Sunday, August 28, 2011

Preview: The Grand Finale


And so we've come to the end of the road.
Boyz II Men allusions aside, it's a happy and somber moment for fans of the Summer Classic Film Series. Sad because it this film marks the finale of another summer of classic film. Yet, it is a cause of celebration because it sees the return of Gone with The Wind. Arguably the most famous movie of all time, this gloriously epic motion picture returns to The Paramount to end the summer with a bang (and Atlanta ablaze).

Do I really need to describe this film? Even if you've never seen it, you know what it's about. The story of Scarlett O'Hara (Vivien Leigh) and her journey before and after The Civil War. Her loves, her home, her life and her pride take hits over the period, and monumental decisions present cascade upon her.


Adjusting for inflation, Gone with The Wind remains still the highest grossest film of all time. And to think, it accomplished this without Celine Dion soundtracks or wookiees. Or most importantly, without 3-D gimmicks to hike the ticket price. Yeah. Suck it, Avatar.

As long time readers may know, this film is my white whale. It remains the biggest title on my personal list of "classic movies I've should have seen already." Last year's attempt to see it was a tragic comedy of errors. This year, nothing shy of flash floods will keep me from the theatre to see it. And judging by the temperatures this summer, that isn't bloddy likely.

So here ya go, folks. Another season of classic films is almost in the can. Some 80 films have been screened this summer. No matter how many you made it to, I'm sure it was a whole new experience seeing these long-time favorites on the big screen. But no ne to cry, in nine short months we get to do it again.

Or maybe even sooner, depending on what surprises The Paramount Theatre might have in store for us throughout the next several months...

Whatever lies in store, you can bet I'll be there and covering it whenever I can. Why? Because when it comes to The Paramount... frankly my dear, I do give a damn.


Showtimes for the film:

Gone with The Wind
Saturday, Sept 3rd
6:30

Sunday, Sept 4th
2:00 7:00


Final Note about the screening

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Review: Day of The Bat


It was a scorcher that Saturday afternoon, but not even the triple-digit heat could keep the Bat Fans away. The masses huddled to The Paramount Theatre to celebrate Austin's Day of The Bat, and to view the camp classic Batman (1966).

But while the fans were eager to get inside the theatre and cool off, there was one irresistible draw outside in the blazing sun. A diabolical plan to make us oooh and aaaah, and melt, perhaps? Behold, it was The Batmobile! Everyone was crowded around it, and I mean everyone. There it was, parked in the middle of Congress Avenue, which had been blocked off between 7th and 8th Street. Why the barricade, you ask? Alas, The Bat-Copter was actually due to make an appearance that day, but had to cancel due to Hurricane Irene. Bah! Curse that storm!

Before long, my inner thermometer told me to get indoors. As I entered the building and my eyes adjusted to the absence of sunlight, I found people were excitedly milling about and glancing at the booths, tables, and refreshment bars. There was merchandise galore inside the lobby. Comic book vendors were there offering toys, models, t-shirts, and comics. At a table of Paramount swag, I saw a limited edition poster print made for the day's screening, and it was beautiful. Oh, and how about this for a purrrfect touch? A costumed Batman was making the rounds and posing for photos. Even the bar was getting in on the action by offering a special drink, a "bat-tini." Holy cocktail buzz, it was tasty!

Upstairs was a private event where Gold and Platinum Film Fans had a personal meet-and-greet with the original caped crusader, Mr. Adam West himself. Last year, I got so caught up in the festivities that I missed my chance to meet West. Well, riddle me this! Who wasn't going to miss meeting Batman again this year? That's right. Yours truly.

I made my way up the stairs with a mix of excitement and heat exhaustion. Was I delirious? Was I really about to meet Gotham's hero? As I got in line, I was transported back to memories of taking pictures of Santa Claus as a child. Good Lord, don't let Adam jokingly ask me what I want for Christmas; I'd probably crack up into maniacal giggles like The Joker. I felt crazy from the heat already, the last thing I need is an episode that will get me a one-way ticket to the nut house (or Arkham Asylum).

Finally I calmed down and approached Adam West, cool as a cucumber. We greeted, talked for a moment, and then posed for Annie Ray to take our picture. At the last second, I photobombed my own picture and flashed my best batusi at the camera. Although needlessly silly, we all had a chuckle at that.

"Oh, nice one," West told me as I shook hands goodbye and made way for someone else. Although he's likely been subjected to that pose a billion times before, it was still nice of him to say that to me.

Making my way into the auditorium, I relaxed as showtime approached. The buzz in the auditorium, however, was feverish. By the time our hosts came out on stage, the crowd was ready to explode. Film programmer Jesse Trussell came out first to thank everyone for the turnout, and when he introduced Adam West the audience went bat**** crazy for the pop culture icon. West quipped and played the masses like a seasoned veteran. Charming, self-effacing, and endlessly funny, he shared stories and then fielded questions from the auditorium.

Some of the questions inquired about his thoughts on the recent Christopher Nolan movies (oh, and he confirmed that he is NOT going to cameo in nest year's The Dark Knight Rises). He expressed great admiration for those "expensive films," but reiterated that his take on the Caped Crusader was from a much different time. In contrast to the current Dark Knight, Adam finished by proclaiming himself as Gotham's Bright Knight.

And with that, he exited the stage, the light dimmed, and everyone got to partake in some 1960s campy goodness. That afternoon, all of us were children again. It was too warm for Santa Claus to show up, but we still had something to cherish. That afternoon, we all believed... in Batman.



Even if we didn't get a visit from Mr. Freeze that day, it was still one Bat-tastic time.

Thursday, August 25, 2011

Preview: The Texas Epic


Texas. It's one of the few states that immediately conjures an instant vision. Off hand, the only others that come to mind are New York with its metropolitan landscape and California with it's laid back lifestyle. Alas, thanks to the portrayals of the past, Texas' image is still of ten-gallon hats and cattle herds. They say everything's bigger in the Lone Star state, and I guess that also applies to generalizations about us. To this day, it amuses me when I travel out of state and people ask if we all live on ranches and all wear cowboy hats. I can't vouch for you, but surely don't.

