tag:blogger.com,1999:blog-84400011901018763942024-03-13T04:45:52.493-07:00United States of CinemericaLove it or leave it. ;)G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.comBlogger108125tag:blogger.com,1999:blog-8440001190101876394.post-49872272876685991432014-05-18T13:23:00.000-07:002014-05-18T13:23:49.721-07:00Behold The 2014 Summer Classic Film Series!<center>
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It's that magical time of year, folks. Movie goers young and old look forward to the local tradition at Austin's classiest movie palace. It's time for the 2014 Summer Classic Film Series! Feast your eyeballs upon these gems from the cinematic treasure chest!<br />
<br />
May:<br />
<br />
5/22<br />
<b>Opening Night! (Paramount)</b><br />
THE WIZARD OF OZ: Sat @ 7PM<br />
<br />
5/22-29<br />
<b>Hollywood’s Golden Year: A 75th Anniversary Tribute to 1939</b><br />
WUTHERING HEIGHTS (Paramount) Sat @ 4pm, Sun @ 4:35pm<br />
THE WOMEN (Paramount) Sat @ 6:05pm, Sun @ 2pm<br />
DESTRY RIDES AGAIN (Paramount) Tues @ 7pm, Wed @ 9:15pm<br />
GOODBYE MR. CHIPS (Paramount) Tues @ 8:55pm, Wed @ 7pm<br />
DARK VICTORY (Paramount) Thurs @ 7pm<br />
OF MICE AND MEN (Paramount) Thurs @ 9:05pm<br />
<br />
5/31-6/1<br />
<b>Sing Along!</b><br />
THE SOUND OF MUSIC (Paramount) Sat @ 7pm, Sun @ 2pm, Sun @ 6pm <i>Special Engagements - No Passes or Flix-tix</i><br />
<br />
June:<br />
<br />
6/3-4<br />
<b>The 1940s: The Great Depression - (Paramount100) </b><br />
THE GRAPES OF WRATH (Paramount) Tues @ 7pm, Wed @ 8:50pm<br />
SULLIVAN'S TRAVELS (Paramount) Tues @ 9:30pm, Wed @ 7pm<br />
<br />
6/7-8<br />
<b>Discoveries from the TCM Classic Film Festival</b><br />
BACHELOR MOTHER (Paramount) Sat @ 4pm, Sun @ 3:50pm<br />
THE GREAT GATSBY (Paramount) Sat @ 5:45pm, Sun @ 2pm<br />
<br />
6/10-11<br />
<b>The 1940s: Getting to Know You - (Paramount100) </b><br />
THE SHOP AROUND THE CORNER (Paramount) Tues @ 7pm, Wed @ 9:20pm<br />
ARSENIC AND OLD LACE (Paramount) Tues @ 9pm, Wed @ 7pm<br />
<br />
6/12-13<br />
<b>Hughes and Candy</b><br />
<i>Two of the funniest Johns ever, working together.</i><br />
UNCLE BUCK (Paramount) Thurs @ 7pm, Fri @ 9:45pm<br />
PLANES, TRAINS, AND AUTOMOBILES (Paramount) Thurs @ 9pm, Fri @ 7pm<br />
<br />
<i>And working with the late Harold Ramis.</i><br />
NATIONAL LAMPOON'S VACATION (Stateside) Thurs @ 7:15pm, Fri @ 9:25pm<br />
STRIPES (Stateside) Thurs @ 9:15, Fri @ 7:15pm<br />
<br />
6/14-15<br />
<b>Father's Day Weekend with James Bond</b><br />
<i>Connery, The original.</i><br />
FROM RUSSIA WITH LOVE (Paramount) Sat @ 4pm, Sun @ 4:15pm<br />
GOLDFINGER (Paramount) Sat @ 6:15pm, Sun @ 2pm<br />
<br />
<i>The Non-Connery</i><br />
GOLDENEYE (Stateside) Sun @ 2:15pm<br />
THE SPY WHO LOVED ME (Stateside) Sun @ 4:45pm<br />
<br />
6/16-17<br />
<b>A Documentary Double Feature</b><br />
SALESMAN (Stateside) Mon @ 7:15pm, Tues @ 9:05pm<br />
THE TIMES OF HARVEY MILK (Stateside) Mon @ 9pm, Tues @ 7:15pm<br />
<br />
6/18-19<br />
<b>Guys and Dolls and Annie and Jesus</b><br />
SINGIN’ IN THE RAIN (Paramount) Wed @ 7pm, Thurs @ 9:50pm<br />
GUYS AND DOLLS (Paramount) Wed @ 9:05pm, Thurs @ 7pm<br />
JESUS CHRIST SUPERSTAR (Stateside) Wed @ 7:15pm, Thurs @ 9:45pm<br />
ANNIE (Stateside) Wed @ 9:25pm, Thurs 7:15pm<br />
<br />
6/22<br />
<b>An Offer You Can’t Refuse</b><br />
THE GODFATHER (Stateside) Sun @ 3pm<br />
THE GODFATHER PART II (Stateside) Sun @ 7pm<br />
<br />
6/23-24<br />
<b>Orson Welles, Renaissance Man – (Paramount100)</b><br />
<i>The 1940s: Landmarks</i><br />
CITIZEN KANE (Paramount) Mon @ 7pm, Tues @ 9:05pm<br />
THE THIRD MAN (Paramount) Mon @ 9:20pm, Tues @ 7pm<br />
<br />
<i>Bonus Welles</i><br />
MACBETH (Stateside) Mon @ 7:15pm, Tues @ 9:30pm<br />
TOUCH OF EVIL (Stateside) Mon @ 9:25pm, Tues @ 7:15pm<br />
<br />
6/25-26<br />
<b>Heroes of Old </b><br />
SUPERMAN (Paramount) Wed @ 7pm, Thurs @ 9:25pm<br />
BATMAN (Paramount) Wed @ 9:45pm, Thurs @ 7pm<br />
<br />
6/27-29<br />
<b>New York Socialites</b><br />
ARTHUR (Stateside) Fri @ 7:15pm, Sat @ 6:30pm<br />
THE LAST DAYS OF DISCO (Stateside) Fri @ 9:15pm, Sat @ 4:15pm<br />
BREAKFAST AT TIFFANY'S (Paramount) Sun @ 2pm, Sun @ 6pm <i>Special Engagement - No Passes or Flix-tix</i><br />
<br />
6/30-7/1<br />
<b>The Staggering Ascent of John Travolta</b><br />
<i>He's a Dancin' Man And He Just Can't Lose</i><br />
GREASE (Paramount) Mon @ 7pm, Tues @ 9:20pm<br />
SATURDAY NIGHT FEVER (Paramount) Mon @ 9:10pm, Tues @ 7pm<br />
<br />
<b>Two by De Palma</b><br />
BLOW OUT (Stateside) Mon @ 7:15pm, Tues @ 9:15pm<br />
CARRIE (Stateside) Mon @ 9:25pm, Tues @ 7:15pm<br />
<br />
<br />
July:<br />
<br />
7/2-3<br />
<b>The 1940s: Yankee Pride</b><br />
<i>Celebrate Independence Day with tributes to two fine Americans.</i><br />
THE PRIDE OF THE YANKEES (Paramount) Wed @ 7pm, Thurs @ 9:25pm<br />
YANKEE DOODLE DANDY (Paramount) Wed @ 9:30pm, Thurs @ 7pm<br />
<br />
<b>The 1940s: Foreign Independence</b><br />
<i>Portraits of women torn between what society wants for them and what they want for themselves.</i><br />
BLACK NARCISSUS (Stateside) Wed @ 7:15pm, Thurs @ 9:25pm<br />
LATE SPRING (Stateside) Wed @ 9:15pm, Thurs @ 7:15pm<br />
<br />
7/5-6<br />
<b>Irresistible Forces</b><br />
<b><br /></b>
<b>The Evolution of Elizabeth Taylor</b><br />
<i>From cherubic child star to electric movie icon.</i><br />
NATIONAL VELVET (Paramount) Sat @ 4pm, Sun @ 2pm<br />
WHO’S AFRAID OF VIRGINIA WOOLF? (Paramount) Sat @ 6:30pm, Sun @ 4:30pm<br />
<br />
<b>Cabin Fever</b><br />
Two pairs of women that should have never been roommates<br />
WHAT EVER HAPPENED TO BABY JANE? (Stateside) Sat @ 4:15pm, Sun @ 4pm<br />
PERSONA (Stateside) Sat @ 6:50pm, Sun @ 2:15pm<br />
<br />
7/8-9<br />
<b>The 1940s: Eye Candy (Paramount100)</b><br />
BEAUTY AND THE BEAST (LA BELLE ET LA BETE) (Paramount) Tues @ 7pm, Wed @ 9:35pm<br />
<br />
THE RED SHOES (Paramount) Tues @ 9pm, Wed @ 7pm<br />
<br />
7/10-13<br />
<b>World War I Film Series w/ Harry Ransom Center</b><br />
<i>Four WWI films to accompany the Ransom Center’s ongoing exhibition, The World at War, 1914-1918.</i><br />
THE AFRICAN QUEEN (Paramount) Thurs @ 7pm<br />
GALLIPOLI (Paramount) Thurs @ 9:05pm<br />
THE BIG PARADE (Paramount) Fri @ 7pm<br />
LAWRENCE OF ARABIA (Paramount) Sat @ 7pm, Sun @ 2pm, Sun @ 7pm<br />
<br />
7/15-16<br />
<b>The 1940s: Remembering Montgomery Clift - (Paramount100)</b><br />
Because Brando and Dean shouldn’t get all the credit for bringing moody sensitivity to the screen.<br />
RED RIVER (Paramount) Tues @ 7pm, Wed @ 9:15pm<br />
THE HEIRESS (Paramount) Tues @ 9:35pm, Wed @ 7pm<br />
<br />
7/17-22<br />
<b>The New Frontier of the Sixties</b><br />
<i>This is what the Wild West looked like 50 years ago.</i><br />
<br />
<b>The Movies with Big Names</b><br />
THE MAGNIFICENT SEVEN (Stateside) Thurs @ 7:15pm, Fri @ 9:40pm<br />
THE MISFITS (Stateside) Thurs @ 9:45pm, Fri @ 7:15pm<br />
<br />
<b>The Man with No Name</b><br />
<i>Sergio Leone’s famous Dollars Trilogy led Clint Eastwood to international stardom.</i><br />
A FISTFUL OF DOLLARS (Paramount) Fri @ 7pm<br />
FOR A FEW DOLLARS MORE (Paramount) Fri @ 9pm<br />
THE GOOD, THE BAD, AND THE UGLY (Stateside) Mon @ 7:15pm, Tues @ 7:15pm<br />
<br />
7/20<br />
<b>An Evening with Robert Osborne</b><br />
Film TBA. Sun @ 7pm <i>Special Engagement, No Passes or Flix-Tix</i><br />
<br />
7/21-22<br />
<b>The 1940s: Noir-ish – (Paramount100)</b><br />
MILDRED PIERCE (Paramount) Mon @ 7pm, Tues @ 8:35pm<br />
CAT PEOPLE (Paramount) Mon @ 9:15pm, Tues @ 7pm<br />
<br />
7/23-24<br />
<b>Barbra!</b><br />
<i>Streisand exercises all of her multi-talents in these two cultural touchstones.</i><br />
THE WAY WE WERE (Paramount) Wed @ 7pm, Thurs @ 9:55pm<br />
FUNNY GIRL (Paramount) Wed @ 9:15pm, Thurs @ 7pm<br />
<br />
7/25<br />
<b>Iron and Wine Presents:</b><br />
<i>Hosted by Sam Beam (Iron and Wine) – Free small popcorn!</i><br />
GEORGE WASHINGTON (Paramount) Fri @ 7pm<br />
<br />
7/27-8/1<br />
<b>1989: 25 Years Later</b><br />
<br />
<b>Daddy Issues</b><br />
<i>Dads will stay awake for these two movies, no matter how cushy the recliner.</i><br />
PARENTHOOD (Paramount) Sun @ 2pm, Mon @ 9:10pm<br />
FIELD OF DREAMS (Paramount) Sun @ 4:25pm, Mon @ 7pm<br />
<br />
<b>No Budget? No Problem</b><br />
<i>When small films started to make big splashes.</i><br />
DO THE RIGHT THING (Paramount) Tues @ 7pm, Wed @ 8:50pm<br />
ROGER AND ME (Paramount) Tues @ 9:20pm, Wed @ 7pm<br />
<br />
<b>Just for Kicks</b><br />
<i>Because Marty’s future shoes and Swayze’s karate feet are only the tips of these outrageous icebergs.</i><br />
BACK TO THE FUTURE PART II (Paramount) Thurs @ 7pm, Fri @ 9:15pm<br />
ROAD HOUSE (Paramount) Thurs @ 9:10pm, Fri @ 7pm<br />
<br />
<br />
<br />
7/31-8/1<br />
<b>Two Thumbs Up: Ebert’s Picks – Thurs-Fri, July 31-Aug 1</b><br />
CRUMB (Stateside) Thurs @ 7:15pm, Fri @ 9:15pm<br />
DARK CITY (Stateside) Thurs @ 9:35pm, Fri @ 7:15pm<br />
<br />
August:<br />
<br />
8/2-3<br />
<b>The 1940s: Rounding Up the Usual Suspects – (Paramount100)</b><br />
CASABLANCA (Paramount) Sat @ 7pm, Sun @ 4:15pm<br />
THE PHILADELPHIA STORY (Paramount) Sat @ 9pm, Sun @ 2pm<br />
<br />
8/6-7<br />
<b>The 1950s: A Lifetime of Bumpy Nights – (Paramount100)</b><br />
ALL ABOUT EVE (Paramount) Wed @ 7pm, Thurs @ 9:20pm<br />
THE BAD AND THE BEAUTIFUL (Paramount) Wed @ 9:40pm, Thurs @ 7pm<br />
<br />
8/9-10<br />
<b>A Weekend with The Little Tramp</b><br />
<i>Two of Charlie Chaplin’s most beloved comedies.</i><br />
THE GREAT DICTATOR (Paramount) Sat @ 2pm, Sat @ 6:05pm, Sun @ 3:45pm<br />
MODERN TIMES (Paramount) Sat @ 4:25pm, Sun @ 2pm, Sun @ 6:05pm<br />
<br />
8/12-13<br />
<b>The 1950s: Brando – (Paramount100)</b><br />
<i>When it comes to screen acting, there’s really just pre-Brando and post-Brando.</i><br />
A STREETCAR NAMED DESIRE (Paramount) Tues @ 7pm, Wed @ 9:10pm<br />
ON THE WATERFRONT (Paramount) Tues @ 9:25pm, Wed @ 7pm<br />
<br />
8/12-17<br />
<b>Hitchcock Week</b><br />
We’re playing the hits, and a few of the B-sides, too.<br />
REBECCA (Stateside) Tues @ 7:15pm, Wed @ 9:15pm<br />
NOTORIOUS (Stateside) Tues @ 9:45pm, Wed @ 7:15pm<br />
PSYCHO (Paramount) Thurs @ 7pm, Fri @ 9:30pm<br />
VERTIGO (Paramount) Thurs @ 9:10pm, Fri @ 7pm<br />
ROPE (Stateside) Thurs @ 7:15pm, Fri @ 9:15pm<br />
