United States of Cinemerica: May 2011

Monday, May 30, 2011

Preview: John Hughes' Love Triangles

Although the appearance of 1980s movies during the Paramount Summer Classic Film Series may irk some of the vintage filmheads, it's hard to argue against the magical appeal of John Hughes' films. For some of us, his flicks hold a very special place in our heart. It seems everyone who has grown up in the past few decades had their expectations of high school and teen years shaped by television or movies, be it "Welcome Back Kotter," Splendor in The Grass, "Glee," Clueless or "Saved By The Bell." Last year, I unabashedly praised Hughes' films with a list of my favorites, and this year two more of his works appear this summer.

Now don't hate on me, Hughes fans, but I have a confession. I had never seen Sixteen Candles until several years ago. I never had an agenda against it, nor did I think it was a mere "chic flick." It's just one of those movies that slipped under my radar.

Yes, it is pretty darn funny. This is why Molly Ringwald became America's sweetheart, and Anthony Michael Hall became America's twerp. And hey, look! Isn't that Joan Cusack? I love her.

Some Kind of Wonderful is, admittedly, another gap in my Hughes viewing. I was familiar with the cast, but knew nothing about the story. I do, however, distinctly recall this teaser trailer on a couple of VHS tapes from back in the day.

Yes, it's a great teaser, but it doesn't exactly sell a narrative, does it? Yeah, all I knew about the movie back in 1987 was that clip. Well, let's see something more proper in the way of trailers.

Now it looks interesting! How have these slipped by me all these years? This is one I gotta see. Of course, I had a huuuge crush on Lea Thompson during my formative years, thanks to SpaceCamp (I was one of those NASA dorks). While I don't recall being a part of any love triangles myself, my Lea crush gives this film a slightly different kind of nostalgic appeal.

Oh, those teen years. For some, they were filled with drama and love triangles. For others, it was a class struggle between the geeks and the cool kids. These two films contain more than redheads, unrequited love and hair gel; they have a distinct pedigree. Distilled with copious amounts of teen angst, the end product is no less identifiable or poignant. This weekend, it's time to get drunk on the love. Drink from this double feature that has aged like a fine wine. Although not decades old, they are no less robust. And why wouldn't they? Their label is still vintage...

Vintage John Hughes.

Showtimes for the films:

Sixteen Candles
Sunday, Jun 5th
2:00 (with cupcakes for the first 100 attendees courtesy of Lick It Bite It or Both), 6:00

Some Kind of Wonderful
Sunday, Jun 5th
4:00, 7:55

Tuesday, May 24, 2011

Preview: Late Orson Welles

"I started at the top and worked down."
-Orson Welles

Whether fair or not, Hollywood history looks at Orson Welles more as squandered opportunity rather than celebrated genius. At the time of his cinematic debut in 1941, Welles was already well-known (notorious, even) for the infamous "War of the Worlds" radio broadcast. His first film, Citizen Kane, is now debated as being one of the greatest films of all-time. Likewise, no one is apt to argue the caliber of The Magnificent Ambersons or his memorable performance in Carol Reed's The Third Man. But because of his splashy debut and early success, his lesser known work is often overlooked or outright dismissed.

And that, dear friends, is a crime. Welles consistently brought a lot of style and innovation to every film he worked on, well until the end of his days. In fact, one can argue that his talent could continue some 25 years after his death; assuming one could ever find the mythical lost original cut of The Magnificent Ambersons or complete the legendary unfinished film The Other Side of The Wind.

I must confess a life-long admiration of Orson's work. Seeing both Citizen Kane and The Third Man as a child (summers then were often spent visiting classic film on VHS) started my fascination with this man, and I found myself devouring anything I could about the man and his career. As a result, I've had countless arguments over Welles in my time. I've heard him called a genius, a liar, a charlatan, and even an overrated bloat of man. While in my youth I would have gladly defended the position of genius, I now see years later that Orson was likely delighted to be called all of the above. I can easily imagine him chuckling and playfully mocking such accusations, all with his distinctive sonorous voice that makes you feel like you're slipping into a warm bath.

F For Fake was a title that I was only familiar with in a cursory manner until several years ago, when The Criterion Collection put out the title on DVD. It's a documentary... of sorts. On one level, it is a story about a professional art forger. Soon, however, lines begin to become blurred between reality and authenticity in the film. It pulls you through a looking glass, then fractures your perceptions into broken shards. Or does it?

It's apt to make you ask, "What the hell is going on here?" But in a good way.

Touch of Evil was another I remember from summers past. I believe I first saw it some time during my junior high school years, and I was mesmerized by its sense of style. The tracking shot alone is worth the price of admission, but it's also a late specimen of Hollywood film noir, most often associated with 1940s and early 50s cinema. In addition to the leads of Charlton Heston and Vivian Leigh, keep your eyes peeled for appearances by Zsa Zsa Gabor, Dennis Weaver, Marlene Dietrich, and long-time Welles collaborator Joseph Cotton.

