus represent their era, refl ecting the tastes and concerns created a vogue for owner of post-WWII America, and transcend it, taking on new erotic pajamas and plots his escape to meanings and resonances for audiences today. This made freedom, using his retrospective includes celebrated Kazan titles like ON one of the sex symbols troupe’s innocuous THE WATERFRONT and , of the decade. Often guise as entertainers as well as some of his lesser-known works, including considered the best to con their way past the too-rarely screened AMERICA, AMERICA. screen transposition of the border guards ’s and into the American

plays (Kazan wrote zone of Germany. Picture Courtesy of Everett Collection AFI Member passes will be accepted at all fi lms the screenplay), it But that may be the easy MAN ON A TIGHTROPE in the Elia Kazan series except where noted is also a continuing part. Complications are demonstration of presented by March’s straying wife, , and Kazan’s ability to his willful daughter ’s affection for circus hand

create movie myths. Picture Courtesy of AFI Stills Collection Cameron Mitchell, whom March suspects may be a spy for Baker became BABY DOLL the secret police. “The whole point of the circus is that these famous as the willful, are the least uniform, the most individualistic, the oddest, the thumb-sucking child bride of Karl Malden in this fi lm, and most eccentric, the most widely ‘deviationist’ of any people. the sexpot image Kazan forged for her has remained This is an ode to individualism!”—Elia Kazan DIR Elia Kazan; with her ever since. Also featuring great performances by SCR Robert E. Sherwood, based on the story International Incident by Neil Baker, Malden and as a foxy Italian-American Paterson; PROD Robert L. Jacks. US, 1953, b&w, 105 min. In English and newcomer sniffi ng around Malden’s decrepit Old South German with English subtitles. NOT RATED plantation. DIR/PROD Elia Kazan; SCR/PROD Tennessee Williams. US, 1956, b&w, 114 min. NOT RATED SPLENDOR IN THE GRASS SAT, MAY 15, 5:30; TUE, MAY 18, 7:00 RESTORED 35MM PRINT! “No nice girl feels like that.” Small-town repression in eve-of-the- A FACE IN THE CROWD Depression Kansas keeps the teenage love of and SUN, MAY 2, 3:00 unconsummated and tension-fi lled, until Beatty’s Picture Courtesy of Sony Pictures Repertory Acid of the , including advertising, TV dalliance with another sends Woods over the edge. Beatty’s and the packaging of politicians, as guitar-plucking Andy magnifi cent screen debut launched him to big-time stardom—at ON THE WATERFRONT Griffi th rockets from an Arkansas jail to TV stardom with the age of 24—while Wood’s bravura performance earned her the help of journalist-turned-publicist ’s intense her second Oscar nomination. The outstanding cast includes Pat SUN, MAY 23, 12:30; MON, MAY 24, 7:00 coaching and connections. The other great collaboration Hingle as Beatty’s overbearing father and Barbara Loden as his “I coulda been a contenduh,” agonizes ex-boxer Marlon between director Kazan and screenwriter , wild-hearted fl apper sister. Kazan’s direction is in peak form, and Brando as he gets mixed up in corruption and murder in coming just a few years after their triumph with ON THE screenwriter won an Oscar for his sensitive, savvy a Hoboken longshoreman’s union, thanks to his brother, WATERFRONT. Featuring a pre-grouchy screenplay. DIR/PROD Elia Kazan; SCR William Inge. US, 1961, color, 124 Mob mouthpiece . When he’s forced to face his as the mustachioed nice-guy writer and , in min. NOT RATED victim’s sister, (in her fi rst fi lm role), Brando her screen debut, as a baton-twirling Southern belle. Print incarnates a new American fi lm archetype, the sensitive man courtesy of the UCLA Film & Television Archive. Preservation Strange and beautiful! of few words. His minimalist dialogue scenes with Saint funded by . DIR/PROD Elia Kazan; SCR Budd “ arguably top even the legendary cab confrontation with Schulberg. US, 1957, b&w, 125 min. NOT RATED The movie couldn’t have greater Steiger. “If there is a better performance by a man in the history of fi lm in America, I don’t know what it is,” Kazan present-tense resonance. said. Eight Oscar wins, including Best Picture, Director, —David Denby, The” New Yorker Actor, Supporting Actress, Screenplay and Cinematography. DIR Elia Kazan; SCR Budd Schulberg; PROD . US, 1954, b&w, 50TH ANNIVERSARY! NEW 35MM PRINT! 108 min. NOT RATED WILD RIVER SUN, MAY 16, 5:30; WED, MAY 19, 8:30 AMERICA, AMERICA TVA man fl ies to rural Tennessee on a SAT, APR 24, 3:00; SUN, APR 25, 3:00 mission: to coax octogenarian to vacate her “My name is Elia Kazan. I am a Greek by blood, a Turk by island homestead in the name of progress and an imminent birth and an American because my uncle made a journey.” dam project. In the course of their debate he discovers an Elia Kazan’s rarely seen epic tribute to his immigrant origins unexpected respect for her point of view, and an affi nity is biblical in its simplicity, its fervor and its power. Recounting for her granddaughter Lee Remick. Unappreciated at the the odyssey of Kazan’s uncle, Stavros Topouzoglou (fi rst time time of its release, the fi lm has grown in stature as one of actor Stathis Giallelis), from the Old World to the New, it’s Kazan’s fi nest. “[A]n important motion picture. In studying an ode to the wave of immigrants who, at the turn of the a slice of national socioeconomic progress (the Tennessee century, escaped oppression and poverty in to fi nd a Valley Authority of the early ) in terms of people (those new home on these shores. The fi lm is anchored by brilliant who enforced vs. those who resisted), it catches something performances, Haskell Wexler’s evocative photography and timeless and essential in the human spirit and shapes it in the an extraordinary climax—the arrival at Ellis Island. DIR/SCR/ American image.” —Variety, 1960 DIR/PROD Elia Kazan; SCR PROD Elia Kazan, based on his book. US, 1963, b&w, 174 min. NOT RATED Picture Courtesy of AFI Stills Collection , based on the novel by William Bradford Huie and Borden A FACE IN THE CROWD Deal. US, 1960, color, 110 min. NOT RATED

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 7 LARGER THAN LIFE: ORSON WELLES, PART II