THE TROUBLE WITH HARRY (Stateside) Thurs @ 8:55pm, Fri @ 7:15pm<br />
NORTH BY NORTHWEST (Paramount) Sat @ 2pm, Sat @ 6:50pm, Sun @ 4:20pm<br />
THE BIRDS (Paramount) Sat @ 4:35pm, Sun @ 2pm, Sun @ 6:50pm<br />
FRENZY (Stateside) Sat @ 2:15pm, Sun @ 4:35pm<br />
FAMILY PLOT (Stateside) Sat @ 4:30pm, Sun @ 2:15pm<br />
<br />
8/18-24<br />
<b>The 1950s: From Every Angle – (Paramount100)</b><br />
<b><br /></b>
<b>Sci-Fi Classics</b><br />
<i>Bizarre happenings in small-town America and the distant beyond.</i><br />
INVASION OF THE BODY SNATCHERS (Stateside) Tues @ 7:15pm, Wed @ 9:15pm<br />
FORBIDDEN PLANET (Stateside) Tues @ 8:55pm, Wed @ 7:15pm<br />
<br />
<b>Tales from Japan</b><br />
<i>Two poignant stories of ordinary people searching for meaning and happiness</i>.<br />
TOKYO STORY (Paramount) Wed @ 7pm, Thurs @ 9:35pm<br />
IKIRU (Paramount) Wed @ 9:30pm, Thurs @ 7pm <br />
<br />
<b>Portraits of Stoicism</b><br />
<i>Two men with violent pasts struggle to lead peaceful lives in an angry world.</i><br />
HIGH NOON (Stateside) Thurs @ 7:15pm, Fri @ 9:55pm<br />
THE QUIET MAN (Stateside) Thurs @ 9pm, Fri @ 7:15pm<br />
<br />
<b>Fights and Flirtations</b><br />
<i>These couples get off on the wrong foot, but anyone can see they’re falling in love.</i><br />
BELL, BOOK AND CANDLE (Paramount) Sat @ 4pm, Sun @ 4:15pm<br />
AN AMERICAN IN PARIS (Paramount) Sat @ 6pm, Sun @ 2pm<br />
<br />
8/26-31<br />
<b>70MM Week!!</b><br />
Because the big screen deserves BIG films.<br />
IT’S A MAD, MAD, MAD, MAD WORLD (Paramount) Tues @ 7pm, Wed @ 7pm<br />
SPARTACUS (Paramount) Thurs @ 7pm, Fri @ 7pm<br />
INDIANA JONES AND THE LAST CRUSADE (Paramount) Sat @ 4:30pm, Sat @ 7:15pm, Sun @ 2pm<br />
<br />
<br />
September:<br />
<br />
9/3-4<br />
<b>The 1950s: Programmer’s Picks – (Paramount100)</b><br />
ALL THAT HEAVEN ALLOWS (Paramount) Wed @ 7pm, Thurs @ 8:50pm<br />
THE NIGHT OF THE HUNTER (Paramount) Wed @ 8:50pm, Thurs @ 7pm<br />
<br />
9/6-7<br />
<b>The 1950s: An Epic Finale!! – (Paramount100)</b><br />
GIANT (Paramount) Sat @ 7pm, Sun @ 2pm, Sun @ 6pm<br />
<br />
<br />
Get on board with Film Fan passes and see what benefits you get by clicking <a href="https://secure2.convio.net/ata/site/Donation?ACTION=SHOW_DONATION_OPTIONS&CAMPAIGN_ID=1382&JServSessionIdr004=1lx6j8vzc3.app245a">here</a>. Whether you do one favorite or if you try o do them all, there's always something special waiting for you when the lights go down in the confines of The Paramount or Stateside theaters.G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-72127163008141246042013-05-17T16:05:00.000-07:002013-05-24T16:17:25.450-07:00The 2013 Summer Film Classics Series<center>
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For movie fans, this is the most wonderful time of the yar. Escape the blazing Texas sun and travel on your own little vacation, two hours at a time. Paramount screenings are 35mm presentations, and Stateside presentations are digital exhibitions. Without further ado, feast your eyes on these...<br />
<br />
May:<br />
<br />
5/23<br />
<b>Happy Beginnings (Paramount)</b><br />
CASABLANCA Thurs @ 7PM<br />
ANNIE HALL Thurs @ 9:10PM<br />
<br />
5/24<br />
<b>An Evening with Leonard Maltin (Paramount) </b><br />
LADY FOR A DAY Fri @ 7:30PM - Special Engagement, No Passes/Flix-Tix<br />
<br />
5/25-26<br />
<b>Memorial Day Weekend Marathon</b><br />
Coop and Bogie Go to War (Paramount)<br />
SERGEANT YORK Sat @ 2PM, 6:30PM; Sun @ 4PM<br />
SAHARA Sat @4:35PM; Sun @ 2PM & @ 6:30PM<br />
<br />
Prisoners at War (Stateside)<br />
THE BRIDGE ON THE RIVER KWAI Sat @ 2:15PM<br />
THE DIRTY DOZEN Sat @ 5:20PM<br />
<br />
5/28-31<br />
<b>Celebrating the 90th Anniversary of Warner Bros. Pictures </b><br />
Dirty Rats & Grande Dames (Paramount)<br />
ANGELS WITH DIRTY FACES Tues @ 7PM; Weds @ 9PM<br />
I AM A FUGITIVE FROM A CHAIN GANG Tues @ 9PM; Weds @ 7PM<br />
NINOTCHKA Fri @ 9:05PM<br />
JEZEBEL Fri @ 7PM<br />
<br />
Warner Bros.- Seven Arts (Stateside)<br />
BONNIE AND CLYDE Wed @ 10PM<br />
THE WILD BUNCH Wed @ 7:15PM<br />
COOL HAND LUKE Thurs @ 7:15PM; Fri @ 9:30PM<br />
BULLITT Thurs @ 9:45PM; Fri @ 7:15PM<br />
<br />
June:<br />
<br />
6/2<br />
<b>Paramount Kids Opening Day</b><br />
<i>Every weekend this summer, Paramount will offer family discounts for classic films that will get your kids excited to learn about the storied history of the movies.</i><br />
THE ADVENTURES OF ROBIN HOOD Sun @ 2PM & 6:20PM<br />
LOONEY TUNES!!! Sun @ 4:05PM<br />
<br />
6/4-5<br />
<b>TV Movies </b><br />
Get excited for ATX Fest by flipping over to these classic films about the TV industry. ATX Fest badge holders get free admission to any of these "TV Movies" with their badge.<br />
"Reality" TV (Paramount)<br />
TOOTSIE Tues @ 7PM; Wed @ 9:10PM<br />
THE TRUMAN SHOW Tues @ 9:10PM; Wed @ 7PM<br />
<br />
This Just In (Stateside)<br />
NETWORK Tues @ 7:15PM; Wed @ 9:10PM<br />
GOOD NIGHT, AND GOOD LUCK Tues @ 9:40PM; Wed @ 7:15PM<br />
<br />
6/6-9<br />
<b>Musicals! (Paramount) </b><br />
42ND STREET Thurs @ 7PM; Fri @ 9PM<br />
GOLD DIGGERS OF 1933 Thurs @ 8:50PM; Fri @ 7PM<br />
THE GAY DIVORCEE Sat @ 1PM; Sun @ 5:15PM<br />
SINGIN' IN THE RAIN Sat @ 3:10PM; Sun @ 7:20PM<br />
THE SOUND OF MUSIC Sat @ 7PM; Sun @ 2PM<br />
<br />
6/11-12<br />
<b>Film Noir 101</b><br />
DOUBLE INDEMNITY (Paramount) Tues @ 7PM; Wed @ 9PM<br />
OUT OF THE PAST (Paramount) Tues @ 9:10PM; Wed 7PM<br />
THE MALTESE FALCON (Stateside) Tues @ 7:15PM; Wed @ 9:30PM<br />
SUNSET BOULEVARD (Stateside) Tues @ 9:20PM; Wed @ 7:15PM<br />
<br />
6/13-16<br />
<b>East/West </b><br />
HIGH AND LOW (Paramount) Thurs @ 7PM; Fri @ 8:50PM<br />
RASHOMON (Paramount) Thurs @ 9:45PM; Fri @ 7PM<br />
STAGECOACH (Stateside) Thurs @ 7:15PM, Fri @ 9:10PM<br />
3:10 TO YUMA (Stateside) Thurs @ 9:15PM; Fri @ 7:15PM<br />
SHANE (Paramount) Sat @ 2PM & @ 6:40PM; Sun @ 4:25PM<br />
THE SEARCHERS (Paramount) Sat @ 4:20PM; Sun @ 2PM & @ 6:45PM<br />
MONSOON WEDDING (Stateside) Sun @ 4:15PM<br />
IN THE MOOD FOR LOVE (Stateside) Sun @ 2PM & @ 6:25PM<br />
<br />
6/17-18<br />
<b>Daniel Day-Lewis: Then and Now</b><br />
MY LEFT FOOT (Paramount) Mon @ 7PM; Tues @ 9PM<br />
MY BEAUTIFUL LAUNDRETTE (Paramount) Mon @ 9:05PM; Tues @ 7PM<br />
THERE WILL BE BLOOD (Stateside) Mon @ 7:15PM; Tues @ 9:40PM<br />
IN THE NAME OF THE FATHER (Stateside) Mon @ 10:05PM; Tues @ 7:15PM<br />
<br />
6/19-23<br />
<b>Frank Capra: Cinema's Great Optimist</b><br />
YOU CAN'T TAKE IT WITH YOU Wed @ 7PM; Thurs @ 9:15PM<br />
MR. DEEDS GOES TO TOWN Wed @ 9:30PM; Thurs @ 7PM<br />
IT HAPPENED ONE NIGHT Sat @ 2PM @ 6:40PM; Sun @ 4:35PM<br />
MR. SMITH GOES TO WASHINGTON Sat @ 4:10PM; Sun @ 2PM; @ 6:40PM<br />
<br />
6/25-28<br />
<b>Newman + Redford (Paramount)</b><br />
HUD Tues @ 7PM; Wed @ 9:25PM<br />
SLAP SHOT Tues @ 9:15PM; Wed @ 7PM<br />
DOWNHILL RACER Thurs @ 7PM; Fri @ 9:40PM<br />
ALL THE PRESIDENT'S MEN Thurs @ 9:05PM; Fri @ 7PM<br />
<br />
6/29-30<br />
<b>Charlie Chaplin: One Talented Tramp</b><br />
CITY LIGHTS (Paramount) Sun @ 2PM & @ 6PM<br />
THE GOLD RUSH (Paramount) Sun @ 3:55PM<br />
MONSIEUR VERDOUX (Stateside) Sat @ 2:15PM; Sun @ 5PM<br />
CHAPLIN (Stateside) Sat @ 4:40PM; Sun @ 2:15PM<br />
<br />
July:<br />
<br />
7/2-3<br />
<b>Film Noir 101</b><br />
Philip Marlowe, Private Eye (Paramount)<br />
THE BIG SLEEP Tues @ 7PM; Wed @ 9:15PM<br />
THE LONG GOODBYE Tues @ 9:20PM; Wed @ 7PM<br />
<br />
Noir Loves the 80's (Stateside)<br />
BLOOD SIMPLE Tues @ 7:15PM; Wed @ 9:30PM<br />
BODY HEAT Tues @ 9:15PM; Wed @ 7:15PM<br />
<br />
7/9-14<br />
<b>Film Studies</b><br />
Meet Your Professors (Paramount)
Office hours have never been this zany.<br />
HORSE FEATHERS Tues @ 7PM; Wed @ 9:15PM<br />
BALL OF FIRE Tues @ 8:30PM; Wed @ 7PM<br />
<br />
Civics (Stateside)<br />
12 ANGRY MEN Tues @ 7:15PM; Wed @ 9:15PM<br />
HUNGER Tues @ 9:10PM; Wed @ 7:15PM<br />
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Studying Abroad (Paramount)<br />
BICYCLE THIEVES Thurs @ 7PM; Fri @ 9:30PM<br />
WINGS OF DESIRE Thurs @ 8:55PM; Fri @ 7PM<br />
<br />
Playing Hooky (Stateside)<br />
THE 400 BLOWS Thurs @ 7:15PM; Fri @ 9:40PM<br />
FISH TANK Thurs @ 9:15PM; Fri @ 7:15PM<br />
<br />
Guest Lecturer: Audrey Hepburn (Paramount)<br />
BREAKFAST AT TIFFANY'S Sat @ 7PM; Sun @ 2PM & @ 6:30PM<br />
ROMAN HOLIDAY Sat @ 9:15PM; Sun @ 4:15PM<br />
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Music Lessons (Stateside)<br />
THE MUSIC MAN Sat @ 2:15PM & @ 7:50PM; Sun @ 5PM<br />
GYPSY Sat @ 5:10PM; Sun @ 2:15PM & @ 7:50PM<br />
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Swingin' Britons of the 1960's (Paramount)<br />
CASINO ROYALE Tues @ 7PM; Wed @ 9:10PM<br />
WHAT'S NEW PUSSYCAT Tues @ 9:30PM; Wed @ 7PM<br />
THE IPCRESS FILE Thurs @ 7PM; Fri @ 8:55PM<br />
PULP Thurs @ 9:10PM; Fri @ 7PM<br />
THE PINK PANTHER Sat @ 2PM & @ 6:25PM; Sun @ 4:05PM<br />
A SHOT IN THE DARK Sat @ 4:25PM; Sun @ 2PM & @ 6:25PM<br />
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7/23-24<br />
<b>Naughty, Bawdy 1933 (Paramount) </b><br />
DINNER AT EIGHT Tues @ 7PM; Wed @ 8:55PM<br />
DESIGN FOR LIVING Tues @ 8:55PM; Wed @ 7PM<br />
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7/26<br />
<b>Iron and Wine Presents: (Paramount) </b><br />
Hosted by Sam Beam (Iron and Wine) - Free small popcorn!<br />
A WOMAN UNDER THE INFLUENCE Fri @ 7:30PM<br />
<br />
7/28<br />
<b>The Marx Brothers: Anarchists' Delight (Paramount)</b><br />
A NIGHT AT THE OPERA Sun @ 2PM &@ 5:25PM<br />
DUCK SOUP Sun @ 4PM<br />
<br />
7/28<br />
<b>Horror and Fantasy in the 1930's (Stateside) </b><br />
KING KONG Sun @ 3:50PM<br />
THE INVISIBLE MAN Sun @ 2:15PM & @ 5:45PM<br />
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7/29-8/1<br />
<b>Hitchcock Week</b><br />
SABOTAGE (Paramount) Mon @ 7PM; Tues @ 9:10PM<br />
TO CATCH A THIEF (Paramount) Mon @ 8:40PM; Tues @ 7PM<br />
THE MAN WHO KNEW TOO MUCH (Stateside) Mon @ 7:15PM; Tues @ 9:15PM<br />
THE LADY VANISHES (Stateside) Mon @ 8:50PM; Tues @ 7:15PM<br />
REAR WINDOW (Paramount) Wed @ 7PM; Thurs @ 9:05PM<br />
DIAL M FOR MURDER (Paramount) Wed @ 9:15PM; Thurs @ 7PM<br />
SHADOW OF A DOUBT (Stateside) Wed @ 7:15PM; Thurs @ 9:25PM<br />
PSYCHO (Stateside) Wed @ 9:25PM; Thurs @ 7:15PM<br />
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August:<br />