Of course after seeing Tim Burton's Ed Wood in 1994, whenever I visualize Charlton Heston in Touch of Evil all I think of is this scene:

Good for a punchline, but don't let that deter you. Join us at The Paramount for one night only to view these two films and appreciate the work of Orson Welles, a man that was written off by far too many as a mere wunderkind. Once you see these, you'll know he was more than a fleeting shooting star that burned fast and bright. Instead, Welles was a supernova, shining on years after he's gone.

Showtimes for the films:

Touch of Evil
Wednesday, Jun 1st
7:00

F For Fake
Wednesday, Jun 1st
9:00

Tuesday, May 17, 2011

Preview: Texas Film Commission 40th Anniversary

Hollywood, who needs it? Over the past few decades, Texas has established itself as a viable alternative for filmmakers. Spearheading the efforts of the industry in the Lone Star state is the Texas Film Commission, an agency managed by the Governor's office. They do everything they can to foster the seed of creative cinematic talent, from professionals to novices in the fields of film, television, commercial and video game production. In celebration of 40 years of excellence, The Paramount will be screening seven films filmed inside our grand state.

Set aside some time this coming week to partake of these films:

Silkwood, the Mike Nichols directed film starring Meryl Streep, Kurt Russell and Cher, was partially filmed in Texas City, Dallas, Howe, and Tom Bean. The story of a worker at a plutonium processing plant who uncovers safety violations and undergoes unspeakable to keep her silent.

There Will Be Blood, a drama about greed, religion, and family centered around the early days of the oil business, features a tour-de-force performance by Daniel Day-Lewis. A monstrous portrayal of the frailty and darker sides of human nature, it won wide acclaim and an Oscar for Day-Lewis. The oil field scenes were filmed in the wide open spaces near Marfa.

The Sugarland Express, the debut feature film of director Steven Spielberg (you may have heard of him), shot exclusively in Texas. Locations included: Floresville, Del Rio, Pleasanton, and San Antonio. The story of a hard-luck woman and her fugitive husband who are on the run with a lawman hostage shows hints of the future Spielberg flair, and already features music by John Williams (Jaws, Jurassic Park, Indiana Jones saga, Star Wars saga). Also present is the cinematography by the great Vilmos Zsigmond (The Deer Hunter, Deliverance, McCabe and Mrs. Miller), who later worked again with Spielberg on Close Encounters of the Third Kind in 1977.

The Best Little Whorehouse in Texas is a comedy/musical about the infamous "Chicken Ranch," and features Dolly Parton and Burt Reynolds in their prime. Location shooting took place in Austin, Pflugerville, Hallettsville, College Station, and supposedly (gulp) my hometown of Victoria. Oddly, when investigating the matter further I yielded no details on what scenes used my old stomping ground as a setting. Call me crazy, but perhaps a story about prostitutes (no matter how cheeky) may not be the source of civic pride. Go figure.

Spy Kids, by Austin-based film maker Robert Rodriguez, is a special effects-driven tour of a kiddy fantasy land. In addition to location shooting overseas, filming was also done in San Antonio and Austin. In fact, Spy Kids was the first feature produced at Troublemaker Studios, created by Rodriguez and Elizabeth Avellán. The production house is nestled right here in Austin, and is Robert's base of operations for the Spy sequels, Sin City, Once Upon a Time in Mexico, Grindhouse, and the somewhat controversial Machete.

The Coen brothers' brilliant True Grit also was made in the local area. Filming took place in Granger, Blanco, and in Austin. Jeff Bridges, Matt Damon, Josh Brolin and Hailee Steinfeld star in this remake of the old John Wayne classic.

Dazed and Confused, directed by Austin's own Richard Linklater. Made in Georgetown, Seguin and Austin, it is a cult classic comedy following several teens on the last day of school in 1976. Featuring numerous young actors who later broke out into stardom (Ben Affleck, Renee Zwelleger, Parker Posey, Adam Goldberg, Matthew McConaughey and Milla Jovovich among others), Linklater himself remains the most valued treasure in this town. He's the city's favorite cinematic son, not only for putting Austin on the map of independent film, but for founding the Austin Film Society along with his collaborator Lee Daniel.

The screenings of Dazed and Confused will also have a fun event tied to them. A Red Diversions Movie-Themed Scavenger Hunt will take place between Saturday and Sunday. Teams of up to 4 people will race around Austin as they figure out clues. They will be completing challenges, collecting items, and taking pictures all revolving around the film. Unlike most Red Diversions' games, this fun clue pursuit game lasts all through the night into the next day, guaranteed to leave you... wait for it... "Dazed and Confused!"

Showtimes for the films:

Silkwood

Tuesday, May 24th