Alas, film portrayals don't help the cause. And although Giant is likely a seminal movie that others use to profile Texas, it's still a truly great film. All in all, I shouldn't really complain. If given a choice between stereotypes, I'd much rather take a moment to counter a portrayal of our citizens as oil ranchers than as a clan of chainsaw wielding killers.

Last year, after years of resistance, I saw Giant for the first time during last summer's Classic Film Series. It was an eye-opening experience, to be sure (one can read about it here). I watched it again earlier this summer during a road trip to Marfa, TX. There we watched the movie at the Hotel Paisano, where cast and crew stayed when the film was being made. Inside, there was a veritable shrine to Giant, and it was amazing to look upon the abundance of props and memorabilia.

That evening, the movie was shown outdoors on a large inflatable screen under a moonless sky. While it was beautiful to behold under the stars and literally in the shadow of the historic hotel, the experience just didn't hold a candle to my first experience at The Paramount. Maybe it was the wind bellowing the screen, maybe it was the passing trains or murmuring crowds during the film. Either way, I knew to appreciate it best I would have to return home.

And so Giant returns again this summer to The Paramount, and I couldn't be happier.

Released in 1956, Giant was directed by George Stevens and stars Rock Hudson, Elizabeth Taylor and James Dean. A multi-generational tale about a cattleman (Hudson) and his East Coast bride's (Taylor) rivalry against a local ranch hand (Dean) and against society itself, the film is an epic on a Texas-sized scale.


On the surface, Giant has no reason to be this good. Based on a best-selling novel by Edna Ferber, it easily could've been translated into a melodramatic soap opera of sorts. In fact, while watching this movie one can clearly see situations that were to be echoed in the overwrought TV series, "Dallas" that was to come two decades later.

What helps this film transcend is the awe-inspiring scope that Stevens took to the material. Although undeniably Texan, it is at its heart an American story, a look at a family and the shifting of social and personal beliefs through the generations.

I can't say enough about the performance here, either. Rock Hudson is great as Bick Benedict, the patriarch and central figure of the story. James Dean is Jett Rink, a rags to riches to decay character who steals nearly every scene he appears in. Tragically, Dean died in a car accident just one week after filming concluded. His role in Giant remains an example of Dean at his finest, and sadly hints at the incredible career he could have had. However, perhaps the most stellar performance belongs to the late Elizabeth Taylor in the movie. As Leslie, Benedict's wife, she represents the heart of the story. Smart, compassionate and strong, Taylor is sublime with an understated power that reaches across generations. She's the catalyst for change, and is tough enough to survive Texas customs and then dig in her own spurs to break a historically conservative culture.

I continue about the majestic excellence of Giant, but after one viewing you would likely be inclined to agree. The superlatives can rattle on and on and on to fill Texas itself. Even in a summer of amazing film classics, it stands tall among like an oil derrick on the landscape. Appropriately, it's cinematic gold. Or should I say... "black gold. Texas tea."


Showtimes for the film:

Giant
Thursday, Sept 1st
7:30

The Sept 1st screening is also the 2011 Summer Classic FIlm Series CLOSING PARTY.
Film Fans receive FREE admission, drinks, popcorn & a special gift!


Friday, Set 2nd

Saturday, Sept 3rd


Final Note about the screening

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Wednesday, August 24, 2011

Preview: Lemmon and Wilder


"I'm terribly fond of Jack. We understand each other very well and it's a pleasure to work with him. He is a thinking actor, but not an argumentative one. By that way I mean if we start shooting at nine o'clock, he would be there at 8:15 and would come to my office and say, "Hey, I've got a great idea! Look, why don't we do this? Blah, blah, blah, blah." And I just look at him, and he says, 'I don't like it either.' And he walks out."
-Billy Wilder on Jack Lemmon


We are in the home stretch, folks. Summer is coming to a close, school has started again and temperatures are dropping back down to a mere 100 degrees or so. Okay, so the heat hasn't really abated yet, but that's okay. The Summer Series is now in its last week, and they're not letting up either. And what better way to refresh oneself during these tepid days than something light. How about some high caliber comedies, courtesy of the great Billy Wilder and each with a twist of Lemmon. Jack Lemmon, that is.

Over his career, Bily Wilder had a diverse career from charming comedies (Sabrina) to darker fare (Sunset Boulevard) to dramas (Double Indemnity, The Lost Weekend, Stalag 17). Yet, Wilder's bread and butter was that signature charm of his witty comedies, and Jack Lemmon was a frequent collaborator.

Some Like It Hot was the first film that they worked on together, and fifty years later it is widely considered one of the best comedies of all time. Jack and Tony Curtis are two guys on the run from the Mob, and travel disguised as women. Things get interesting when the fellas travel with a female band and become enamored with the vocalist in the process. Oh, did I mention she's played by Marilyn Monroe? So categorize that infatuation under "duh."


While I recognize that some do like it hot, we've been suffering through over 70 days of 100 degree temperature this summer. Insult my manhood if you want, but some of us like it air-conditioned.

From an awards standpoint, The Apartment stands as Bill Wilder's most lauded film. The winner of Best Picture of 1960, it stars Jack Lemmon along with Shirley MacLaine and Fred MacMurray. Lemmon plays C.C. Baxter, an insurance agent who is another faceless drone at his company. But he possesses a key to success that is questionable ethically and morally. He lends out his apartment to executives to take their mistresses for their liaisons. Wait a second. 1960? New York City? Affairs at big corporate businesses? Don Draper would be so proud.

Alas, Baxter finds that this method of climbing the corporate ladder is not without its own dangers.


The film is a showcase for both director and star. Wilder flaunts his brand of dark humor, and Lemmon embodies that role of an everyman that he often does to perfection.

During his career, Billy Wilder earned over 20 Academy Award nominations, with eight of those nods for Best Director. Although Jack Lemmon never won Oscars for these collaborations with Wilder, he went on to become the first man to win both a Supporting Actor Award (Mister Roberts in 1956) and Best Actor Award (Save The Tiger in 1973) in the course of a career.

Thinking back, it's hard to believe both of these men have been gone for nearly ten years now. Lemmon passed in 2001 and Wilder in 2002. Then again, the term "gone" is hardly accurate. The sense of joy that they left behind on film is eternal, and feels fresh no matter how many times you revisit these movies. It's a rare gift that we are able to laugh at ourselves in the bleak times. And that, dear friends, is what Billy Wilder and Jack Lemmon have left for us: the ability to smile in the face of adversity, and then laugh heartily at the circumstances of life itself.