<br />
8/4<br />
<b>Father Figures (Paramount)</b><br />
BACK TO THE FUTURE Sun @ 2PM & @ 6:45PM<br />
THE KARATE KID Sun @ 4:20PM<br />
<br />
8/6-18<br />
<b>World Cinema Classics</b><br />
8 1/2 (Paramount) Tues @ 7PM; Wed @ 9:10PM<br />
NIGHTS AT CABIRIA (Paramount) Tues @ 9:40PM; Wed @ 7PM<br />
LE PETIT SOLDAT (Paramount) Thurs @ 7PM; Fri @ 9:15PM<br />
MAX AND THE JUNKMEN (Paramount) Thurs @ 8:50PM; Fri @ 7PM<br />
THE RED BALLOON/WHITE MANE (Paramount) Sat @2PM; Sun @ 4:05PM<br />
THE NEVERENDING STORY (Paramount) Sat @ 3:55PM; Sun @ 2PM<br />
PORTRAIT OF JASON (Paramount) Sat @ 6PM; Sun @ 6PM<br />
AMARCORD (Stateside) Sat @ 2:15PM & @ 6:05PM; Sun @ 4:05PM<br />
UMBERTO D (Stateside) Sat @4:20PM; Sun @ 2:15PM & @ 6:05PM<br />
THE DISCREET CHARM OF THE BOURGEOISIE (Paramount) Mon @ 7PM; Tues @ 9:05PM
THAT OBSCURE OBJECT OF DESIRE (Paramount) Mon @ 9:05PM; Tues @ 7PM<br />
LE DOULOS (Paramount) Wed @ 7PM; Thurs @ 9PM<br />
UN FLIC (Paramount) Wed @ 9:10PM; Thurs @ 7PM<br />
SPIRIT OF THE BEEHIVE (Paramount) Sat @ 2PM; Sun @ 4:20PM<br />
PAN'S LABYRINTH (Paramount) Sat @ 3:55PM; Sun @ 2PM & @ 6:10PM<br />
THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (Paramount) Sat @ 7PM *Austin PRIDE Special Event*<br />
THE SEVENTH SEAL (Stateside) Sat @ 2:15PM & @ 6:05PM; Sun @ 4:10PM<br />
WILD STRAWBERRIES (Stateside) Sat @ 4:15PM; Sun @ 2:15PM & @ 6:05PM<br />
<br />
8/20-21<br />
<b>Film Noir 101</b><br />
Dark Films for Dark Times (Paramount)<br />
CHINATOWN Tues @ 7PM; Wed @ 9PM<br />
SWEET SMELL OF SUCCESS Tues @ 9:30PM; Wed @ 7PM<br />
<br />
Noir Now (Stateside)<br />
L.A. CONFIDENTIAL Tues @ 7:15PM; Wed @ 9:15PM<br />
FARGO Tues @ 9:55PM; Wed @ 7:15PM<br />
<br />
8/22-25<br />
<b>Texas Tribune Presents (Paramount)</b><br />
ACE IN THE HOLE Thurs @ 7PM; Fri @ 9:15PM<br />
THE PAPER Thurs @ 9:15PM; Fri @ 7PM<br />
HIS GIRL FRIDAY Sat @ 2PM & @ 6:05PM; Sun @ 4:15PM<br />
WOMAN OF THE YEAR Sat @ 3:55PM; Sun @ 2PM & @ 6:05PM<br />
<br />
8/27-9/1<br />
<b>70mm Classics (Paramount)</b><br />
2001: A SPACE ODYSSEY Tues @ 7pm; Wed @ 7PM<br />
WEST SIDE STORY Thurs @ 7PM; Fri @ 7PM<br />
LAWRENCE OF ARABIA Sat @7PM; Sun @ 2PM & @ 7PM<br />
<br />
September:<br />
<br />
9/3-4<br />
<b>The Life and Times of Woody Allen (Paramount)</b><br />
THE PURPLE ROSE OF CAIRO Tues @ 7PM; Wed @ 8:45PM<br />
RADIO DAYS Tues @ 8:45PM; Wed @ 7PM<br />
<br />
9/5<br />
<b>The Grande Finale (Paramount)</b><br />
GONE WITH THE WIND Thurs @ 7PM<br />
<br />
<br />
Get on board with Film Fan passes and see what benefits you get by clicking <a href="https://secure2.convio.net/ata/site/Donation?ACTION=SHOW_DONATION_OPTIONS&CAMPAIGN_ID=1382&JServSessionIdr004=1lx6j8vzc3.app245a">here</a>. Whether you do one favorite or if you try o do them all, there's always something special waiting for you when the lights go down in the confines of The Paramount or Stateside theaters.G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-1207870814027251802012-10-22T19:59:00.004-07:002012-10-22T20:24:32.179-07:00Halloween Film Fest 2012<center>
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Boo! Did I scare ya?<br />
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No? Well, what could I tell you that will truly scare you? The problem is that most things people fear are actually quite subjective. For instance, what if I said that Romney is going to win the election? You see, that's only scary to a select audience. A whole other faction would be just as scared if I stated the prospect of Obama winning a second term. See what I mean? Very few things can be universally fearful or dreadful, unless we're speculating on the current state of society. You know what I find scary? The prevalence and popularity of such things like: Honey Boo Boo, Real Housewives of any place, the songwriting of Taylor Swift, Liam Neeson action movies and tacos with Doritos shells. Oh, and Tim Curry as a clown. But I digress...<br />
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Horror movies on the other hand... is another thing entirely. Large audience can be lured in and terrified by scary movies. While I admit that some horror films are empty and boring gore fests, there's still something universal in how these visceral movies effect us. There's always a market for horror movies, as evidenced by the umpteenth PARANORMAL ACTIVITY that just came out.<br />
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Yet for every dozen lame scary movies, there is likely one genuine horror gem. Luckily for us, The Paramount and Stateside theatres are presenting some modern classics of the genre. These are some of the best of the best, and there's something for everyone: thrills, chills and spills of blood.<br />
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The fun starts in a unique way on Friday with...<br />
<br />
THE BRAIN THAT WOULDN'T DIE<br />
This (ahem!) <i>cult classic</i> is being presented by Austin's ColdTowne Theater, an improv group who is presenting this film as a "Flip The Script" presentation. During the film's screening they will replace the music and dialogue with their own improvisation, and I'm willing to bet that this 1962 horror classic will probably not be this entertaining ever again.<br />
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Oh, and by comparison, other films released in 1962 were TO KILL A MOCKINGBIRD, THE MANCHURIAN CANDIDATE and a little film you may have heard of called LAWRENCE OF ARABIA. Yeah, this movie is not of that caliber.<br />
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Saturday and Sunday, The Paramount presents a double feature of THE EXORCIST and THE LOST BOYS. Do I even need to explain THE EXORCIST?? If you don't know, it's... ummm... <i>intense</i>.<br />
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THE LOST BOYS is actually a very cool take on the vampire genre, and the film celebrates its 25th anniversary this year. Released in 1987, this was back when vampires actually fed on blood and scared people. Now, there's just glittery mopes that inexplicably fall in love with Kristen Stewart. Also, Kiefer Sutherland was a bad ass waaay before Jack Bauer.<br />
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Saturday and Sunday at The Stateside, there is another double feature of TRICK 'R TREAT and BUFFY THE VAMPIRE SLAYER.<br />
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A 2007 anthology film, TRICK 'R TREAT gained life at a few festival screenings, but really gained acclaim after being released as a direct-to-DVD title. Comprised of four stories and featuring a cast of Anna Paquin, Dylan Baker and Brain Cox, the film is a devilishly fun tribute to everyone's favorite fall holiday.<br />
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The other half of the double feature, BUFFY THE VAMPIRE SLAYER is the cinematic precursor to the cult TV show that younger audiences are likely more familiar with. While the cast is different, the mythos is the same, as is the same tongue-in-cheek storytelling from screenwriter/creator Joss Whedon.<br />
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Mark your calendar for Monday, because it's Special Event time!<br />
Who's down for a pub run in celebration of the undead? Zombie shuffles are so yesteryear after the advent of films like 28 DAYS LATER, the DAWN OF THE DEAD remake and television's "The Walking Dead," so if you're a zombie-clad attendee you can put the "run" back into "pub run."<br />
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On Monday, partake of running, drinking and screaming in delight at Cuba's horror comedy JUAN OF THE DEAD. Here, Fidel Castro's not the only Cuban that just won't die.<br />
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On Tuesday and Wednesday, the double features resume. At The Paramount, two of my all-time favorites return to the big screen. POLTERGEIST and ALIEN.<br />
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Oh, POLTERGEIST. The story of dangerous specters in the midst of a normal American household traumatized me as a little kid. After thrilling my imagination, Steven Spielberg (and Tobe Hooper, of course... <i>wink wink</i>) filled the tank of my mind with nightmare fuel. Now, as I've touched the boundaries of parenthood myself, the film's sense of terror has only intensified. In many ways, it's a gift of fear that keeps on giving. And what rough beast, it's hour come round at last, slouches itself back into my terrified heart once more to be reborn?<br />
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But wait! It gets better. The second part of the double feature is Ridley Scott's masterpiece, if you ask me. ALIEN was basically a space-plotation terror film that somehow transcended in haunting and primal ways that no one could've ever imagined. It's the film that launched a few sequels of descending quality and a recent prequel that has brought a level of reception that we hadn't seen since STAR WARS: EPISODE I. So what better way to wash the bitter aftertaste of PROMETHEUS out of your mind than by revisiting the original (and arguably the best of what Scott had to offer)?<br />
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Meanwhile, at The Stateside...<br />
The last of the double features conclude with THE OMEN and THE FLY. One is the original, the other is the remake, but both are the vastly superior versions out there.<br />
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Richard Donner's THE OMEN is the tale of a powerful family whose son may well be the Anti-Christ. Derided by some as trashy and others as terrifying, it nevertheless gets under your skin with its graphic depictions of death and mayhem.<br />
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Young Damien the Anti-Christ appeared in a couple of sequels and Donner went on to direct SUPERMAN, LADYHAWKE, THE GOONIES and the LETHAL WEAPON franchise. Can you say, "deal with the devil?"<br />