APRIL 16 - MAY 9 MR. ARKADIN (“CONFIDENTIAL REPORT” version) F FOR FAKE The life and career of Orson Welles (1915-1985) SAT, APR 24, 12:45; MON, APR 26, 7:00; SAT, MAY 1, 12:00; SUN, MAY 2, 12:45; MON, MAY 3, 7:00 sometimes seem to comprise many lives, multiple WED, APR 28, 7:00 “Welles’s unclassifiable careers, endless possibilities and just as many Shadowy European final completed film hopes dashed. Emboldened by early success and millionaire Mr. Arkadin is a loving tribute to shocking self-confidence, Welles went from whiz kid (Welles), claiming to suffer chicanery, deception, to has-been perhaps quicker than any boy genius from amnesia, hires shifty misdirection, scoundrels, before or since—which for Hollywood is really saying American Robert Arden to sleight of hand, con something. But even after the studios effectively investigate his past, sending artistry, dishonesty and barred him from directing—just a few short years him on a wild goose chase flimflammery in all its across the Old World. But after his astonishing debut, , a film myriad guises. It is, in the more Arden turns up, other words, a valentine ahead of its time then and of enduring genius now— the less he understands. to filmmaking in general, Welles pressed on, went abroad for funding, and still Welles cheekily mines and its larger-than-life got his films made. his own filmography for creator in particular.”

material, from CITIZEN —The Onion A.V. Picture Courtesy of Janus Films The second half of this retrospective series includes KANE to THE STRANGER Club. Hired by the BBC F FOR FAKE to THE THIRD MAN, to an Picture Courtesy of Janus Films Welles’s celebrated adaptations of Shakespeare MR. ARKADIN to narrate a documentary and the rarely screened , his ultimately sinister end. Among on art forger Elmyr de Hory, Welles took over the project for underappreciated adaptation of Franz Kafka’s The the memorable grotesques Arden pumps for information about himself, hybridizing the documentary with his own meditations Trial, the 1958 film noir/neo-noir link, , his client are Mischa Auer as the proprietor of a flea circus on art and cinema, plus generous doses of humor. De and Michael Redgrave as a flamboyant antiques dealer; plus cult favorites MR. ARKADIN and F FOR FAKE. Hory biographer Clifford Irving, soon to be embroiled in a pre-GOLDFINGER Gert Fröbe cameos as a buffoonish controversy for faking ’s memoirs, is along for policeman. DIR/SCR/PROD Orson Welles; PROD Louis Dolivet. France/ the ride. DIR/SCR Orson Welles; PROD Dominique Antoine. France/Iran/ AFI Member passes will be accepted at all films Spain/, 1955, b&w, 93 min. NOT RATED , 1973, color, 85 min. In English, French and Spanish with in the Orson Welles series English subtitles. NOT RATED TOUCH OF EVIL FRI, APR 23, 9:45; SAT, APR 24, 9:45; SUN, APR 25, 1:00, CHIMES AT MIDNIGHT [aka FALSTAFF] 9:45; TUE, APR 27, 9:45; THU, APR 29, 9:45 SAT, MAY 8, 7:00; SUN, MAY 9, 6:30 SAT, APR 17, 12:30; SUN, APR 18, 6:05; Despite Welles’s decade away from a Hollywood director’s Orson Welles’s unique and inventive take on Shakespeare’s MON, APR 19, 7:00; TUE, APR 20, 7:00 chair, prevailed in lobbying Universal to hire character Sir John Falstaff cribs from the handful of plays in Welles described Welles to helm this landmark thriller. Renowned for its opening which the beloved rogue appears to create a single work with his spare, studio- sequence—a long and intricate tracking shot, in which a car Falstaff as the star, played by Welles with great comic brio bound version of bomb planted on the Mexican side of a seedy border town and, perhaps, autobiographical pathos. The outstanding cast the Shakespeare explodes across the US border, witnessed by Mexican DA includes French icon as Doll Tearsheet, Sir classic as “a Heston and his American wife, . The crime is on as the vexed King Henry IV and , violently sketched the turf of Welles’s Sheriff Hank Quinlan, a hulking, sweaty, DC, Shakespeare Theatre regular Keith Baxter as Prince Hal. charcoal drawing maniacal presence with his own perverse agenda. The 1998 DIR/SCR Orson Welles, based on Chronicles of , Scotlande, and of a great play.” director’s cut restores Welles’s cross-cutting narrative structure Irelande by Raphael Holinshed and Henry IV, , Richard III and The Impressionistically and more complex sound design, absent from the original. Merry Wives of Windsor by ; PROD Angel Escolano, adapted and The colorful cast includes Marlene Dietrich, Mercedes Emiliano Piedra, Harry Saltzman. France/Spain/Switzerland, 1965, b&w, expressionistically Picture Courtesy of AFI Stills Collection McCambridge and . DIR/SCR Orson Welles, based on 115 min. NOT RATED shot, Welles’s version MACBETH Badge of Evil by Whit Masterson; PROD Albert Zugsmith. US, 1958, b&w, emphasizes the black magic behind Macbeth’s deeds (greatly 95 min. In English and Spanish with English subtitles. NOT RATED expanding the witches’ roles), and the Faustian horror when the time comes for reckoning. Of note: The other great film THE TRIAL on journeyman John L. Russell’s résumé FRI, APR 30, 9:35; SAT, MAY 1, 7:20; SUN, MAY 2, 6:30 is Hitchcock’s PSYCHO. Print courtesy of UCLA Film and Welles renders Franz Kafka’s Television Archive. DIR/SCR/PROD Orson Welles, based on the play by unfinished novel into a William Shakespeare. US, 1948, b&w, 107 min. NOT RATED satisfying cinematic whole, adding a bookended parable that finds the fractured FRI, APR 16, 6:30; SAT, APR 17, 6:15; SUN, APR 18, 12:45; fairy tale lurking inside the MON, APR 19, 9:15; TUE, APR 20, 9:15; THU, APR 22, 6:30 inexplicable persecution of Shooting intermittently across four years, besieged by K. (), a man budgetary, script and casting problems every step of the way, accused of a crime but never Welles somehow wrung a unified and poetic film from this told what it is. Subjected to

scattershot production. Notable for its freewheeling handling ever-more-surreal episodes Picture Courtesy of Milestone Films of Shakespeare’s play—it begins with Othello lying dead on a of harassment, insinuation THE TRIAL funeral bier and a caged on display to the Venetian mob, and evasiveness, K. struggles then tells its story in flashback—Welles’s version goes all-out to maintain his dignity despite the best efforts of temptresses baroque in its compositional madness, all tilted angles, moody Jeanne Moreau, Romy Schneider and Elsa Martinelli, various lighting and monumental close-ups. Grand Prix, 1952 Cannes interrogations and beatings by strange men in black suits, and Film Festival. Print courtesy of the Library of Congress. DIR/SCR/ the unreassuring assurances of Welles’s blustery “Advocate.” PROD Orson Welles, based on the play by William Shakespeare. US, 1952,