Since I am likely to laugh so hard in an air-conditioned theater that I still get flushed and feel warm tears streaming out of my eyes, then I have to admit I was wrong. In that regard, I guess I do like it hot, after all.


Showtimes for the films:

Some Like It Hot
Monday, Aug 29th
9:30
Tuesday, Aug 30th
7:00

The Apartment
Monday, Aug 29th
7:00
Sunday, Aug 30th
9:45

Final Notes about the screening:

Some Like It Hot (Some Don't) Fan Drive Benefitting Family Eldercare

"Some Like It Hot” but some don’t, especially in their “Apartment” or homes. With Central TX’s unrelenting 100+ degree days this summer, the challenge to relieve low-income seniors, adults with disabilities and families with children from life-threatening heat is especially critical. That’s why the Paramount is hosting a fan drive benefitting Family Eldercare in conjunction with their summer film series screenings of Some Like It Hot & The Apartment. Drop off a new fan to the Paramount theatre the day of these screenings and receive a free film pass.*

*One film pass per donation, may be used for screenings at the time of donation or for any other regularly scheduled Paramount film accepting film passes through printed expiration date on film pass.

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Sunday, August 21, 2011

Preview: Night of the Bat with Adam West!


Holy encore, Batman!

Last summer, The Paramount Theatre played a big part in the City of Austin's Night of The Bat celebration. There was a screening of Batman, based on the iconic (if incredibly campy) 1960s television series. It was a treat to see such cheese on the big screen, but the real treat was an appearance by Batman himself: Mr. Adam West. The Q & A was a delight, and it was great to hear personal anecdotes from Gotham's "Light Knight."

Well, get ready. This weekend the batarang comes through Austin yet again. The Night of the Bat is celebrated with another screening of the 1966 classic Batman, once again with Adam West in attendance.

I must confess that I am a big Batman fan. Although I've never been a comic book guy, I did read some of the key graphic novels during my formative years. Then, of course, I was swallowed by the 1989 Bat-hype (like the rest of America). Around that time, I also rediscovered the '60s television series in syndication. And no matter how silly one may think the campy old TV show is, you can't deny the charm that exudes from Adam West's portrayals of Batman and Bruce Wayne. He still ranks high when compared to his more serious counterparts over the decades.


I mean, seriously? Val Kilmer?? Who thought that was a good idea?

POW!

I know we're now very familiar with a more serious tone of the Caped Crusader, so one may wonder: what's the 1966 Batman movie like in comparison? Well... it isn't The Dark Knight. It's basically an extended episode of the television show, with slightly bigger sets and more expensive production values. The dynamic duo of Batman (West) and Robin (Burt Ward) get to show off some new wonderful toys, including a sleek Bat-Boat and bubble-like Bat-Copter. And they'll need it against a rogue's gallery of villains that band together like a Pro Bowl team. Well, now that I think about it, I'm thinking Gotham City's not in too much danger with this motley crew of clowns villains.


That's Cesar Romero as The Joker, Burgess Meredith as The Penguin, Frank Gorshin as The Riddler, and Lee Meriwether as Catwoman (meee-ow!). Together they're not playing for keeps or to hurt anyone (also like a Pro Bowl team). Yet that doesn't stop them from chomping on the scenery. There's no menace like Bane to break Batman's back, but you might crack a rib laughing at how ridiculous the action is. Heck, Batman even battles a shark in this movie. You read that, right. A shark. Yeah, I know. Just go with it, roll with the punches, and you'll be fine.

Oh, but don't take my word for it. Below is the original trailer of the film, and like the costumed hosts of a karaoke night, Batman and Robin talk you through the preview of their big screen adventure.


BAM!

Be sure and save some laughs for the Q&A, because Adam West's stories and wit are sure to keep you entertained. Even at age 82, he still knows how to play to an audience.

Hey, and there's a bonus also if you happen to be a Platinum or Gold Film Fan member. There will be an Adam West Photo Booth by Annie Ray. There, you can have your photo professionally taken with Adam West himself. Bu leave all your Bat gear and comic books at home, folks... no autographs are allowed.

All in all, Saturday is shaping up to be a bat-tastic time. Silly fun, Adam West, and a uniquely Austin celebration. What more can you ask for? If that doesn't sound like a good time, I simply must ask... why so serious?


Showtimes for the film:

Batman (1966)
Saturday, Aug 27th
1:00

Final Notes about the screening

Adam West Photo Booth by Annie Ray:
For Gold and Platinum Film Fans Only. Have your photograph taken professionally at our Annie Ray photo booth with Adam West himself. No autographs allowed. All Film Fans receive access to preferred seating section and a complimentary specialty drink. DOORS OPEN AT 12 PM.

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Preview: 70mm Week


It's the most wonderful time of the yeeeear...
No, not Christmas. To me, this is even better.

Movie palaces like The Paramount beat the pants off any generic multiplex for seeing movies. Over the past year, I've seen classic films, sneak previews, exhibitions, film festival entries, and even traveling cinema shows there. Trust me, it's always treat to see things in 35mm up on the historic screen. It's a top notch experience.

However...

Sometimes, even the elite have special presentations. And this week, the films shown are presented in 70mm format. It's a larger film format from the past and is a bit of a rarity among films. Possessing a larger size and increased resolution, you could call it a "high-def" format before terms like "HD" became marketing buzz words. So what does it mean? It means that these films, filmed fo a larger format to reflect their epic scale, will look absolutely incredible up on the big screen.

This selection of mind-blowing beautiful presentations include:

I enjoyed Vertigo immensely last year when I saw it last summer in its full glory. Alas, I now feel somewhat spoiled by the screening. When I tried to se it again at home on my bedroom TV earlier this year, I nearly wept at how inadequate the presentation was that time. Now is the time to take advantage of the 70mm format, and see Hitchcock's tale of obsession and mystery as it was meant to be seen.