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The other half of this twin bill is another favorite moment of <i>Kindertrauma</i> from my youth. David Cronenberg's 1986 version of THE FLY is an entirely different creature than the 1958 cult classic. Jeff Goldblum appears here as a scientist whose experiments with teleportation go horribly, horribly wrong. This movie shocked audiences with its graphic content and bombastic score, and kick started a new phase of Jeff Goldblum's career as "that scientist guy." Yet JURASSIC PARK and INDEPENDENCE DAY were nothing like this. You may want to keep the popcorn in your lap for this one. Now that I can watch it with a stronger stomach (and eyes that aren't tightly welded shut), it stands as a true classic that touches on our own fears about technology, disease and loneliness. Like a telepod that goes awry, the film fuses the DNA of terror and humanity that has rarely been seen before.<br />
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So there you have it, folks. Ten films to terrorize and thrill the most discerning tastes and the hardest of horror movie connoisseurs. It doesn't matter how subjective your sense of fear is, these movies are gonna scare the hell out of you.<br />
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Enjoy it while it lasts, because come next month we can turn our phobias back to society's ills, like the fallout from the Presidential election or yet another season of "American Idol." Me? I'll be fine until next spring when I consider something else genuinely scary: the Houston Astros' chances in the AL West. It's sure to be a bloodbath for the Texas baseball team...<br />
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AHHHHHH!!!<br />
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<br />
<u>Halloween Film Fest</u><br />
<br />
THE BRAIN THAT WOULDN'T DIE<br />
The Stateside<br />
Friday at <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30661">8:00 pm</a><br />
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THE EXORCIST<br />
The Paramount<br />
Saturday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30602">7:00 pm</a><br />
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THE LOST BOYS<br />
The Paramount<br />
Saturday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30601">9:30 pm</a><br />
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TRICK 'R TREAT<br />
The Stateside<br />
Saturday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30624">5:55 pm</a><br />
Sunday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30625">4:00</a> and <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30641">7:40 pm</a><br />
<br />
BUFFY THE VAMPIRE SLAYER<br />
The Stateside<br />
Saturday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30642">4:00</a> and <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30643">7:35 pm</a><br />
Sunday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30644">5:50 pm</a><br />
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JUAN OF THE DEAD<br />
The Paramount<br />
Monday<br />
Pub Run at 6:00<br />
Movie at <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30621">7:30 pm</a><br />
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POLTERGEIST<br />
The Paramount<br />
Tuesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30901">7:00 pm</a><br />
Wednesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30921">9:25 pm</a><br />
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ALIEN<br />
The Paramount<br />
Tuesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30622">9:30 pm</a><br />
Wednesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30623">7:00 pm</a><br />
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THE OMEN<br />
The Stateside<br />
Tuesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30645">7:15 pm</a><br />
Wednesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30646">9:20 pm</a><br />
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THE FLY<br />
The Stateside<br />
Tuesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30647">9:35 pm</a><br />
Wednesday <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30648">7:15 pm</a><br />
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<br />G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-4296860479881897082012-08-28T21:40:00.000-07:002012-08-28T21:40:11.170-07:00Robert Rodriguez's EL MARIACHI<img alt="" src="https://lh3.googleusercontent.com/-FG7EcB22Xnc/UDw2VJoOJlI/AAAAAAAACnw/D6SJcFcUbK4/s650/elmariachi.jpg" />
"<em>Low budgets force you to be more creative. Sometimes, with too much money, time and equipment, you can over-think. My way, you can use your gut instinct.</em>"<br />
<div style="text-align: right;">
-Robert Rodriguez </div>
<br />
For those who may not know, movie making can be a very tedious process. Some of your favorite movies had languished in development for years and underwent numerous revisions before finally meeting your eyeballs at the theater. Why the heck does it take so long? Filmmaking is a collaborative process, and sometimes many <em>many</em> people have to work together to get it made. Don't believe me? Next time you're at the movies, stick around and watch the end credits. Every one of those people had some input in the movie you had just watched. And what does it all mean? Every aspect of making the film cost <i>mucho dinero</i>. And while a film is often the direct vision of the director, pretty much everything has to be approved by committee to get money for it to happen.<br />
<br />
Yet every now and then. Someone bucks the system. Unique voices in cinema make the medium diverse and enjoyable, but true mavericks in filmmaking are few and far between. One such nonconformist is Texas's own cinematic cowboy: Robert Rodriguez.<br />
<br />
20 years ago, Rodriguez was an outsider with no inside connection to the industry. Yet, he still established his own mark like the searing brand on cowhide. Now, how exactly did he do this? Did he knock on every door in Hollywood and pitch his screenplays, hoping someone (or anyone) would take a chance on him? Did he earn his stripes by starting as a production assistant and fetching coffee for years? Did he take minor commercial jobs and work his way up to directing features? The answer, of course, is a resounding <em>heck no</em>. Rodriguez just up and made his own movie, EL MARIACHI, on his terms.<br />
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But wait. I know you're thinking, "<em>You just said movies cost a ton of money to make</em>!" That's still true. But instead of going to a studio to raise millions of dollars for his project, Robert funded his own movie... and made it for $7000. That's right. For the price of a dozen modern-day iPads, he made his own movie. That, <em>amigos</em>, is budget control at its very best. Rodriguez was creative, frugal and dynamic in his vision. As a result, Columbia distributed and it launched a Hollywood filmography that have seen a significant budget increase over seven grand: FROM DUSK TIL DAWN, SPY KIDS, THE FACULTY, SIN CITY and PLANT TERROR, among others.<br />
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In the years to come, Rodriguez continued the story of EL MARIACHI with DESPERADO (1995) and ONCE UPON A TIME IN MEXICO (2003). As the trilogy grew in scope, so did the talent involved. A cast of unknowns expanded to include Antonio Banderas, Salma Hayek, Steve Buscemi, Joaquim de Almeida, Cheech Marin, Danny Trejo, Willem DaFoe, Mickey Rourke and Johnny Depp.<br />
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And to think, it all started in 1992 with EL MARIACHI. In this story, a young unnamed Mariachi is mistaken for a vengeful ex-con and hunted by a ruthless drug lord and his men. A mere drifter equipped only with his guitar, he gets pulled into this deadly game and fight for his survival. An action movie with elements of a Western (Call it a "Southwestern," if you will), it showcased Rodriguez as a force behind the camera. Not that his role was limited only to director, producer and screenwriter. He had a hand in nearly every aspect of production: sound, visual effects, cinematography, editing, and music. Think of him as a Swiss army knife of cinema with the blunt force of a machete.<br />
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And so now, two decades later, we celebrate this first endeavor from Robert Rodriguez. The Paramount will host the event, sponsored by AMD, The Austin Film Society and EL Rey Network. On Thursday, Rodriguez himself will be on hand to present a 35mm screening of EL MARIACHI. Afterward the screening and a Q&A, stick around for live musical performances by Robert's band<em> Chingón</em>. They will play music used in Rodriguez's films as scenes are projected on the silver screen behind them on stage.
It's a great way to commemorate a landmark film by an enduring Texan talent.<br />
<br />
Not many have the <em>cajones</em> to shoot from the hip, but Rodriguez is a true visionary whose range of talents and skills are the result of one very simple fact. Like a Mariachi, he plays by ear... but he also plays by his own rules.<br />