DIR/SCR Orson Welles, based on the novel by Franz Kafka; PROD Picture Courtesy of AFI Stills Collection b&w, 91 min. NOT RATED Alexander Salkind. France/Italy/West Germany/, 1962, b&w, CHIMES AT MIDNIGHT 118 min. NOT RATED 8 TICKETS & FULL SCHEDULE at AFI.COM/SILVER Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) THE FILMS OF FEDERICO FELLINI, PART II

APRIL 16 - MAY 13 8½ 2010 represents the 50th anniversary of LA DOLCE FRI, APR 23, 4:15, 7:00; SAT, APR 24, 7:00; VITA, a landmark in cinema history, but just one TUE, APR 27, 7:00; THU, APR 29, 7:00 of the signature works—alongside , “All the confusion of and 8½—of one of the my life … has been of international a reflection of myself! filmmaking, Federico Myself as I am, not as I’d like to be.” In his films Fellini (1920-1993). with Fellini, Marcello AFI Silver presents a Mastroianni always career-spanning registered as an alter selection of Fellini’s ego for the director, but Picture Courtesy of MGM most important films, never more so than here, his canonical classics where he plays Guido, as well as several rarely a director who, following FELLINI’S ROMA an enormous hit, has Picture Courtesy of Everett Collection screened gems. 8 ½ SAT, MAY 1, 1:40; SUN, MAY 2, 9:00; MON, MAY 3, 8:45 no idea what his next film What begins as a documentary of the Eternal City—its SPECIAL THANKS TO THE ITALIAN CULTURAL INSTITUTE FOR will be about. Creatively stifled and unsure how to proceed, representative sight, an enormous traffic jam—gives way to MAKING THIS SERIES POSSIBLE. Guido escapes into reverie, revisiting formative scenes from his visionary fantasy: new tunneling in the subway system unearths past, indulging secret desires, and constructing fantasies both an ancient building, whose beautiful frescoes evaporate comforting and outrageous. This landmark film was nominated AFI Member passes will be accepted at all films upon exposure to the air; the Vatican hosts an “ecclesiastical for five Oscars, winning for Best Foreign Language Film and in the Federico Fellini series fashion show,” with roller-skating priests and neon-lit nuns; and, Best Costumes. DIR/SCR Federico Fellini; SCR , , jumping across time, the film follows the education of a young ; PROD . Italy/France, 1963, b&w, 138 min. In man named Fellini, at the brothels, the cinema and the cafes. English, Italian, French and German with English subtitles. NOT RATED A delightful, thought-provoking tribute to the city of Fellini’s dreams. Includes the last screen appearance of the great Anna [Giulietta degli spiriti] Magnani. DIR/SCR Federico Fellini; SCR Bernardino Zapponi; PROD Turi SUN, APR 25, 7:00; MON, APR 26, 9:10; WED, APR 28, 9:10 Vasile. Italy/France, 1972, color, 128 min. In English, Italian and French with Fellini’s distaff version of 8½ stars wife as a English subtitles. RATED R well-to-do housewife who experiences an existential crisis after she discovers her husband’s infidelity. Seeking counsel from mediums, psychics and fortunetellers, she enters a world of the imagination, where she discovers, among the many unusual sights and characters, a better understanding of herself. DIR/SCR Federico Fellini; SCR Tullio Pinelli, Ennio Flaiano, Brunello Rondi. Italy/France, 1965, color, 137 min. In Italian with English subtitles. NOT RATED Picture Courtesy of Everett Collection

50TH ANNIVERSARY! LA DOLCE VITA

FRI, APR 16, 8:30; SAT, APR 17, 2:45, 8:30; SUN, APR 18, Picture Courtesy of Janus Films 2:45, 8:20; WED, APR 21, 6:30*; THU, APR 22, 8:30 FELLINI’S ROMA This sprawling, kaleidoscopic, bitingly satiric fresco of “the sweet life” in 1960s follows tabloid gossip Marcello Picture Courtesy of Janus Films FELLINI’S CASANOVA Mastroianni on his nighttime peregrinations among the city’s JULIET OF THE SPIRITS SAT, MAY 8, 1:00; SUN, MAY 9, 3:30; WED, MAY 12, 8:45 nightclubs and cafés, with his enterprising photographer Originally conceived as an international blockbuster with a big Paparazzo never far behind, and the beautiful Anouk FELLINI SATYRICON American star—Brando, Pacino, Redford and Newman were Aimée always a step out of reach. Structured episodically, FRI, APR 30, 7:00; SAT, MAY 1, 9:45 considered—Fellini ultimately made the film with Canadian the memorable vignettes include a statue of Christ soaring “Rome. Before Christ. After Fellini.” Petronius’s collection hipster , who gives what many consider by helicopter above Rome, ’s dip in the Trevi of ribald tales from ancient Rome gets the Fellini treatment. to be his most charismatic performance. He certainly had to Fountain, a around an alleged vision of the Man-about-town Encolpio (Martin Potter) roams high and work for it, engaging in countless seductions, according to and the finale: a wild, depraved party followed by low through every strata of Roman society in pursuit of a Casanova’s memoirs (not that Fellini made use of them—he a melancholy morning on the beach. Fellini’s first Cinemascope slave boy stolen by his rival (Hiram Keller), experiencing all draws more on his own filmic history and obsessions), including film gave currency to a new word (), coined an manner of erotic, sadomasochistic and depraved escapades. high nobility and bohemian entertainers, young and old, a international catch phrase (the title) and was a worldwide hit. Events unfold episodically, but not logically—characters suffer giantess, a hunchbacked dwarf and a wooden marionette (!). Fifty years later, it has lost none of its powers of provocation or various indignities, danger and even death only to appear Casanova’s wanderings across Europe—, London, Rome, hard-bitten wisdom. Palme d’Or, 1960 Cannes Film Festival later unscathed. The most dreamlike of Fellini’s films—an Bern, Dresden, Bohemia—were re-created on enormous sets and four Oscar nominations in 1962, including Best Director, accomplishment in itself—it ends eloquently, midsentence, like at Cinecittà. DIR/SCR Federico Fellini; SCR Bernardino Zapponi, based on Screenplay and Art Direction, with a win for Costume Design. Petronius’s fragmentary manuscript. DIR/SCR Federico Fellini; SCR Giacomo Casanova’s autobiography; PROD Alberto Grimaldi. Italy/US, 1976, DIR/SCR Federico Fellini; SCR Ennio Flaiano, Tullio Pinelli, Brunello Rondi; Bernardino Zapponi, Brunello Rondi, based on the book by Petronius; PROD color, 155 min. In English, Italian, French and German with English subtitles. PROD Giuseppe Amato, Angelo Rizzoli. Italy/France, 1960, b&w, 174 min. Alberto Grimaldi. Italy/France, 1969, color, 128 min. In Latin and Italian with RATED R In Italian, French and German with English subtitles. NOT RATED English subtitles. RATED R