I realize that many of you my not be familiar with Baraka, but it is a remarkably gorgeous example of filmmaking. Like a Louis Armstrong song, it shows us what a wonderful world this is. It's a free-form documentary with no narrative to speak of, but is a series of moving images about our planet and the things that inhabit it. The film is widely regarded as a must see experience on the big screen, and in 70mm I imagine it can show us that a world that exists beyond anything words could possibly express.


Long shots of red-faced monkeys aside, this is another screening I'm losing sleep over. No worries regarding insomnia, though. I also can't wait to see what dreams may come from watching this beautiful view at our planet.

People have called Stanley Kubrick's 2001: A Space Odyssey many things, but few would use the term "accessible." It's ambiguity is actually one of its greatest assets, in my opinion, but I've heard so my call it difficult or dull. Now, it may be described several ways, but "boring" is a word that should never be applied to this masterpiece about a space mission gone bad (and a computer gone mad). Above all else, the film should be described as "impressive." It's bold in ambition, and the visuals are so breathtaking that it still stands as a convincing example of special effects over 40 years later. This is one I'm dying to see in its original 70mm scope, so that it the images can stand like a monolith before me.


Finally, we have Lawrence of Arabia. David Lean's masterpiece about T.E. Lawrence and his complicated adventures in the desert during wartime. I also saw this last year in 70mm, and it was nearly a religious experience. Everything felt so vibrant and alive, and even the desert itself was like another player in the story. It's another film that I simply can't wait to drink up once again.


I'm giddy at the thought of seeing this quartet over the next week. The films, the scale and the venue will combine to create an experience I won't soon forget. Throughout the week, I'll be perched up in the mezzanine taking in the majestic scope of the 70mm features with mouth agape in amazement. In fact, I'm very likely to look just like Dave Bowman from 2001 when he sees the cosmos: awe-struck and speechless. I'm ready to have my mind blown.


Showtimes for the films:

Vertigo
Monday, Aug 22nd
Tuesday, Aug 23th
7:30

Baraka
Wednesday, Aug 24th
7:00
Thursday, Aug 25th
9:55

2001: A Space Odyssey
Wednesday, Aug 24th
9:10
Thursday, Aug 25th
7:00

Lawrence of Arabia
Friday, Aug 26th
7:00
Saturday, Aug 27th
7:30

Final Notes about the screening

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Thursday, August 18, 2011

Preview: Leaders of the New Wave, Godard & Truffaut


Alas, the run of World Cinema Classics this summer come to an end this weekend, but the screenings conclude with a showcase of cinema royalty. During the 1960s the French New Wave began to reinvent film's attitudes and structures. Directors like Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Demy and Éric Rohmer were major filmmakers in this cinematic revolution, and their impact on cinema was no less distinctive than the Beatles were on the world of music. Of these players, Godard and Truffaut are usually considered the leaders of the New Wave, and in effect were the Lennon and McCartney of French film.

François Truffaut made a distinct splash with his early films The 400 Blows and Jules and Jim, each reinforcing a joy of life through film. But after setting the world on fire with those movies, Truffaut took a darker turn away from the joie de vivre with The Soft Skin. In this film, a well-to-do middle aged lecturer has an established life complete with solid career and family. He meets a young woman after one of his speeches and begins an affair. In a combination of shame and unbridled passion, his emotions overtake his better judgment and begins making choices that have dire consequences.


When Jean-Luc Godard made Breathless in 1960, he planted the flag of French New Wave cinema that threw old cinematic conventions right out the door. His filmography is vast and acclaimed. Over the decades his works have aged like a fine French wine, and he is widely accepted as one of the finest directors in the world.

Vivre se Vie ("My Life to Live") was released in 1962, just as Godard was reaching his stride as a filmmaker. It is a film divided into 12 "chapters" that chronicle a young woman's descent from housewife into prostitution. Godard uses techniques of cinéma vérité to document her story, but infuses more striking cinematography to give the movie a distinct look and emotion. Within her story, the director also comments on philosophy, consumerism, and the pop culture of the period. Although not as well-known as his other work, it nevertheless remains a quintessential example of Godard.


These leaders of the New Wave has provided riches that are still appreciated to this day. Just as The Beatles were influenced by the likes of Carl Perkins, Buddy Holly, Little Richard and Elvis Presley, these French directors were strongly inspired both by Americana and the Hollywood. Godard, Truffaut and their French contemporaries were inspired by American film makers such as Nicholas Ray, Orson Welles, John Ford and even Britain's Alfred Hitchcock. Ironically, their appreciation for the culture of the past helped fuel the evolution of cinema's future. And so from their roots, the French New Wave has paved the road to modern movie making. Like a game of tennis, the creativity has bounced from our court to theirs to ours once again. Generations to come will continue to be inspired, and their fresh ideas will no doubt spark many artists to come. Such is life, such is art. C'est le vie.


Showtimes for the films:

The Soft Skin
Saturday, Aug 18th
4:30 8:45
Sunday, Aug 19th
4:00

Vivre sa Vie
Saturday, Aug 18th
6:50
Sunday, Aug 19th
2:00 6:20

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."

Saturday, August 13, 2011

Preview: A Forgotten Master, Masahiro Shinoda


"(some preceding gibberish)
Like Kurosawa I make mad films
Okay, I don't make films
But if I did they'd have a Samurai
(more gibberish)"
-Lyrics from "One Week"
A.K.A. that one Barenaked Ladies song from the late 1990s


When it comes to the history of film, we've all heard of the French New Wave, and this week were introduced to the Czech New Wave courtesy of Milos Forman. But did you know there was a Japanese New Wave in the 1960s as well? It's only natural. Japan has a prolific film industry, and is one of the top producing cinematic nations in the world.

Japanese cinema has had it's share of masters over the decades, and so it irks me when people think movies from Japan are either: bizarre horror, samurai movies, or Godzilla creature features. In a cinematic culture that is as deep and diverse as any other, it's to my chagrin that most people when asked to name a Japanese director (at best) come up with... Akira Kurosawa.

While I agree that Kurosawa is a master of film (of all-time for any nation), it's nonsense to reduce the history of a country's film culture down to one name. That's like someone proclaiming Spielberg is the only American director. Uh, hello? What about Scorsese, Allen, Kubrick, Welles, Coppola, Ford, Huston, or Fleming?