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EL MARIACHI plays Thursday, August 30th at <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=30201" title="Tickets!">7:30 p.m</a>. It's gonna be killer.G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-54930471132711112112012-01-06T15:23:00.000-08:002012-01-21T20:13:39.455-08:00What's This? The Winter Comedy FIlm Series!<center><img src="https://lh3.googleusercontent.com/-k9Ir9nv0Lgw/TweuzPMn8sI/AAAAAAAACjE/gZ29Vjix2dQ/s650/Winter2012.jpg" /></center><br /><br />I don't know about you guys, but January's always been one of those "meh" months. What starts as a hangover (literally) sloshes into a malaise of returning Christmas gifts, dealing with holiday bills, beginning to worry about a looming tax season and contending with the cold and wet weather. Heck, if you're one of the lucky ones, you may even have to battle with a cold or... the flu. I say lucky because you then have an excuse to stay bedridden and sleep some of the month away. And when I finally make the time to buy a clearance-priced 2012 calendar, I always make sure it's about 30 days in, just so I can flip right past the first month. <div><br /></div><div>Yes, I can get right ornery this time of year. </div><div><br /></div><div><center><img src="https://lh4.googleusercontent.com/-d57zTActNAc/TwfEPTubWSI/AAAAAAAACjc/Nozx6WXu74Q/s600/anchorm.jpg" /></center></div><div><br /></div><div>But wait... what's this I see?</div><div><br /></div><div>My, my, my. Isn't this a pleasant surprise?</div><div><br /></div><div>The Paramount Theatre is hosting a Comedy Film Series during the last week of January, and all of a sudden things look to be a little better. It's a little something to help lift us out of the doldrums, and will be very much appreciated. Comedic hijinks will flow due to the likes of Will Ferrell, Eddie Murphy, Woody Allen and Richard Pryor. There's something for everyone, as long as you're ready to get your laugh on.</div><div><br /></div><div>The fun begins with a Will Ferrell double feature, who has come one heck of a long way from <i><b>Night at the Roxbury</b></i> (as an aside, remember when people thought Chris Kattan was going to be the successful one of that duo?). He's catapulted into one of the more prolific comedic actors working today. His unique brand of "everyman idiocy" combined with a boyish charm is evident in all of his performances, no matter how big or small his role is. </div><div><br /></div><div>Everyone has their favorite Will Ferrell role, but I''m willing to bet that most can agree that his most iconic may well be the title role in 2004's film<b> <i>Anchorman: The Legend of Ron Burgandy</i></b>. He was "like a god walking amongst mere mortals. He had a voice that could make a wolverine purr and suits so fine they made Sinatra look like a hobo." With a solid comedic cast including Christina Applegate, Fred Willard, Paul Rudd, David Koechner and Steve Carrell (and some truly great surprise cameos), it has over the years grown in stature as one the most quotable comedies in the past decade.</div><div><br /></div><div><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/eXmEWmZVz8A?rel=0" frameborder="0" allowfullscreen=""></iframe></center></div><div><br /></div><div><i><b>Step Brothers</b></i> has Ferrell reunite with his <i><b>Talledega Nights</b></i> co-star John C. Reilly in this unlikely buddy movie. Farrell and Reilly star as two 40-something men who refuse to grow up. But when their single parents (Richard Jenkins and Mary Steenburgen) get married to each other, the two are forced to confront the fact they now each have a new step brother. And needless to say that, for these spoiled men, the news does not go over well.</div><div><br /><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/oCJw3LkJfQE?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Is Will a tad too silly for you? Is your sense of humor more of a sharp sword than a blunt hammer? Than surely you can appreciate the next double feature by legendary film director Woody Allen. I know some people have taken issue with the celebrity, but regardless what you think of the guy... it's never a bad thing to take in some of Allen's brand of humor. If all you know of Woody Allen is <b><i>Annie Hall</i></b> or this year's <b><i>Midnight in Paris</i></b>, this wouldn't be a bad place to start.</div><div><br /></div><div><b><i>Bananas</i></b> is a crazy story about Fielding Mellish (Allen), a neurotic average Joe who gets embroiled in a comic series of events to become the leader of a small Latin American country. Sure it sounds nutty, and when the plot involves Allen becoming the leader of a banana republic, you have to expect a bit of the Marx influence. No, I don't mean Karl. I'm thinking more of Groucho, Harpo, and Chico. Yep, it's that level of zaniness.</div><div><br /></div><div><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/LHgMCDiRqUQ?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div><i><b>Love and Death</b></i> is Allen's spin on Tolstoy and Dostoyevsky. Full of literary references and foreign film allusions, Allen also peppers the film with a self-aware attitude that is funny but never pretentious. In fact, although a historical comedy, Allen uses a clever awareness of anachronisms to make it a classic movie of absurdity.</div><div><br /></div><div><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/1VrZWpQm-lc?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Progressing from these early Woody Allen films of the 1970s, The Paramount shifts into the following decades with a double feature of modern classics. One is a genuine mega-hit blockbuster and the other is a cult classic.</div><div><br /></div><div>In the comedic world, the undisputed champ of the 1980s was Eddie Murphy. His leap from standup to Saturday Night Live was but a precursor to a dominance at the theatrical box office. Ask around, and you may get differing views on which Murphy movie is a personal favorite, but from a purely financial point-of-view, none was bigger than <b><i>Beverly Hills Cop</i></b>. Although originally envisioned as a vehicle for Sylvester Stallone (?!?), it's hard to imagine anyone else in the role of Axel Foley, a Detroit cop who ventures to Beverly Hills to solve a friend's murder. Part action movie, part comedy, part fish-out-of-water story, it most importantly acts as a showcase for the charm of Eddie Murphy.</div><div><br /></div><div><center><iframe width="480" height="274" src="http://www.youtube-nocookie.com/embed/tKUKopk3aDI?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Fan fact about <b><i>Beverly Hills Cop</i></b>: It remained the highest grossest R-rated comedy of all time for 25 years. Years later, it still stands as a comedy classic. I don't mind if you forget about the sequels. In fact, I pretend the third one doesn't exist at all. Oh, and in case you were wondering, the movie that unseated this as the number one R-rated comedy was <b><i>The Hangover</i></b> in 2009. Coincidently, that also has a sequel I pretend doesn't exist.</div><div><br /></div><div>Now from a box office giant to a movie that took time to find it's audience...</div><div><br /></div><div><b><i>Office Space</i></b> made a very minor splash when it was originally released in theaters in 1999. I guess more people were interested in seeing <i style="font-weight: bold; ">Austin Powers: The Spy Who Shagged Me</i>, and that's a shame.<i style="font-weight: bold; "> </i>Fortunately, as more people discovered it on home video, it become a cult classic. The depictions of frustrations in a work environment are pitch perfect, and it's satirical views has the light touch of genius that can only be found in creator Mike Judge ("<i>Beavis and Butthead</i>," "<i>King of the Hill</i>," <i><b>Idiocracy</b></i>). You know, they say you laugh at comedy either because it's funny or because it's true. Alas, if you've ever had an office job... this is one of those situations where both apply.</div><div><br /></div><div><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/ECfXPJXe2T0?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>The trailer looks silly, but don't <i>jump to conclusions</i>... it's gold. I've never looked at fax machines the same ever since. Not to mention, I've also developed an affinity for red Swingline staplers.</div><div><br /></div><div>The Winter Comedy Film Series winds down with a look at one of the true masters of the genre. Richard Pryor was a trailblazer in the realm of standup comedy, and is revered by nearly every comedian working today. Pryor often had a profane tone, but possessed a vulnerability that is unmatched to this day. There was often a palpable sense of sadness in his performances, and he often danced on the line of comedy and drama.</div><div><br /></div><div>The double feature is of his standup film <b><i>Live at the Sunset Strip</i></b>, often considered the finest standup comedy film ever made. The second is a more personal story, and the only film Pryor directed himself. <b><i>Jo Jo Dancer: Your Life is Calling </i></b>is a semi-autobiographical tale about a comedian who has overcome long odds to experience success... as well as self-destruction.</div><div><br /><center><iframe width="480" height="360" src="http://www.youtube-nocookie.com/embed/hie2_LvUex8?rel=0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Take in the double feature and see why so many hold Richard Pryor in such high esteem. Heck, when a man's this good, I can forgive him for the likes of <b><i>Superman III</i></b>.</div><div><br /></div><div>Man, is it going to be a good week. It's just what the doctor ordered for those who are (like yours truly) suffering through this first month of the year. Heck, I may go buy a calendar earlier this year just so I can circle the dates. Then I can look at the red circled dates and bring to mind two things that can lift us from being down in the dump: Comedies and The Paramount Theatre? YAY!!</div><div><br /></div><div><center><img src="https://lh3.googleusercontent.com/-51OaDKWR7fE/TwfEPXn-7MI/AAAAAAAACjg/MJXUyY4Za8o/s600/anchorm02.jpg" /></center><br /></div><br />Showtimes for the films:<br /><br /><b><i>Anchorman: The Legend of Ron Burgandy</i></b><br />Sunday, Jan 22nd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28201">2:00</a><br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28202">6:00 </a><br />Monday, Jan 23rd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28203">9:10 </a><br /><br /><b><i>Step Brothers</i></b><br />Sunday, Jan 22nd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28204http://www.austintheatre.org/site/Calendar?view=Detail&id=28204">4:00</a><br />Monday, Jan 23rd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28205">7:00 </a><br /><br /><b><i>Bananas</i></b><br />Tuesday, Jan 24th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28206">7:00</a><br />Wednesday, Jan 25th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28207">8:55</a><br /><br /><b><i>Love and Death</i></b><br />Tuesday, Jan 24th<div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28208">8:55</a><br />Wednesday, Jan 25th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28209">7:00 </a><br /><br /><b><i>Office Space</i></b><br />Thursday, Jan 26th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28210">7:00</a><br /><br /><b><i>Beverly Hills Cop</i></b><br />Thursday, Jan 26th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28211">9:00</a><br />Sunday, Jan 29th</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28216">2:00</a><br /><br /><b><i>Richard Pryor: Live at the Sunset Strip</i></b><br />Friday, Jan 27th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28212">7:00</a><br />Sunday, Jan 28th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28213">6:05</a><br /><br /><b><i>Jo Jo Dancer: Your Life Is Calling</i></b><br />Friday, Jan 27th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28214">8:55</a><br />Sunday, Jan 28th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=28215">4:05 </a></div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-71307242283774305802011-09-14T19:12:00.001-07:002011-09-15T14:15:23.351-07:00Bastrop Fire Relief Screening of BERNIE<center><img src="https://lh4.googleusercontent.com/-L048xEkLrzM/TnFetPgOJMI/AAAAAAAACcs/Xvya9dZ38A8/bernie.jpg" /></center><br />If you live in the Texas, I need not remind you that the past few weeks have yielded a literal inferno of emotions.