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 9 FEDERICO FELLINI AFI LIFE ACHIEVEMENT AWARD RETROSPECTIVE:

MAY 14 - JULY 1 SAT, MAY 8, 9:30; SUN, MAY 9, 1:00; TUE, MAY 11, 6:45; FRI, MAY 14, 4:45, 7:00; SAT, MAY 15, 8:00; THU, MAY 13, 6:45, 9:15 MON, MAY 17, 7:00; TUE, MAY 18, 9:30; THU, MAY 20, 7:00 Fellini’s impressionistic, imagistic memory piece looks back to Young Benjamin Braddock () finds his postgrad small-town life in an Italian seaside village in the 1930s. The stasis interrupted when he begins an affair with next-door- hormones of the Biondi boys are raging, and while school is neighbor Mrs. Robinson (), a complicated comically uninspiring, the town’s ladies offer much to stir the situation that becomes more complicated when Benjamin imagination. This troubles both their parents and the school’s finds himself falling in love with her daughter. One of the key priests, but unruly passions affect everyone in the Biondi family, films of the 1960s, it made a superstar of Hoffman, gave with one uncle in the sanitarium, the other a jobbing gigolo, Simon & Garfunkel (featured heavily on the soundtrack) a hit and a grandfather sometimes refusing to come down from his album, and put Nichols at the forefront of the New American tree. Equal parts romantic and raunchy, this film endures as one Cinema, with a Best Director Oscar in hand. #7 on AFI’s 100 of Fellini’s most beloved. Nominated for Best Director and Best Years … 100 Movies. DIR ; SCR Calder Willingham, Buck Screenplay Oscars, it won Best Foreign Language Film. DIR/ Henry, based on the novel by Charles Webb; PROD Lawrence Turman. US, SCR Federico Fellini; SCR ; PROD . Italy/France, 1967, color, 105 min. RATED PG 1973, color, 123 min. In Italian and Greek with English subtitles. RATED R Picture Courtesy of Everett Collection

Born in Berlin in 1931, Mike Nichols fled Nazi Germany at the age of 8. He was certified a genius at 12, became half of the hit comedy act “Nichols and May” in his 20s, was an acclaimed director of stage and screen in his 30s, conquered television, and now, in his late 70s, remains a force equally at ease in all mediums. As such, he is one of the few artists to have received the Oscar, the Emmy, the Tony and the Grammy. Having honed his craft on stage, Nichols moved

Picture Courtesy of Janus Films to the big screen in 1966, when

AMARCORD handpicked him to direct WHO’S AFRAID OF Picture Courtesy of Everett Collection VIRGINIA WOOLF? Despite studio objections, THE GRADUATE Nichols shot the film in stark black and white, WHO’S AFRAID OF VIRGINIA WOOLF? SUN, MAY 9, 8:45; MON, MAY 10, 6:30; occasionally using handheld shots to intensify the SUN, MAY 16, 7:45; MON, MAY 17, 9:05 WED, MAY 12, 6:30 dramatic tension. WHO’S AFRAID OF VIRGINIA College professor George () and his blowsy Preparing to reunite after 20 years of retirement for a TV WOOLF? was a box-office and critical success, variety show, Amelia (Giulietta Masina) and Pippo (Marcello wife, Martha (Elizabeth Taylor, Burton’s real-life wife, in an earning 13 Academy Award nominations, Oscar-winning performance), have young marrieds George Mastroianni), a Fred-and-Ginger-impersonating dance including one each for the four as well duo from the , overcome performance anxiety, the Segal and over for a drink, a simple invitation as for Best Director. awkwardness of their long estrangement and pre-show jitters. that quickly turns sour as the couple taunt, terrorize and But Pippo has plans to tell the television audience what he Nichols’s second film, THE GRADUATE (1967), won demean one another and their guests. A faithful, powerfully really thinks of them. Fellini’s two signature stars, Masina and him the Best Director Oscar, and his film career has acted adaptation of ’s controversial Broadway play, Mike Nichols’s first film was one of the most acclaimed Mastroianni, are lovely together, but the filmmaker’s pointed been distinguished by high-quality achievement ever criticism of the wasteland of television has only become debuts since CITIZEN KANE and garnered an astonishing since, including an adaptation of Joseph Heller’s 13 Academy Award nominations. DIR Mike Nichols; SCR/PROD sharper in the 20-odd years since its release. DIR/SCR Federico Catch-22 (in 1970); CARNAL KNOWLEDGE Fellini; SCR Tonino Guerra, Tullio Pinelli; PROD Alberto Grimaldi, Heinz Bibo. , based on the play by Edward Albee. US, 1966, b&w, 131 (1971); the first of several collaborations with Italy/France/West Germany, 1986, color, 125 min. In English and Italian min. NOT RATED with English subtitles. RATED PG-13 actress with SILKWOOD (1983); an adaptation of Carrie Fisher’s semiautobiographical (in 1990); the MON, MAY 10, 8:45; TUE, MAY 11, 9:15 Americanized version of the French stage and screen sensation La Cage Aux Folles, “I don’t really consider this a movie … it’s unlike other movies because its tone is that of a friendly chat.”—Fellini. THE BIRDCAGE (1996); and the excellent 2004 A Japanese camera crew arrives to do a story on the 50th screen adaptation of ’s play CLOSER. anniversary of Cinecittà, and, in the course of interviewing the To honor this year’s recipient of the AFI Life studio’s greatest maestro, Federico Fellini, finds its news piece Achievement Award, AFI Silver screens a selection more and more “Felliniesque.” Ostensibly working of some of the most outstanding films in Mike on an adaptation of Franz Kafka’s Amerika, Fellini instead Nichols’s distinguished body of work. gives the crew a tour of his past, including visits with and Anita Ekberg. DIR/SCR Federico Fellini; SCR AFI Member passes will be accepted at all films Gianfranco Angelucci; PROD Ibrahim Moussa. Italy, 1987, color, 105 min.

in the Mike Nichols series Picture Courtesy of Everett Collection In Italian with English subtitles. NOT RATED WHO’S AFRAID OF VIRGINIA WOOLF?