A director of prime importance in the Japanese New Wave was Masahiro Shinoda. Often overlooked except by the most discerning film buff, his films often focused on those on the fringe of society. Shinoda came from a theatre background in his youth, and therefore had a flair for the dramatic and a knack for the theatrics of storytelling. This week The Paramount shines a light on this often unrecognized name of Japanese cinema.

Pale Flower tells the story of Muraki, a hard-boiled Yukuza gangster just released from prison. The ex-con revisits some of his old stomping grounds, and notices that time indeed has changed all he knew. In the the shadows of this world, he happens upon the young and nubile Saeko. She's like a flower amongst the weeds of his underworld culture, but the relationship that blossoms between the two escalates in dangerous new ways. For them, too much is not enough. A film of incredible style, stark cinematography and smash edits, Pale Flower follows Muraki down into the depths where gambling comes with rapidly raising stakes. Facing long odds, it seems this yukuza has gone all in for the largest gamble of all... the one for his soul.


Released in 1964, this film cemented Shinoda as an important voice in the new cinematic movement. Sure, crime stories had been done before (and since), but rarely with such technique. Think of this movie as a tighter and classier Carlito's Way.

Although the second example of his work is equally dark in tone, it is a far cry from gritty crime stories. In fact, this one is set in 18th century Japan, where tradition always trumps desire.

Double Suicide, you may be disappointed to know, is not an alternate title to Romeo and Juliet (sorry for the spoiler) but another film of Masahiro's screening this week. It is an adaptation of a classic Banraku, a type of theatrical puppet play. Infused with Shinoda's natural sense for the stage, the film shines as a unique tale of two doomed lovers.

A paper merchant becomes obsessed with a prostitute, and yields both his fortune and family in pursuit of this unattainable woman. Needless to say, society frowns on this. Soon, she grows equally enamored with him, and the duo's lives begin to orbit one another like objects going down a drain. Faced with pressures and desires too overwhelming to endure, the couple arrive at the conclusion that there is only one way out.


It's a classic tale with a modernist slant, not unlike Powell and Pressburger's The Red Shoes. Rarely has the blending of stage and film come so alive as it does in Double Suicide.

Among the deep riches of Japanese cinema, the title of crown jewel will likely always remain with Kurosawa. Yet buried like a rare pearl, Masahiro Shinoda's films still luster nearly fifty years later. An overlooked ambassador from a prominent nation's culture, Shinoda's films are true works of art whose gallery has been neglected for far too long. This week, do yourself a favor and view both movies. These haunting and moving films from Japan's forgotten master will stay with you longer than any annoying Barenaked Ladies song lyric could ever hope to.




Showtimes for the films:

Pale Flower
Thursday, Aug 18th
7:00
Friday, Aug 19th
9:10

Double Suicide
Thursday, Aug 18th
9:o0
Friday, Aug 19th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

$2 from each ticket benefits the Japan Red Cross Relief Fund

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Preview: Passion and Love


World cinema classics continue with tales of love, but not romance in the classic sense. Don't expect anything mushy or lovey-dovey here. These darker tales of love are unconventional to say the least, and for some may well be heart-wrenching. Desire can take many forms, and the things we do for love reveal much about who we are. Not as citizens of any particular nation, mind you, but as human beings.

In 1962, at the time of its release, Mamma Roma was highly controversial. It is the story of an ex-prostitute (the title character, played by Anna Magnani) who has retired to run a fruit stand. Now able to provide a better life, she brings back her son to live with her. Despite her best efforts, she finds raising an upstanding young man is no easy task, particular when the red-light districts can cast long shadows from the past.


Oddly, the film suffered backlash over its foul language rather than the obvious sexual overtones. Directed by Pier Paolo Pasolini, the film reflects a dark, if poetic, view of the things we do for love. The cinematography in Mamma Roma at times hint at how alone we all can be, no matter how hard we try. It reflects also a grim view of humanity as a whole, depicting post-WWII Italy as a place populated by pimps, whores and other criminals. An indictment of the Mussolini era, Pasolini was attacked by Fascist protesters at the film's premiere. These reactions contributed to his bleak outlook in his poetry and cinema, culminating in 1975's infamous film, Salò. In his career, Pasolini illustrated sad realities where he hoped passion and love could overcome the horrors of mankind.

Over the past few decades, Miloš Forman has directed several acclaimed Hollywood films: One Flew Over the Cuckoo's Nest, Amadeus, The People vs. Larry Flynt and others. But before he came stateside, Forman was at the forefront on the Czechoslovak New Wave of the 1960s. A pioneer of Czech cinema that countered the oppressive Post-WWII Communist society of his country, Forman's films featured dark humor and a balance of optimism versus disappointment. They usually feature outsiders, characters fighting against the system that suppresses any counter-culture expression.

Loves of a Blonde was one of Miloš Forman's early films, yet still features nearly all of these trademarks. Released in 1966, it is the story of Andula (Hana Brejchová), a young woman in a blue-collar Czech town. When the local factory manager bargains to bring in male Army reservists to balance a disproportionate female population, Andula finds herself spurning the advances of the imported suitors. Eventually, she finds herself drawn to a young musician and subsequently drawn into discussions from others about her questionable virtues. She finds that the misadventures in love can often lead down paths with no map, and Forman paints her world as one where sexuality is depicted as an antidote for totalitarianism. Alas, it remains one that can still reveal disillusion once the paint dries.

Nominated for Best Foreign Language film, Loves of a Blonde turned a spotlight on Czech cinema and also jumpstarted Forman's career.

Exposure to other cultures is always a fine way to prevent an ethnocentric view of one's world. Foreign classics like these help open on eyes to both universal plights of the human condition, but also to situations we have the luxury of rarely encountering here in the U.S. Hardships appear everyday, regardless of if spawned by love, hate, emotions or apathy. Most often, it's our passions that drive us to action, and there lies the cautionary tale. Passion can hold the key to our very hearts, but also to Pandora's box.


Showtimes for the films:

Mamma Roma
Tuesday, Aug 16th
7:00
Wednesday, Aug 17th
8:55

Loves of A Blonde
Tuesday, Aug 16th
9:10
Wednesday, Aug 17th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Tuesday, August 9, 2011

Preview: Silent Movie with Live Score!