<div><br /></div><div>For those of you who aren't local and may not be aware, wildfires ravaged Central Texas the past couple of weeks, some of which are still ablaze days later. Firefighters were stretched to the limits as fires rapidly spread across the area, and thousands of people have been displaced. Ongoing coverage of the events can be found <a href="http://www.statesman.com/news/wildfires/">here</a>.</div><div><br /></div><div>Suffering the worst of the damage was the community of Bastrop, Texas. The wildfires have <a href="http://en.wikipedia.org/wiki/Bastrop_County_Complex_fire">devastated the town</a>, consuming over 1500 homes. It's been a terrible ordeal for everyone in the area, and everyone seems to know at least one person who was directly effected. It's a true natural diaster, and the sheer magnitude of the fire can be glimpsed in this terrifying <a href="http://upload.wikimedia.org/wikipedia/commons/2/24/Bastrop_Wildfire.jpg">photo</a>.</div><div><div><br /></div><div>While our courageous firefighters diligently continue to battle the blaze, efforts are underway to help relieve those displaced by the wildfire. The whole community is doing all they can with donations and fundraisers, and now one of Austin's favorite cinematic sons is doing his part as well.</div><div><br /></div><div>Director Richard Linklater is an Austin icon who personifies independent film in a way few film makers can. His films all have a distinct charm, and are a departure from the normal Hollywood products that flood the multiplexes. Best known for <b><i>Slacker</i></b>, <b><i>Dazed & Confused</i></b> and<i><b> Before Sunrise</b></i>, he also created two unique (and somewhat trippy) animated features in <b><i>Waking Life</i></b> and<b><i> A Scanner Darkly</i></b>.</div><div><br /></div><div>Linklater likes to keep things local when it comes to his brand of cinema, and for his newest project, <i><b><a href="http://www.imdb.com/title/tt1704573/">Bernie</a>,</b></i> he filmed it predominately in the greater Austin area: Georgetown, Austin, Lockhart and <i>Bastrop</i>. Although the film itself is not yet scheduled for release, Linklater is taking the opportunity to give back and screen an advance sneak preview to help benefit the town hit so hard by the destruction.</div><div><br /></div><div>As for the film itself being screened...</div><div><b><i>Bernie</i></b> sounds like fun in a morbid sort of way, yet thankfully does not involve these guys:</div><div><br /></div><div><center><img src="https://lh4.googleusercontent.com/-RWu8wbGBuZo/TnJgYOfBlqI/AAAAAAAACdY/XUpkfFNIU5k/bernie02.jpg" /></center><br /></div><div>No Andrew McCarthy, Jonathan Silverman or Terry Kiser, thank you very much.</div><div><br /></div><div><div>So what is <b><i>Bernie</i></b>, anyway?</div><div><br /></div><div>Based on a true story, it's a comedic take on a small town mortician (Jack Black) who befriends a rich widow (Shirley MacLaine). After he kills her for the money, he goes through great lengths to indicate that she's alive. No one is the wiser, that is, until a local district attorney (Matthew McConaughey) begins to investigate.</div></div><div><br /></div><div>It's kind of a Linklater all-star matchup, as McConaughey and Black both have had some of their more memorable (and quotable) roles in Richard's films. Matthew was at his hazy best in <b><i>Dazed and Confused</i></b>, while Jack Black's performance in <i><b>School of Rock</b></i>, well... rocks.</div><div><br /></div><div><center><img src="https://lh3.googleusercontent.com/-B1Yzv3Vxn7o/TnJd7S8b-WI/AAAAAAAACdE/AuIhWHqhtdc/bernie01.png" /></center><br /></div><div>So the thought of these two in a bizarre game of cat and mouse has a weird appeal that I feel has to be seen to be believed.</div></div><div><br /></div><div>The laughs will be welcomed during these final hot throes of summer, and most importantly the screening is for a number of great causes. 100% of the proceeds will benefit the following organizations: <b>Friends of the Lost Pines State Parks</b>, <b>Bastrop County Emergency Food Pantry</b>, and the <b>Heart of the Pines Volunteer Fire Department</b>.</div><br />The gesture to Bastrop is more of that Texas spirit to help one another, and Linklater himself explains:<br />"<i>Since the film has been finished for a few months and isn't coming out until next year, we had scheduled a cast and crew screening for the 18th of September. After the catastrophic fires of the last week, we quickly jumped on the idea of opening it up to the public as an opportunity for Austinites and members of our artistic community to help our neighbors in Bastrop that have been so devastated. It seems like an appropriate movie for the cause - not only was it filmed largely in the Bastrop area, but it's a PG-13 comedy about small town Texas life. It's the least we can do for this wonderful community that opened its doors to us during production. It feels great that because of the generosity of the Paramount Theater, 100% of all ticket sales and donations with pass through to these important local non-profits that are doing so much to restore and maintain their community.</i>"<br /><br />Oh, and one last thing. Linklater and Jack Black themselves will be <b>in attendance</b>. It promises to be a fun event for a great cause. A little laughter can go a long way, and what better way to help your neighbor than this screening for their benefit?<div><br /></div><div>Now <i>this</i>, my friends, is a <b><i>Bernie</i></b> I could spend a weekend with. <div><br /><div style="text-align: center;">Showtime for the Benefit Screening:</div><br /><i><b>Bernie</b></i><br />Sunday, Sept 18th<br /><a href="https://secure2.convio.net/ata/site/Ticketing/2038245684?JServSessionIdr004=6lilkdia88.app243a&view=Tickets&id=27501">4:00</a><div><br /></div><div>Sponsorship packages are available through the Austin Film Society that include 6 tickets and a pre-show reception with the cast and crew.</div></div></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-79193775656751089022011-08-28T19:07:00.000-07:002011-08-31T19:36:11.401-07:00Preview: The Grand Finale<center><img src="https://lh3.googleusercontent.com/-SjZbXEHEIyA/TdDKIyIr7ZI/AAAAAAAACDc/TkfcWqCXWtw/gonewind.jpg" /></center>
<br />And so we've come to the end of the road. <div>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 <i><b><a href="http://www.imdb.com/title/tt0031381/">Gone with The Wind</a></b></i>. 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).<div>
<br /></div><div>Do I really need to describe <i>this</i> 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.
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<br /></div><div>Adjusting for inflation, <i><b>Gone with The Wind</b></i> 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, <i><b>Avatar</b></i>.
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<br /></div><div>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." <a href="http://usofcinemerica.blogspot.com/2010/09/final-film-gone-with-wind-sep-11.html">Last year's attempt</a> 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.</div><div>
<br /></div><div>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.<div>
<br /></div><div>Or maybe even sooner, depending on what surprises The Paramount Theatre might have in store for us throughout the next several months...</div></div></div></div><div>
<br /></div><div>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<i> do</i> give a damn.</div>
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<br /><div style="text-align: center;">Showtimes for the film:</div>
<br /><i><b>Gone with The Wind</b></i>
<br />Saturday, Sept 3rd
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26968">6:30</a>
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<br />Sunday, Sept 4th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26969">2:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26970">7:00</a>
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<br /><div style="text-align: center;">Final Note about the screening</div>
<br />Parking:
<br />"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."
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<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-65532077695177793082011-08-28T14:19:00.001-07:002011-08-29T00:22:34.828-07:00Review: Day of The Bat<center><img src="https://lh5.googleusercontent.com/-SqIT952NfNc/Tlsxk9BWcuI/AAAAAAAACcQ/mUEqhPGLmR8/daybat.jpg" /></center>
<br />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 <i>Day of The Bat</i>, and to view the camp classic <i><b>Batman (1966)</b></i>.<div>
<br /></div><div>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 <i>everyone</i>. 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!</div><div>
<br /></div><div>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 <i>purrrfect</i> 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!</div><div>
<br /></div><div>Upstairs was a private event where Gold and Platinum Film Fans had a personal meet-and-greet with the original caped crusader, <a href="http://twitter.com/#!/therealadamwest">Mr. Adam West </a>himself. <a href="http://usofcinemerica.blogspot.com/2010/06/night-of-bat-film-12-batman-jun-6th.html">Last year</a>, 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.</div><div>
<br /></div><div>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).</div><div>
<br /></div><div>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 <i>batusi</i> at the camera. Although needlessly silly, we all had a chuckle at that.</div><div>
<br /></div><div>"<i>Oh, nice one</i>," 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.