10 TICKETS & FULL SCHEDULE at AFI.COM/SILVER Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) AFI LIFE ACHIEVEMENT AWARD RETROSPECTIVE: MIKE NICHOLS

CATCH-22 POSTCARDS FROM THE EDGE CLOSER FRI, MAY 21, 7:00; SAT, MAY 22, 12:30; MON, MAY 24, 9:10 SAT, JUN 5, 2:45; SUN, JUN 6, 9:00; MON, JUN 7, 9:40 SAT, JUN 19, 7:15; SUN, JUN 20, 7:30 Stretched to his breaking point by the horrors of WWII, Fresh off an overdose In playwright Patrick Commander Yossarian () fakes insanity as a way and rehab stint, pill- Marber’s antiromantic, out—but, as his base doctor notes, anyone who’s afraid of popping actress Suzanne London-set character war can’t be that crazy. Regarded as a flop upon release, Vale (Meryl Streep) is study, couple Dan (Jude Nichols’s episodic, near-plotless adaptation of Joseph forced to live with her Law) and Alice (Natalie Heller’s legendary antiwar novel is a remarkable, formally show-biz legend mom Portman) trade partners daring satire that’s well overdue for reevaluation, bolstered (Shirley MacLaine) when with Larry (Clive by an incredible cast that includes Bob Newhart, Buck her studio labels her Owen) and Anna Henry, Anthony Perkins, , Art Garfunkel and Orson uninsurable. With no () over the Welles. DIR Mike Nichols; SCR Buck Henry, based on the novel by love lost between them, course of four years, a Joseph Heller; PROD John Calley, Martin Ransohoff. US, 1970, color, the two battle it out as relay race of betrayal 122 min. RATED R Suzanne struggles to stay fueled by suspicion,

sober amid a parade cruelty and deceit on Picture Courtesy of Sony Pictures Repertory of sleazy producers, the parts of all involved. CLOSER condescending directors A cynical look at jealousy and dysfunction that carries the and embezzling themes of CARNAL KNOWLEDGE into the 21st century, this managers. Adapted by film reaffirmed Nichols as one of Hollywood’s finest directors Picture Courtesy of Sony Pictures Repertory Carrie Fisher from her POSTCARDS FROM THE EDGE of actors, earning Oscar nominations for Portman and Owen. semiautobiographical best- DIR/PROD Mike Nichols; SCR Patrick Marber; PROD Cary Brokaw, John selling novel, this film marked Nichols’s third collaboration Calley. US, 2004, color, 104 min. RATED R with Streep, who received a Best Actress Oscar nomination. DIR/PROD Mike Nichols; SCR Carrie Fisher, based on her novel; PROD CHARLIE WILSON’S WAR John Calley. US, 1990, color, 101 min. RATED R TUE, JUN 29, 9:10; THU, JUL 1, 9:10 Prodded by Houston socialite Joanne Herring (Julia Roberts) THE BIRDCAGE and a visit to an Afghan refugee camp, hard-living Texas SAT, JUN 12, 5:15; SUN, JUN 13, 5:00 Congressman Charlie Wilson () joins forces with club owner Armand () and his partner oddball CIA man Gust Avrakotos (, and star performer Albert () have a good life in Oscar nominated) to gather funding, weapons and support Miami, and Armand’s son is set to bring home his fiancée for the Afghans’ battle against the Soviets. To everyone’s to meet the folks. The only problem? His father-in-law to be surprise, his efforts are wildly successful, and he soon finds () is a conservative senator and staunch himself with an unexpected (and long-lasting) influence over “family values” advocate. A hilarious remake of LA CAGE world affairs. Scripted by and based on a too- AUX FOLLES with brilliant performances by Williams and good-to-be-true true story, this film is a brilliantly entertaining Lane, this film also found Nichols working with a script by political satire that finds all involved on top of their games. DIR his former performing partner (and director in her own right) Mike Nichols; SCR Aaron Sorkin, based on the book by George Crile; PROD

Picture Courtesy of AFI Stills Collection . DIR/PROD Mike Nichols; SCR Elaine May, based on the Gary Goetzman, Tom Hanks. US, 2007, color, 102 min. In English, Dari, CATCH-22 play by Jean Poiret. US, 1996, color, 117 min. RATED R Arabic and Russian with English subtitles. RATED R CARNAL KNOWLEDGE SAT, MAY 29, 12:30; SUN, MAY 30, 9:40; MON, MAY 31, 7:30 As college roommates, sexist Jonathan () and shy Sandy (Art Garfunkel) share their neuroses, fantasies and the same girlfriend; as the years pass, the two deal with marriage, affairs and their mutual inability to reconcile love and sex. A devastating look at masculine dysfunction featuring career-best performances from Nicholson, and an Oscar-nominated Ann-Margret, this film is one of Nichols’s darkest and most psychologically incisive works. DIR/PROD Mike Nichols; SCR Jules Feiffer. US, 1971, color, 98 min. RATED R

WORKING GIRL SAT, JUN 5, 12:30; WED, JUN 9, 6:30 After her snooty, idea-stealing boss () breaks her leg in a skiing accident, lowly secretary Tess McGill (Melanie Griffith) trades her Staten Island duds for shoulder pads and sets her sights for the top—as well as handsome investment broker Jack Trainer (). A sly, postfeminist rags-to-riches story for the Reagan era, this film snagged Nichols his fourth Best Director and second Best Picture nominations as well as nods for Weaver, Griffith and co-star . DIR Mike Nichols; SCR Kevin Wade; PROD Picture Courtesy of MGM Douglas Wick. US, 1988, color, 113 min. RATED R THE BIRDCAGE