Has the run of world cinema classics the past week whet your appetite for more? Then have I got something for you. As Corleone said, it's an offer you can't refuse. You see, last year my favorite screening from the Paramount Summer Series was of the silent Best Picture classic Wings with an original live score. The movie was incredible, and the live score was amazing. It was an electric night, and one that will stay with me the rest of my days. Well guess what, friends? Lightning is about to strike twice.

This year, The Paramount presents a rarity, a true world cinema classic from Mexico. The film is El Tren Fantasma ("Ghost Train"), directed by Gabriel García Moreno and released in 1927. It's an action-packed thriller about a railroad engineer who investigates a robbery spree by bandits. The movie is full of action, creative camera movements, fight scenes, and stunts (all performed by the actors themselves).

Why is it rare, you ask? In 1982, tragedy struck when a fire at the Mexican film archive burned all of its contents to the ground. It was a devastating blow to a country's rich cinematic history, and it has been estimated that between 5,000 to 6,500 feature films and shorts were lost. Very few of Mexico's old classic remain in existence, so El Tren Fantasma is a rare example of the country's film culture. The feature now stands as one of the best surviving silent Mexican films.

As if the idea of viewing a rare classic isn't enough, that's just the beginning of why the evening will be truly special. A live score is to presented along with the film by Michael Ramos and Charanga Cakewalk. Ramos, a native Texan, is a multi-talented musician who began his career working with artists such as John Mellencamp, the BoDeans and the Rembrandts. Charanga Cakewalk is his personal project that he started in 2002, and is acclaimed for its style. A mix of jazz and urban grooves, it remains as accessible and savory as your favorite tortilla-wrapped treat.

Films doesnt need sound to convey emotion, and music doesn't need visuals to resonate, but when the two meet it can be a perfect storm of art and creativity. During a summer when rain has been few and far between, this electrifying event promises to bring the thunder.

I don't know about you, but events like this are the reason I love the summer series. I love to see new visions and drink up the culture like a parched man at an oasis. The combination of a rare national treasure and a live score is something I simply can not miss. To paraphrase the most interesting man in the world: I may not always enjoy silent film (or Mexican cinema), but when I do, I prefer them like this... at The Paramount Theatre. Stay thirsty, my friends.


Showtime for the film:

El Tren Fantasma
Saturday, Aug 13th
8:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

VIP Tickets available - Includes post show meet & greet with Michael Ramos, an original limited edition show poster, and an advance copy of Charanga Cakewalk's forthcoming album for the first 25 people! Your VIP ticket benefits Cine Las Americas.

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Monday, August 8, 2011

Preview: Comedy of the Past and Present


World Cinema Classics continue at The Paramount Theatre with a somewhat lighter tone. Although both of these films are comedies, there is a hefty dose of social commentary found in both, and they still do the heavy lifting of more serious works of art.

Last year I was reacquainted with Jacques Tati during a summer screening of Mr. Hulot's Holiday, and I find his style of minimalist comedy to be endearing and occasionally profound. Tati's recurring role of Monsieur Hulot is his signature character, and I love his lighthearted and oblivious nature to the world around him. Much like Chaplin's Little Tramp or even Rowan Atkinson's Mr. Bean, they offer a heavenly innocence as a respite from the society they inhabit.

Playtime was one of Tati's later films, released in 1967, and is easily his most ambitious film. It depicts an ultra-modern and futuristic Paris, where organization has taken the place of organic interaction. This time Mr. Hulot's adventures take place in a city made of glass, steel and a generally cold sense of efficiency. Basically, it's Paris if re-imagined as an Apple store (Genius Bar, indeed). The movie is populated by a variety of characters and Tati's trademark minimalist style, where sound effects drive the comedy more than the sparse dialogue.


Playtime took Tati nearly three years to complete, and when you see the film you'll know why. Creating the film required an enormous set to be built and maintained. Hundreds of construction workers toiled to create this world of concrete and glass, which even necessitated the creation of its own power station during filming. There were numerous setbacks to Tati that prolonged the making of Playtime, but he persevered in making a masterpiece to his exact standards. There's something remarkable in employing maximum effort to make something so minimalist and pure; where a man's idea can yield something magical. A complex concoction of modernization, malaise, satire and the unwavering human resistance to conformity, the film shows that the shortest distance to connect people is rarely a straight line.

Director Federico Fellini was a great fantastical style of director, and his films rank as some of the most influential of the 20th century. Known for, Nights of Cabiria and La Dolce Vita, his movies are true works of art. Each reflects his unique and personal vision of memories, dreams, and society. Amarcord is Fellini's reflection on his youth when he grew up under Mussolini's regime. A free form film depicting the silliness that exist between the lines of the mundane, it depicts a memory (or fantasy?) of a people's vitality that not even fascism could keep at bay. Full of whimsy and quirky as life itself can be, it became perhaps Fellini's most accessible film.


For this film, Fellini won an Academy Award for Best Foreign Language film, but his legacy goes far beyond that one little gold statue. So many modern filmmakers are clearly influenced by his visual stylings, and in many ways he's the father of cinema by Martin Scorsese, Terry Gilliam, David Lynch, Pedro Almodovar, among many others.

And so the influence of foreign films of this caliber reaffirm that America is not the center of the cinematic universe. And like that old geocentric idea, it can be disproved by those who are willing to open their eyes to something new. Even if your ears are unable to understand the languages, the emotions and laughter can never be lost in translation. With so much volatility in the news this summer both here and abroad, films like these illustrate that fighting the system doesn't require anger, but instead can be fueled by joy.


Showtimes for the films:

Playtime
Thursday, Aug 11th
7:00
Sunday, Aug 14th
2:00 7:00

Amarcord
Thursday, Aug 11th
9:30
Sunday, Aug 14th
4:30

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Sunday, August 7, 2011

Preview: Theft and Thieves


August is there, and the sweltering heat is in full swing. These are the dog days, as they say. Doesn't some quality time in a chilly movie theater sound... amazing right about now? More over, this is not simply mindless entertainment, like that new Ryan Reynolds/Jason Bateman body switch movie.