<br />
<br /></div><div>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 <a href="http://twitter.com/#!/jrtrussell">Jesse Trussell </a>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. </div><div>
<br /></div><div>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 <i><b><a href="http://www.imdb.com/title/tt1345836/">The Dark Knight Rises</a></b></i>). 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 <i>Bright Knight</i>.</div><div>
<br /></div><div>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.</div><div>
<br /><center><embed type="application/x-shockwave-flash" src="https://picasaweb.google.com/s/c/bin/slideshow.swf" width="600" height="400" flashvars="host=picasaweb.google.com&captions=1&noautoplay=1&hl=en_US&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Fgbarraza24%2Falbumid%2F5646159803455231489%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></center>
<br />
<br />Even if we didn't get a visit from Mr. Freeze that day, it was still one Bat-tastic time.</div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-77107972376558799492011-08-25T11:22:00.000-07:002011-08-30T15:12:55.854-07:00Preview: The Texas Epic<center><img src="https://lh4.googleusercontent.com/-RuXhv27Bv8s/TdDKIc3-2TI/AAAAAAAACDU/nWGnduXqXkU/giant.jpg" /></center>
<br />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. <div><div>
<br /></div><div>Alas, film portrayals don't help the cause. And although <b><i><a href="http://www.imdb.com/title/tt0049261/">Giant</a></i></b> 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.</div><div>
<br /></div><div>Last year, after years of resistance, I saw <b><i>Giant</i></b> 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 <a href="http://usofcinemerica.blogspot.com/2010/06/film-20-giant-jun-22nd.html">here</a>). I watched it again earlier this summer during a road trip to Marfa, TX. There we watched the movie at the <a href="http://www.hotelpaisano.com/">Hotel Paisano</a>, 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. </div><div>
<br /></div><div><center><img src="https://lh4.googleusercontent.com/-fSL9LSbSjVs/TlrHi32-ZYI/AAAAAAAACag/DmbwQNK7ONc/giant01.jpg" /><p><img src="https://lh4.googleusercontent.com/-Fa_7iXtHxLQ/TlrHjs4juXI/AAAAAAAACak/vnQ2-4uNJJ0/giant02.jpg" /></p></center></div><div>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.</div><div>
<br /></div><div>And so <b><i>Giant</i></b> returns again this summer to The Paramount, and I couldn't be happier.</div><div>
<br /></div><div>Released in 1956, <i><b>Giant</b></i> 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.</div><div>
<br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/RqFKIkJayoQ" frameborder="0" allowfullscreen=""></iframe></center>
<br />On the surface, <b><i>Giant</i></b> 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.</div><div>
<br /></div><div>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 <i>American</i> story, a look at a family and the shifting of social and personal beliefs through the generations.</div><div>
<br /></div><div>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 <b><i>Giant</i></b> 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.</div><div>
<br /></div><div>I continue about the majestic excellence of <i><b>Giant</b></i>, 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... "<i>black gold. Texas tea</i>."</div></div><div>
<br /></div><div>
<br /></div><div style="text-align: center;">Showtimes for the film:</div>
<br /><b><i>Giant</i></b>
<br />Thursday, Sept 1st
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26967">7:30</a> <div>
<br /></div><div><b>The Sept 1st screening is also the 2011 Summer Classic FIlm Series CLOSING PARTY.
<br />Film Fans receive FREE admission, drinks, popcorn & a special gift!</b>
<br />
<br />Friday, Set 2nd</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26965">7:30</a></div><div>
<br /></div><div>Saturday, Sept 3rd</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26966">2:00</a> </div><div><div>
<br /></div><div><div style="text-align: center;">
<br /></div><div style="text-align: center;">Final Note about the screening</div>
<br />Parking:
<br />"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." </div></div><div>
<br /></div><div>
<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-90917703984004515312011-08-24T22:13:00.000-07:002011-08-28T14:08:12.671-07:00Preview: Lemmon and Wilder<center><img src="https://lh3.googleusercontent.com/-hqD59jeE6rs/TdDKI-V_COI/AAAAAAAACDY/5HE0YER-5mQ/lemmon.jpg" /></center>
<br />"<i>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.</i>"
<br /><div style="text-align: right;">-Billy Wilder on Jack Lemmon</div>
<br />
<br />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.<div>
<br /></div><div>Over his career, Bily Wilder had a diverse career from charming comedies (<i><b>Sabrina</b></i>) to darker fare (<b><i>Sunset Boulevard</i></b>) to dramas (<i><b>Double Indemnity</b></i>, <i><b>The Lost Weekend</b></i>, <i><b>Stalag 17)</b></i>. Yet, Wilder's bread and butter was that signature charm of his witty comedies, and Jack Lemmon was a frequent collaborator.</div><div>
<br /></div><div><b><i><a href="http://www.imdb.com/title/tt0053291/">Some Like It Hot</a></i></b> 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 "<i>duh</i>."</div><div>
<br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/rioFp8__Lyw" frameborder="0" allowfullscreen=""></iframe></center></div><div>
<br /></div><div>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 <i>air-conditioned</i>. </div><div>
<br /></div><div>From an awards standpoint, <i><b><a href="http://www.imdb.com/title/tt0053604/">The Apartment</a></b></i> 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.</div><div>
<br /></div><div>Alas, Baxter finds that this method of climbing the corporate ladder is not without its own dangers. </div><div>
<br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/sOyaA6uVuZM" frameborder="0" allowfullscreen=""></iframe></center></div><div>
<br /></div><div>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. </div><div>
<br /></div><div>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 (<i><b>Mister Roberts</b></i> in 1956) and Best Actor Award (<i><b>Save The Tiger </b></i>in 1973) in the course of a career.</div><div>
<br /></div><div>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.
<br />
<br />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.</div><div>
<br /></div><div>
<br /></div><div style="text-align: center;">Showtimes for the films:</div>
<br /><b><i>Some Like It Hot</i></b>
<br />Monday, Aug 29th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26961">9:30 </a>
<br />Tuesday, Aug 30th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26962">7:00</a>
<br />
<br /><i><b>The Apartment</b></i>
<br />Monday, Aug 29th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26963">7:00</a>
<br />Sunday, Aug 30th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26964">9:45</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>Some Like It Hot (Some Don't) Fan Drive Benefitting Family Eldercare</b></div><div style="text-align: center;"><b>
<br /></b></div>"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 <b><i>Some Like It Hot</i></b> & <i><b>The Apartment</b></i>. Drop off a new fan to the Paramount theatre the day of these screenings and receive a free film pass.*
<br />
<br /><i>*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.</i>
<br />
<br />Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br />
<br />G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-69529635051281615032011-08-21T20:10:00.000-07:002011-08-26T10:49:53.069-07:00Preview: Night of the Bat with Adam West!<center><img src="https://lh5.googleusercontent.com/-slEfqXN69Lc/TlHHooFFCpI/AAAAAAAACZM/HrVuZqBQrrQ/batman.jpg" /></center>
<br />Holy encore, Batman!
<br />
<br /><div>Last summer, The Paramount Theatre played a big part in the City of Austin's <b><a href="http://www.cityofaustin.org/events/bats/default.htm">Night of The Bat</a></b> celebration. There was a <a href="http://usofcinemerica.blogspot.com/2010/06/night-of-bat-film-12-batman-jun-6th.html">screening of Batman</a>, 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."</div><div>
<br /></div><div>Well, get ready. This weekend the batarang comes through Austin yet again. <b>The Night of the Bat</b> is celebrated with another screening of the 1966 classic <b><i><a href="http://www.imdb.com/title/tt0060153/">Batman</a></i></b>, once again with Adam West in attendance.</div><div>
<br /></div><div>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.</div><div>
<br /><center><img src="https://lh6.googleusercontent.com/-IJpplmRCP2Y/TlH-kDzEjZI/AAAAAAAACZs/-M-NAspwBCA/batmen.jpg" /></center>
<br />I mean, seriously? Val Kilmer?? Who thought that was a good idea?</div><div>
<br /></div><div>POW!
<br />
<br /></div><div>I know we're now very familiar with a more serious tone of the Caped Crusader, so one may wonder: what's the 1966 <b><i>Batman</i></b> movie like in comparison? Well... it isn't <i><b>The Dark Knight</b></i>. 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 <s>clowns</s> villains.</div><div>
<br /></div><div><center><img src="https://lh4.googleusercontent.com/-ltKsntyqs3o/TlH-kbeRbxI/AAAAAAAACZw/tvsQdXiRH5U/batvillains.jpg" /></center>
<br />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 <i>shark</i>. Yeah, I know. Just go with it, roll with the punches, and you'll be fine.</div><div>
<br />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.<div>
<br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/DR9z7zJKyUE" frameborder="0" allowfullscreen=""></iframe></center>
<br />BAM!</div><div>
<br /></div><div>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.</div><div>
<br /></div><div>Hey, and there's a bonus also if you happen to be a <b>Platinum or Gold <a href="https://secure2.convio.net/ata/site/Donation?ACTION=SHOW_DONATION_OPTIONS&CAMPAIGN_ID=1382&JServSessionIdr004=4z36ywrzo1.app246a">Film Fan member</a></b>. 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.
<br />
<br />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... <i>why so serious</i>?</div><div>
<br />
<br /><div style="text-align: center;">Showtimes for the film:</div><div style="text-align: center;">
<br /></div>Batman (1966)
<br />Saturday, Aug 27th
<br />1<a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=27101">:00</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening</div>
<br /><div style="text-align: center;"><b>Adam West Photo Booth by Annie Ray: </b></div></div><div><div style="text-align: center;"><b>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.</b></div>
<br />Parking:
<br />"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."
<br /></div></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-65688132180405475452011-08-21T18:44:00.000-07:002011-08-30T15:13:07.830-07:00Preview: 70mm Week<center><img src="https://lh5.googleusercontent.com/-e69xAbHxi3I/TlQIbzc1cFI/AAAAAAAACaE/8DvdiXM9XKo/70mm.jpg" /></center>
<br />It's the most wonderful time of the yeeeear...