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 11

SPECIAL ENGAGEMENTS

48 HOUR FILM PROJECT INTERNATIONAL DISABILITY FILM FESTIVAL

PART OF THE 2010 INTERNATIONAL VSA FESTIVAL JUN 7-11 MAY 4-7 SCREENINGS AT 7:00 & 9:30 VSA, the international organization on arts As part of this extraordinary celebration of the arts, VSA and AFI are partnering to present the fi rst ever and disability, was founded 35 years ago by A competition for do-it-yourself fi lmmakers: International Disability Film Festival, which will include You're given a genre, a prop, a character and Ambassador Jean Kennedy Smith to create a a wide selection of outstanding fi lms by and about a line of dialogue. The rest is up to you! AFI Silver people with disabilities, fi lms that highlight the work welcomes back the 10th edition of the wildly society where people with disabilities learn done by artists with disabilities, fi lms that further popular 48 Hour Film Project, with this year's through, participate in, and enjoy the arts. our understanding of each other, and fi lms that are Washington, DC, area fi lms screening May 4 inclusive of all audiences. through 7, followed by the "Best Of" screenings From June 6–12, 2010, VSA will bring together on Thursday, May 27, PLUS: a special 10-year artists, educators, researchers, and policymakers All fi lms in the International Disability Film Festival will anniversary “Best Of” on Friday, May 28! with and without disabilities from around the world be FREE to the public, and access accommodations for the 2010 International VSA Festival—a will be provided. Shows tend to sell out, so it's best to buy tickets multicultural celebration of the arts and education. in advance at AFI.com/Silver. The Festival will feature a dazzling array of visual, For more information about the fi lms and show times, performing, literary, and media artists. The guest list please visit AFI.com/Silver. Each screening of the 48 Hour Film Project is includes more than 2,000 people, including VSA’s different, featuring a unique program of fi lms. network of U.S. and international affi liates, and For more information about VSA and the 2010 For individual show schedules and information audience members from around the globe. International VSA Festival, please visit about the 48 Hour Film Project, please visit www.vsartsfestival.org 48hourfi lm.com.

BEST OF 2010 48 HOUR FILM PROJECT AFI AND MONTGOMERY COLLEGE 2010 DC CARIBBEAN FILMFEST THU, MAY 27 7:00 & 9:30 Be a student again—at any age! Join AFI Silver JUN 4-6 Theatre for these special educational screenings, In recognition of Caribbean BEST OF 10 YEARS OF THE Heritage Month in June, AFI 48 HOUR FILM PROJECT each of which is followed by a discussion with a fi lm professor from Montgomery College. All screenings are Silver is proud to once again host FRI, MAY 28 on Wednesdays at 6:30 p.m. For students with valid ID, screenings of the DC Caribbean 7:00 & 9:30 Filmfest, now in its 10th year. discount tickets are only $6. All screenings are marked www.caribbeanamericanmonth.org with an asterisk in their series listings in these pages. The festival is co-presented by Caribbean Association of World Bank and IMF Staff (CAWI), Caribbean Professionals Networking Series (CPNS), AFI Member passes will be accepted at all fi lms Institute of Caribbean Studies (ICS) and TransAfrica Forum. in the Montgomery College series For updates on the fest, including fi lm schedule, please visit LAST SHOW OF THE SEMESTER! AFI.com/Silver. LA DOLCE VITA AFI Member passes will be accepted at all fi lms WED, APR 21, 6.30 in the Montgomery College series

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 13 ABOUT (AFI)

Experience everything that Silverdocs has to offer: JUNE 22-27 2010

UÊ Ì iÊLiÃÌÊ`œVՓi˜Ì>ÀÞÊw“Ãʈ˜ÊÌ iÊܜÀ` UÊ v>ÃVˆ˜>̈˜}Êw““>ŽiÀÃÊ>˜`ÊÃÕLiVÌà UÊ ÃiiÊw“ÃÊޜÕʘiÛiÀÊܜՏ`Ê >ÛiÊvœÕ˜`Ê>ÃÊ>ÊȘ}i‡ÌˆVŽiÌÊLÕÞiÀ UÊ Ã«iVˆ>ÊiÛi˜ÌÃ]Ê«>À̈iÃÊ>˜`ʓœÀit

“/ iÊiÝ«iÀˆi˜ViÊLiV>“iÊÜʓÕV ʓœÀiÊÌ >˜ÊÌ iÊÃՓʜvÊÌ iʓœÛˆiÃÊÊÃ>Ü°ÊÊ / iÀiÊÜ>ÃÊ>ÊÃi˜ÃiʜvÊLiˆ˜}Ê«>ÀÌʜvÊÌ iÊiÛi˜ÌÆÊÌ iÀiÊÜiÀiʜ««œÀÌ՘ˆÌˆiÃÊÌœÊ “iiÌÊ>˜`ÊÌ>ŽÊÜˆÌ ÊÌ iÊ«iœ«iʈ˜ÛœÛi`ÊÜˆÌ ÊÌ iÊ`œVՓi˜Ì>ÀˆiðÊÊÌÊÜ>ؽÌÊ ÕÃÌÊ}œˆ˜}Ê̜ÊÌ iʓœÛˆiÃÆʈÌÊÜ>ÃÊ>ÊÛ>V>̈œ˜t»Ê‡‡Ê>««ÞÊ*>Ãà œ`iÀ Silverdocs.com

ABOUT AFI AFI SILVER FREE ONLINE TICKETING is a unique cultural destination offering the best in cinema—sight, at AFI.com/Silver sound and comfort. Presenting an unsurpassed, richly eclectic UÊÊ œÝÊ"vwÊViʜ«i˜ÃÊÎäʓˆ˜ÕÌiÃÊ Offering the fi nest in fi lm exhibition, innovative program of international fi rst-run and repertory cinema, AFI before the fi rst show. screen education programs and the ongoing Silver connects audiences to the most advanced movie-going UÊÊ*i>ÃiÊ«ÀiÃi˜ÌÊޜÕÀʓi“LiÀÊ celebration of excellence in fi lm, television experience in the Washington, DC, area. Located in the heart of card at the box offi ce for all and digital media, AFI continues to connect Silver Spring, at the intersection of Colesville Road and member transactions. audiences to the best the art form has to offer. Avenue, on the Red Line Metro. UÊÊÊʏÊ“>œÀÊVÀi`ˆÌÊV>À`ÃÊ accepted. Learn more about AFI’s rich history, programs TICKETS and events at AFI.com. UÊf£äÊi˜iÀ>Ê`“ˆÃȜ˜ For more information, call UÊÊf™Ê-i˜ˆœÀÃÊ­ÈxÊ>˜`ʜÛiÀ®]ÊÃÌÕ`i˜ÌÃÊÜˆÌ ÊÛ>ˆ`Ê ]Ê 301.495.6700. and military personnel FREE PARKING UÊfn°xäÊÊ i“LiÀà At the Wayne Avenue Garage: Saturdays and Sundays, UÊfÈÊV ˆ`Ài˜Ê­£ÓÊ>˜`Ê՘`iÀ® weekdays after 8:00 p.m. UÊÊfÇ°xäÊ >̈˜iiÊ̈VŽiÌÃ]ÊÜiiŽ`>ÞÃÊLivœÀiÊÈ\ääÊ«°“°Ê (holidays excluded) JOIN AFI Member passes are valid for most screenings, but are subject to restrictions. Enjoy free passes, discount admissions and special events—as Check AFI.com/Silver or daily newspaper listings for restrictions. well as national benefi ts like online access to the acclaimed AFI Catalog of Feature Films. Visit AFI.com/Silver or call CAFÉ 800.774.4234 for a full listing of benefi ts. Open daily, featuring snacks, coffee, wine and draught beer.