Over the next two weeks, the Paramount Theatre is celebrating Classic World Cinema, foreign films of a much higher caliber than anything found in a local multiplex. First up are two French films from the mid 1950s, both of which pre-date the New Wave of Godard and Truffaut. Ahh, and who doesn't love that French sense of style? After all, if I recall correctly, tout le monde aimait quand Bradley Cooper parlait le français, non?

Bob Le Flambeur, released in 1956, is a stylish movie that shows director Jean-Pierre Melville's affinity for American noir and gangster films of the '30s and '40s. It's the story of Bob, an aged gambler and ex-con who is down on his luck. He's not the "Kenny Rogers" brand of gambler, he's an old school hustler; the kind of cool and suave fellow that knows everybody. And although Bob's walked the straight path for 20 years, he's tempted by a casino safe rumored to hold millions of francs. With that kind of jackpot at stake, Bob takes one last roll of the dice and plans a heist in the very place where the house always wins. Sure it's a risky venture, but it's a lot easier to go all in when you don't have much to lose.



A cool and confident movie with style in spades, Bob Le Flambeur is now considered to be a predecessor to the French New Wave of the early 1960s. Decades later, Melville's concept of the hardened yet cool gambler still echoed in 1996's Hard Eight and obviously in Steven Soderbergh's Oceans 11 trilogy. In 2002, director Neil Jordan (Mona Lisa, Interview with the Vampire, The Crying Game) remade this French classic as The Good Thief, starring Nick Nolte.

Robert Bresson is another influential French director who is known for making emotive and often gloomy yet beautiful tales. His Diary of a Country Priest and Trial of Joan of Arc are arguably his best known works, and examples of the Catholicism he injected into his stories about redemption and temptation. He made Pickpocket in 1959 and, far from a conventional crime story, more of a morality tale that many critics have compared with Dostoyevsky's novel, Crime and Punishment. In this film, Michel is a lonely pickpocket who is under the watchful eye of the local police inspector. This larceny begins as a hobby, but soon becomes an alternative to a series of harsh hands life deals him. Should he go straight? How much of a crime is his petty stealing? Or is he merely living by his wits?


So while the rest of the world feels so hot that it may well melt around you, say oui to the Paramount Theatre and take in these two influential French crime films. Allow them to steal your attention for a spell, and perhaps you can remove those myopic glasses and open your eyes to a larger worldview. After all, across the globe we often tackle the same problems, we face long odds, we suffer from the consequences of human nature, and we all feel the same relief when we can earn a respite from those overbearing dog days... or should I refer to them as the canicule de l'été? After all, that's what the French would say, ça va?


Showtimes for the films:

Bob Le Flambeur
Tuesday, Aug 9th
7:00
Wednesday, Aug 10th
8:40

Pickpocket
Tuesday, Aug 9th
9:00
Wednesday, Aug 10th
7:00

Final Notes about the screening:

$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."



Tuesday, August 2, 2011

Preview: Birth of The Slasher


Oh, the slasher flick. In this particular brand of film, where a serial killer slays a sequence of victims, the audience themselves are also brought along for the ride. The cameras act as our own eyes and ears, and in effect we get to witness the crimes in a form of deadly voyeurism. Kinda twisted, huh? Yeah, and I love it. You can keep your typical splatterhouse horror movies, because slasher films are the ones dearest to my heart.

You see, the slasher film is is the very subgenre of horror that introduced me to the cinema of terror. At a very young age (four or five, I think) I watched John Carpenter's Halloween late one night on TV. Yes, I was mesmerized. But I'll also freely admit that the experience was intensely traumatic, and to this day I can feel my pulse quicken ever so slightly at the sight of that white Michael Myers mask. As my childhood progressed in the 80s, a cornucopia of pop culture horror slashers paraded on screens: Freddy Kreuger, Jason Voorhees, Leatherface, and even Chucky invaded multiplexes and terrorized audiences. By the early to mid 1990s, slashers were played out through overuse and self-parody. But after the Scream movies reawakened the slasher genre in 1996, it was like greeting an old friend.

Sure it scared the bejeebus out of me as a kid, but now I get to appreciate them as exercises in film-making excellence (granted, in some... not all). If one has an eye trained to ignore all the blood, they can learn the importance of editing and particularly sound. Such high caliber is usually found in the best horror films, because they are the most effective tools by the director to play the audience like a harp.

As a treat this week, The Paramount is presenting the fathers of this genre we now all know so well. It is time to explore the roots of the slasher film, as directed by two British masters of cinema: Alfred Hitchcock and Michael Powell (Black Narcissus, The Red Shoes) in 1960.

Over fifty years after its original release, Alfred Hitchcock's Psycho is one of those films that not only was a landmark movie but a pop culture phenomenon. The movie has always been one of my favorites, and I could revisit it endless times. There's a evil giddiness that rises in me every time I see it, and every twist, turn and stabbing never get old. Don't be scared, I'm not a bloodthirsty viewer; I simply marvel at Hitchcock's craftsmanship. I doubt anything could ever recapture the amazement from the first time I saw Psycho, but then again nothing can probably ever ruin my enjoyment of the film. Well, almost nothing.

Regardless if one has seen the film or not, it's hard to imagine anyone not knowing the major twists to the story. Out of respect for those who know nothing about of the shocks and thrills in Psycho, I will refrain from spoilers. Perhaps it's best if I let the director himself sell you. Mr. Hitchcock himself, ever the showman, guides you through this unorthodox trailer for the film. It's a strange tone for this clip, which somehow is a hybrid of hotel tour and CSI investigation.


To this day, one of the more remarkable elements of Psycho is the manipulation of the audience and the shifting allegiances as the situations change. One minute, we're shocked by a character's act, and the next we're quietly rooting for them to get away with it. Alarming in its actions and flawless in its execution, Alfred always keeps us on our toes.

The influence of the movie goes way beyond people's showering habits. Hitchcocks slight-of-hand techniques are now practically standard on all thrillers, and every slasher film since aims to shock and awe like the original Psycho.

Peeping Tom, also released in 1960, also helped kick open the door for modern horror slasher films. Directed by the legendary British director Michael Powell (Black Narcissus, The Red Shoes), also deals with a serial killer but raises the perverse factor up a few notches. It's the story of a murderer who slays his victims and films their deaths in an attempt to make a magnum opus of snuff. There's enough complex psychological themes and sexuality in it to make Freud's head spin, and it takes the voyeuristic tendencies of the slasher film to perverse heights.


Like Psycho, this film was considered shocking in its presentation. Unlike Psycho, however, Peeping Tom pushed buttons and challenged boundaries that audiences weren't quite ready for. Reviled by many when first released, it developed a cut following over the years and has since been reappraised as a masterpiece of horror. Considering the disturbing imagery we see in cinemas today (and even more so in the news), it's safe to say that Peeping Tom was way ahead of its time.

The influence of Peeping Tom and Psycho runs deep over the past few decades. It's hard to imagine the horror franchises of the 80s, dramas like Se7en, The Silence of the Lambs and Henry: Portrait of a Serial Killer, or even subpar movies like 8mm without these initial pioneers. Most recently, Scream 4 (released just a few months ago) borrows heavily from the premise of Peeping Tom and even references it directly in that way that only the Scream movies can.

Historians and sociologists can always turn to the 1960s as an era of cultural transformation, but not all change are like those seen in episodes of "Mad Men." Even the arts were breaking through barriers and exploring new frontiers. As these two films show, film was evolving on both sides of the Atlantic, and even horror movies can surprise us and cut through conventions... like a knife through flesh.


It's just a figure of speech, I swear.



Showtimes for the films:

Psycho
Saturday, Aug 6th
4:00 8:45
Sunday, Aug 7th
4:10

Peeping Tom
Saturday, Aug 6th
6:15
Sunday, Aug 7th
2:00 6:25

Final Notes about the screening

Bloody Mary & Peeping Tom Collins Drink Specials All Day!
Psycho Shower Photo Booth before 8:45 pm screening by Annie Ray

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."


Monday, August 1, 2011

Preview: Scary Cats


A staple of horror movies are scary creatures. Most of the time, monster movies frighten us with creatures that are inherently scary (Arachnophobia with its spiders, Jaws with one big shark). Occasionally, a movie will come out of nowhere and change our views on a previously benign animal, like Cujo did to Saint Bernards. And of course, there are the classic monsters with human features: such as vampires, werewolves and others that aren't in those Twilight or Underworld movies.

But can cats be scary? Well, yeah. Cats have been featured in some horrific films too. Take for instance, that abysmally horrible Catwoman movie starring Halle Berry, Sharon Stone and that Merovingian guy from those crappy Matrix sequels. Not that it was a horror film, mind you, but it is scary that someone thought this movie was a good idea.


Seriously, though, cats are (to me) kind of freaky critters. How "scary" they actually are might just a matter of personal opinion. I've known many people who love cats, and also scores more who detest what they refer to as "untrustworthy, vile creatures." Yikes. That's a bit... much, isn't it?

Those feline haters would then probably get a real kick out of Cat People, the 1942 film directed by Val Newton. In this tale, a lonely Serbian woman falls for and marries an American man but refuses to consummate their union. The reason? She believes she descended from a cursed people from her country. In that folklore if she were aroused, she will turn into a panther. A man-eater, like the Hall & Oates song. Alas, there is no passion for the newlyweds. This naturally causes all kinds of problems, whether they be real and fantastical.

The trailer for this bizarre tale of felines and sexual repression can be seen here.


The success of Cat People spawned a more benevolent (and seemingly misnamed) sequel, Curse of the Cat People, that is most noteworthy for being the second film directed by Robert Wise (The Haunting, West Side Story, The Sound of Music). In 1982, Paul Schrader wrote and directed a loose remake that was much less subtle in its eroticism. It starred Natassja Kinski (herself a bit of a sex kitten of an actress at the time), Malcolm McDowell and the dad from Home Alone. The remake wasn't so good, but it did feature an awesome David Bowie song.

Now, when I say "black cat," what's the first thing that comes to mind? Bad luck? Halloween? That old Janet Jackson song? The cabaret with that iconic poster? That fake-looking thing from "Sabrina The Teenage Witch?" Or does your mind conjure up this?


As much of a staple of Independence Day and New Year's celebration is this black cat is, it doesn't fit with the horror film theme I'm going with. With all apologies to Katy Perry, baby that's just a firework.

No, the Black Cat in question is a classic Japanese horror film from 1968, and its a very dark tale indeed. The movie, Kuroneko (translated as "black cat") is a creature story, a revenge tale and a supernatural fable all combined like a sushi roll of terror. In this film, directed by Kaneto Shindō, the story begins in feudal Japan with two women who are brutally attacked and murdered by a roving band of samurai mercenaries. Later, samurai are discovered to be dead, all having been killed by slashed throats. Convinced that these slayings are the act of an onryō, a vengeful dark spirit, the governor summons a lone warrior to confront these ghostly killers. Shindō invokes the same raw sensibilities he exhibited in 1964's Onibaba, another tale where women slay passing samurai. Atmospheric and spooky, Kuroneko is a unique terror tale that represents some of the very best in Japanese cinema.


So there you have it, my dear readers. These are two classic films with a sleek and sinuous tone that is ever so appropriate for the feline predators found within. Do yourself a favor and don't miss them. No matter how scary they are, no matter how hard your heart will pound, it can't be any harder on your body than watching Halle Berry's Catwoman.

And if you find yourself too frightened in the theater aisles, just remind yourself that, like vampires, these werecats are only fictional. I mean, they just can't be real... right?


(Cure that scary Vincent Price laugh)

Showtimes for the films:

Cat People
Thursday, Aug 4th
7:00
Friday, Aug 5th
9:05

Kuroneko
Thursday, Aug 4th
8:40
Friday, Aug 5th
7:00

Final Notes about the screening

Bring in an item for the Austin Pets Alive! drive and receive a free small popcorn! Check their wish list here.

Double Features:
"When two movies are grouped together under the same thematic heading, one ticket is good for both features when viewed back-to-back on the same day." (cha-ching!)

Parking:
"Hassle-free downtown parking available for $6 at the One American Center for all summer films! Since you’re also supporting the theatre when you buy parking, they're giving you a free small soda each time you park there for a film. Buy online with your film tix and print out your confirmation e-mail or buy directly from the garage attendant (cash only). Attendant will have your soda ticket as well."