THANKS TO OUR SPONSORS

14 TICKETS & FULL SCHEDULE at AFI.COM/SILVER Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) REPERTORYXXXXXXXXXXX PROGRAM

APRIL APRIL 16 - JULY 1 FRI SAT The calendar lists all repertory dates and special events/programs as of press time. Always check AFI.com/Silver for updated daily showtimes 16 OTHELLO 6:30 17 MACBETH 12:30 LA DOLCE VITA 8:30 LA DOLCE VITA 2:45, 8:30 and additional openings, and to register to become an AFI Insider. Insiders receive AFI Silver’s weekly e-newsletter! OTHELLO 6:15 SUN MON TUES WED THURS 18 OTHELLO 12:45 19 MACBETH 7:00 20 MACBETH 7:00 21 Montgomery College: 22 OTHELLO 6:30 23 8 ½ 4:15, 7:00 24 MR. ARKADIN 12:45 LA DOLCE VITA 2:45, 8:20 OTHELLO 9:15 OTHELLO 9:15 LA DOLCE VITA 6:30 LA DOLCE VITA 8:30 TOUCH OF EVIL 9:45 AMERICA, AMERICA 3:00 MACBETH 6:05 8 ½ 7:00 TOUCH OF EVIL 9:45 MAY 25 TOUCH OF EVIL 1:00, 9:45 26 MR. ARKADIN 7:00 27 8 ½ 7:00 28 MR. ARKADIN 7:00 29 8 ½ 7:00 30 FELLINI SATYRICON 7:00 1 F FOR FAKE 12:00 AMERICA, AMERICA 3:00 JULIET OF THE SPIRITS 9:10 TOUCH OF EVIL 9:45 JULIET OF THE SPIRITS 9:10 TOUCH OF EVIL 9:45 THE TRIAL 9:35 FELLINI’S ROMA 1:40 JULIET OF THE SPIRITS 7:00 BABY DOLL 4:15 TOUCH OF EVIL 9:45 THE TRIAL 7:20 SATYRICON 9:45 SOUNDTRACK FOR A REVOLUTION AFI.com/Silver for Info 2 F FOR FAKE 12:45 3 F FOR FAKE 7:00 4 THE GOOD, THE BAD, 5 48 HOUR FILM PROJECT 6 48 HOUR FILM PROJECT 7 48 HOUR FILM PROJECT 8 FELLINI’S CASANOVA 1:00 A FACE IN THE CROWD 3:00 FELLINI’S ROMA 8:45 THE WEIRD 7:00 7:00, 9:30 7:00, 9:30 7:00, 9:30 MAN ON A TIGHTROPE 4:00 THE TRIAL 6:30 48 HOUR FILM PROJECT 7:00, 9:30 CHIMES AT MIDNIGHT 7:00 FELLINI’S ROMA 9:00 AMARCORD 9:30 SOUNDTRACK FOR A REVOLUTION AFI.com/Silver for Info 9 AMARCORD 1:00 10 GINGER AND FRED 6:30 11 AMARCORD 6:45 12 GINGER AND FRED 6:30 13 AMARCORD 6:45, 9:15 14 THE GRADUATE 4:45, 7:00 15 ONE WONDERFUL SUNDAY 12:30 FELLINI’S CASANOVA 3:30 INTERVISTA 8:45 INTERVISTA 9:15 FELLINI’S CASANOVA 8:45 THE IPCRESS FILE 9:15 ZULU 2:45 CHIMES AT MIDNIGHT 6:30 SPLENDOR IN THE GRASS 5:30 GINGER AND FRED 8:45 THE GRADUATE 8:00 THE IPCRESS FILE 10:10 16 ONE WONDERFUL SUNDAY 12:30 17 THE GRADUATE 7:00 18 SPLENDOR IN THE GRASS 7:00 19 WILD RIVER 8:30 20 THE GRADUATE 7:00 21 ALFIE 4:30 22 CATCH-22 12:30 ZULU 2:45 WHO’S AFRAID OF THE GRADUATE 9:30 THE IPCRESS FILE 9:15 CATCH-22 7:00 3:00 WILD RIVER 5:30 VIRGINIA WOOLF? 9:05 GET CARTER 9:30 THE HOUSEMAID 5:15 WHO’S AFRAID OF ALFIE 7:30 VIRGINIA WOOLF? 7:45 GET CARTER 9:45 23 ON THE WATERFRONT 12:30 24 ON THE WATERFRONT 7:00 25 GET CARTER 7:00 26 DRUNKEN ANGEL 7:00 27 BEST OF 2010 48 HR FILM PROJECT 28 THE MAN WHO WOULD 29 CARNAL KNOWLEDGE 12:30 DRUNKEN ANGEL 2:45 CATCH-22 9:10 PULP 9:20 PULP 9:20 7:00, 9:30 BE KING 4:00 THE MAN WHO WOULD BE KING 2:30 PULP 7:15 BEST OF 10 YEARS OF THE 48 HR I LIVE IN FEAR 5:15 ALFIE 9:10 FILM PROJECT 7:00, 9:30 FUNERAL IN BERLIN 7:30 JUNE BILLION DOLLAR BRAIN 9:45 30 SCANDAL 12:30 31 SCANDAL 12:30 1 FUNERAL IN BERLIN 7:00 2 BILLION DOLLAR BRAIN 7:00 3 FUNERAL IN BERLIN 7:00 4 SLEUTH 4:20 5 WORKING GIRL 12:30 THE MAN WHO WOULD BE KING THE MAN WHO WOULD MONA LISA 9:15 MONA LISA 9:15 BILLION DOLLAR BRAIN 9:15 7:00 NO REGRETS FOR OUR YOUTH 12:45 2:45 BE KING 2:45 CHILDREN OF MEN 9:00 POSTCARDS FROM THE EDGE 2:45 I LIVE IN FEAR 5:20 BILLION DOLLAR BRAIN 5:20 MOTHER 3:00 MONA LISA 7:30 CARNAL KNOWLEDGE 7:30 A BRAND NEW LIFE 5:15 CARNAL KNOWLEDGE 9:40 MONA LISA 9:30 LITTLE VOICE 5:30 RASHOMON 7:15 CHILDREN OF MEN 9:15 CARIBBEAN FILMFEST DC AFI.com/Silver for Info 6 NO REGRETS FOR OUR YOUTH 12:45 7 THE IDIOT 6:30 8 RASHOMON 7:00 9 WORKING GIRL 6:30 10 RASHOMON 7:00 11 THIRST 9:30 12 THE QUIET AMERICAN 12:30 SLEUTH 1:00 POSTCARDS FROM THE EDGE 9:40 CHILDREN OF MEN 9:00 SLEUTH 8:45 CHILDREN OF MEN 9:00 2:30 MOTHER 3:00 THE BIRDCAGE 5:15 THE IDIOT 3:45 HANNAH AND HER SISTERS 7:45 LITTLE VOICE 5:30 THIRST 10:00 A BRAND NEW LIFE 7:00 and AFI.com/Silver for Info POSTCARDS FROM THE EDGE 9:00 CARIBBEAN FILMFEST DC INTERNATIONAL DISABILITY FILM FESTIVAL AFI.com/Silver for Info 13 EDUCATING RITA 12:30 14 IKIRU 6:45 15 EDUCATING RITA 6:45 16 IKIRU 6:45 17 EDUCATING RITA 6:45 18 SEVEN 4:00, 8:00 19 LIKE YOU KNOW IT ALL 1:00 HANNAH AND HER SISTERS 2:45 THE QUIET AMERICAN 9:30 THE QUIET AMERICAN 9:00 THE QUIET AMERICAN 9:30 HANNAH AND HER SISTERS 9:00 THE ITALIAN JOB 4:45 1:00, 5:00, 9:00 THE BIRDCAGE 5:00 DRESSED TO KILL 7:00 THE ITALIAN JOB 3:00 IKIRU 7:30 THE PRESTIGE 9:15 THRONE OF BLOOD 5:00 CLOSER 7:15 THE PRESTIGE 9:30 FIVE EASY PIECES and BLACK DYNAMITE AFI.com/Silver for Info 20 THRONE OF BLOOD 12:45 21 THRONE OF BLOOD 6:45 22 23 24 25 26 SEVEN SAMURAI THE PRESTIGE 9:00 1:00, 5:00, 9:00 THE ITALIAN JOB 3:00 LIKE YOU KNOW IT ALL 5:00 CLOSER 7:30 DRESSED TO KILL 9:30 JULY

27 28 29 THE CIDER HOUSE RULES 7:00 30 THE CIDER HOUSE RULES 7:00 1 LAST ORDERS 7:00 Centennial Mike Nichols Life Achievement CHARLIE WILSON’S WAR 9:10 LAST ORDERS 9:10 CHARLIE WILSON’S WAR 9:10 Michael Caine: A Class Act Award Retrospective Elia Kazan Centennial Korean Film Festival Larger Than Life: Orson Welles Special Engagements

COLOR KEY The Films of Federico Fellini Coming Soon

Follow us on Facebook (Facebook.com/afisilvertheatre) and Twitter (Twitter.com/afisilver) TICKETS & FULL SCHEDULE at AFI.COM/SILVER 15 American Film Institute 8633 Colesville Rd Silver Spring, MD 20910

COMING SOON

SOUNDTRACK FOR A REVOLUTION BACK BY POPULAR DEMAND! One of the best American fi lms! A masterpiece ONE WEEK ONLY! APR 30 - MAY 6 “ BLACK DYNAMITE of heartbreaking intensity! This documentary ” — ONE WEEK ONLY! JUN 11 - 17 tells the story of 40TH ANNIVERSARY! Scott Sanders’s pitch-perfect, detail-obsessed, lovingly the American civil NEW DIGITALLY RESTORED 35MM PRINT! parodic homage to ’70s-era fi lms has found rights movement FIVE EASY PIECES a welcoming home on the midnight movie circuit after through its powerful an extensive fi lm festival tour. Michael Jai White gives a music--he freedom ONE WEEK ONLY! JUN 11 - 17 rousing performance as the title character, who, after the songs protesters Jack Nicholson gives mob murders his brother Jimmy, gets back in the game to sang on picket a career-making take revenge, all the way from the streets to The Man in lines, in mass performance as Bobby the White House. “If you crave satisfaction, then dig this meetings, in paddy Dupea, a young man action!” Audience Award, 2009 Film Festival; wagons and in from a well-to-do Offi cial Selection, 2009 Sundance, Edinburgh, Tribeca and jail cells as they family on the run from Karlovy Vary Film Festivals. Co-presented with Poptimal.com. fought for justice his roots and perhaps DIR/SCR Scott Sanders; SCR Byron Minns, Michael Jai White; PROD Jon and equality. The his future. A former Steingart, Jenny Wiener Steingart. US, 2009, color, 90 min. RATED R fi lm features new piano prodigy, he’s performances of the been biding his time freedom songs by in with his top contemporary ne’er-do-wellfriends. artists, including When he learns his John Legend, Joss father is ill, he packs

Picture Courtesy of Area 23a Stone, Wyclef up with pregnant Jean and The girlfriend Roots; riveting archival footage; and interviews with civil and hits the road rights foot soldiers and leaders, including Congressman John on a journey to the Lewis, Harry Belafonte, Julian Bond and Ambassador Andrew family’s island home Picture Courtesy of Sony Pictures Repertory Young. The freedom songs evolved from slave chants, from the in Washington. A series of comic misadventures, including labor movement, and especially from the black church. The an impromptu piano performance on the back of a moving music enabled blacks to sing words they could not say, and truck, giving a lift to some far-out hitchhikers, and the famous it was crucial in helping the protesters as they faced down chicken salad scene at a roadside diner, give way to a brutal aggression with dignity and non-violence. The infectious more serious reckoning between Nicholson and his family energy of the songs swept people up and empowered once home. Nominated for four Oscars, including Best them to fi ght for their rights; this fi lm celebrates the vitality of Picture, Actor, Supporting Actress and Screenplay, DIR/SCR/ these songs. Directed by Bill Guttentag and Dan Sturman PROD ; SCR Carole Eastman; PROD Richard Wechsler. US, (NANKING), and executive produced by Danny Glover, this 1970, color, 98 min. RATED R documentary is a vibrant blend of heart-wrenching interviews, dramatic images and thrilling contemporary performances — “One of the key pictures of the decade. The fi lm a fi lm of signifi cance, energy and power. DIR/SCR/PROD Bill becomes an odyssey of self-discovery, touching upon Guttentag, Dan Sturman; PROD Joslyn Barnes, Jim Czarnecki, Dylan Nelson. US/France/UK, 2009, color and b&w, 82 min. NOT RATED the rootlessness and dissatisfaction of contemporary life. Bergman-esque, yet its idiom is completely American; sad but often outrageously funny.” – Michael Wilmington, Times Picture Courtesy of Sony Pictures Repertory