<br />No, not Christmas. To me, this is even better. <div>
<br /></div><div>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, <a href="http://usofcinemerica.blogspot.com/2010/09/whip-it-with-txrd-lonestar-rollergirls.html">exhibitions</a>, film festival entries, and even <a href="http://usofcinemerica.blogspot.com/2011/03/coming-soon-red-state-w-kevin-smith.html">traveling cinema shows</a> there. Trust me, it's always treat to see things in 35mm up on the historic screen. It's a top notch experience.<div>
<br /></div><div>However...</div><div>
<br /></div><div>Sometimes, even the elite have special presentations. And this week, the films shown are presented in <a href="http://en.wikipedia.org/wiki/70mm">70mm</a> 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. </div><div>
<br /></div><div><div>This selection of mind-blowing beautiful presentations include:<div>
<br /></div><div>I enjoyed <b><i><a href="http://www.imdb.com/title/tt0052357/">Vertigo</a></i></b> immensely last year when I saw it <a href="http://usofcinemerica.blogspot.com/2010/09/film-68-vertigo-70-mm-sept-3.html">last summer </a>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.</div><div>
<br /></div><div><center><iframe width="640" height="390" src="http://www.youtube-nocookie.com/embed/2t41VXQh9Ew" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>I realize that many of you my not be familiar with <b><i><a href="http://www.imdb.com/title/tt0103767/">Baraka</a></i></b>, 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 <i>must see</i> 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.</div><div>
<br /><center><iframe width="640" height="510" src="http://www.youtube-nocookie.com/embed/ueaYVxH1Vpo" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>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.</div><div>
<br /></div><div>People have called Stanley Kubrick's <i><b><a href="http://www.imdb.com/title/tt0062622/">2001: A Space Odyssey</a></b></i> 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.</div><div>
<br /><center><iframe width="640" height="390" src="http://www.youtube-nocookie.com/embed/YfPO-3cmnrA" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>Finally, we have <b><i><a href="http://www.imdb.com/title/tt0056172/">Lawrence of Arabia</a></i></b>. 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.</div><div>
<br /></div><div><center><iframe width="640" height="510" src="http://www.youtube-nocookie.com/embed/HrTfOAjG42w" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>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<b><i> 2001 </i></b>when he sees the cosmos: <i>awe-struck</i> and <i>speechless. </i>I'm ready to have my mind blown.</div><div>
<br /></div><div>
<br /></div></div><div style="text-align: center;">Showtimes for the films:</div>
<br /><b><i>Vertigo</i></b>
<br />Monday, Aug 22nd</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26935">7:30</a></div><div>Tuesday, Aug 23th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26936">7:30</a>
<br /><b><i></i></b>
<br /><i><b>Baraka</b></i>
<br />Wednesday, Aug 24th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26939">7:00</a>
<br />Thursday, Aug 25th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26940">9:55</a></div><div>
<br /></div><div><b><i>2001: A Space Odyssey</i></b>
<br />Wednesday, Aug 24th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26937">9:10</a></div><div>Thursday, Aug 25th</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26938">7:00</a>
<br />
<br /><i><b>Lawrence of Arabia</b></i>
<br />Friday, Aug 26th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26941">7:00</a>
<br />Saturday, Aug 27th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26943">7:30</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening</div><div style="text-align: center;">
<br /></div>Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."</div></div><div>
<br /></div><div>
<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-80786705801002018212011-08-18T01:54:00.000-07:002011-08-21T18:17:55.658-07:00Preview: Leaders of the New Wave, Godard & Truffaut<center><img src="https://lh3.googleusercontent.com/-2-DDhAlr3pM/TdDKJJRGCJI/AAAAAAAACDg/TtCe529Qf9g/newwave.jpg" /></center>
<br />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 <i>French New Wave</i> 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. <div><div>
<br />François Truffaut made a distinct splash with his early films <b><i>The 400 Blows</i></b> and <b><i>Jules and Jim</i></b>, 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 <i>joie de vivre</i> with <i><b><a href="http://www.imdb.com/title/tt0058458/">The Soft Skin</a></b></i>. 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.</div><div>
<br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/YiEwCJev_m0" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>When Jean-Luc Godard made <b><i>Breathless</i></b> in 1960, he planted the flag of <i>French New Wave</i> 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.</div><div>
<br /></div><div><i><b><a href="http://www.imdb.com/title/tt0056663/">Vivre se Vie</a></b></i> ("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 <i><a href="http://en.wikipedia.org/wiki/Cin%C3%A9ma_v%C3%A9rit%C3%A9">cinéma vérité</a></i> 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.</div><div>
<br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/19gO9VfuTX8" frameborder="0" allowfullscreen=""></iframe></center></div><div>
<br /></div><div><div>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 <i>French New Wave</i> 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.<i> C'est le vie</i>.</div></div><div>
<br /></div><div>
<br /><div style="text-align: center;">Showtimes for the films:</div>
<br /><b><i>The Soft Skin</i></b>
<br />Saturday, Aug 18th
<br />4:30 8:45
<br />Sunday, Aug 19th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26931">4:00</a>
<br />
<br /><b><i>Vivre sa Vie</i></b>
<br />Saturday, Aug 18th
<br />6:50
<br />Sunday, Aug 19th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26933">2:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26934">6:20</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div>
<br />Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br /></div></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-76338127522843453732011-08-13T23:28:00.002-07:002011-08-18T01:52:26.634-07:00Preview: A Forgotten Master, Masahiro Shinoda<center><img src="https://lh5.googleusercontent.com/-XwwEkNlnAY0/TdIv8CtqeUI/AAAAAAAACE8/QQ-wzIeJIuk/shinoda.jpg" /></center>
<br />"(some preceding gibberish) <div><i>Like Kurosawa I make mad films
<br />Okay, I don't make films
<br />But if I did they'd have a Samurai</i></div><div>(more gibberish)"
<br /><div style="text-align: right;">-Lyrics from "<a href="http://youtu.be/fC_q9KPczAg">One Week</a>"</div><div style="text-align: right;">A.K.A. that one Barenaked Ladies song from the late 1990s</div><div><hr />
<br />When it comes to the history of film, we've all heard of the <i>French New Wave</i>, and this week were introduced to the <i>Czech New Wave</i> courtesy of Milos Forman. But did you know there was a <i>Japanese New Wave </i>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. </div><div>
<br /></div><div>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. </div><div>
<br /></div></div><div>While I agree that Kurosawa is a master of film (of all-time for <i>any </i>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?</div><div>
<br /></div><div>A director of prime importance in the <i>Japanese New Wave</i> was <a href="http://www.imdb.com/name/nm0793983/">Masahiro Shinoda</a>. 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.</div><div>
<br /></div><div><b><i><a href="http://www.imdb.com/title/tt0056327/">Pale Flower</a> </i></b>tells the story of Muraki, a hard-boiled <i>Yukuza</i> 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, <i>too much</i> is not enough. A film of incredible style, stark cinematography and smash edits, <i><b>Pale Flower </b></i>follows Muraki down into the depths where gambling comes with rapidly raising stakes. Facing long odds, it seems this <i>yukuza</i> has gone all in for the largest gamble of all... the one for his soul.</div><div>
<br /></div><div><center><iframe width="480" height="300" src="http://www.youtube-nocookie.com/embed/VDtE3EV1UyY" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>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 <b><i><a href="http://www.imdb.com/title/tt0106519/">Carlito's Way</a></i></b>.</div><div>
<br /></div><div>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.</div><div>
<br /></div><b><i><a href="http://www.imdb.com/title/tt0064975/">Double Suicide</a></i></b>, you may be disappointed to know, is not an alternate title to <b><i>Romeo and Juliet</i></b> (sorry for the spoiler) but another film of Masahiro's screening this week. It is an adaptation of a classic <i>Banraku</i>, 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. <div>
<br /></div><div>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.</div><div>
<br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/EiLFVQX1h50" frameborder="0" allowfullscreen=""></iframe></center>
<br />It's a classic tale with a modernist slant, not unlike Powell and Pressburger's <i><b>The Red Shoes</b></i>. Rarely has the blending of stage and film come so alive as it does in <i><b>Double Suicide</b></i>. </div><div>
<br /></div><div>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.</div><div>
<br /></div>
<br />
<br />
<br /><div style="text-align: center;">Showtimes for the films:</div>
<br /><i><b>Pale Flower</b></i>
<br />Thursday, Aug 18th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26925">7:00 </a>
<br />Friday, Aug 19th
<br /><a href="http://www.blogger.com/$2%20from%20each%20ticket%20benefits%20the%20Japan%20Red%20Cross%20Relief%20Fund">9:10</a>
<br />
<br /><i><b>Double Suicide</b></i>
<br />Thursday, Aug 18th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26927">9:o0</a>
<br />Friday, Aug 19th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26928">7:00</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div><div style="text-align: center;"><b>
<br /></b></div><div style="text-align: center;"><b>$2 from each ticket benefits the Japan Red Cross Relief Fund
<br /></b></div><div style="text-align: center;"><b>
<br /></b></div>Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br /><div>
<br /></div><div>
<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-53516587027965704412011-08-13T23:28:00.001-07:002011-08-17T01:26:28.196-07:00Preview: Passion and Love<center><img src="https://lh6.googleusercontent.com/-9W3tDuZxfSk/TkizjmjTE6I/AAAAAAAACX0/sHlaW7KKywM/passion.jpg" /></center>
<br />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.<div>
<br /></div><div>In 1962, at the time of its release, <b><i><a href="http://www.imdb.com/title/tt0056215/">Mamma Roma </a></i></b>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.</div><div>
<br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/2FUJC82bWGE" frameborder="0" allowfullscreen=""></iframe></center>
<br /></div><div>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 <i><b>Mamma Roma</b></i> 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, <b><i>Salò. </i></b>In his career, Pasolini illustrated sad realities where he hoped passion and love could overcome the horrors of mankind.</div><div>
<br /></div><div><div>Over the past few decades, Miloš Forman has directed several acclaimed Hollywood films: <b><i>One Flew Over the Cuckoo's Nest</i></b>, <b><i>Amadeus</i></b>, <i><b>The People vs. Larry Flynt</b></i> and others. But before he came stateside, Forman was at the forefront on the <i>Czechoslovak New Wave</i> 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.</div></div>
<br /><b><i><a href="http://www.imdb.com/title/tt0059415/">Loves of a Blonde</a></i></b> 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.<div>
<br /></div><div>Nominated for Best Foreign Language film, <b><i>Loves of a Blonde</i></b> turned a spotlight on Czech cinema and also jumpstarted Forman's career.</div><div>
<br /></div><div>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.</div><div>
<br /></div><div style="text-align: center;">
<br /></div><div style="text-align: center;">Showtimes for the films:</div><div style="text-align: center;">
<br /></div><b><i>Mamma Roma</i></b>
<br />Tuesday, Aug 16th
<br />7:00
<br />Wednesday, Aug 17th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26922">8:55</a>
<br />
<br /><b><i>Loves of A Blonde</i></b>
<br />Tuesday, Aug 16th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26924">9</a>:10
<br />Wednesday, Aug 17th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26924">7:00 </a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div>
<br />Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br /><div>
<br /></div><div>
<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com2tag:blogger.com,1999:blog-8440001190101876394.post-39694193400126910812011-08-09T13:47:00.001-07:002011-08-13T01:01:58.701-07:00Preview: Silent Movie with Live Score!<center><img src="https://lh5.googleusercontent.com/-xXmSrF7RNrk/TkGciNAf8YI/AAAAAAAACWE/ft9sgmOM5K8/eltren.jpg" /></center>
<br />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 <a href="http://usofcinemerica.blogspot.com/2010/06/film-21-wings-with-new-live-score-jun.html">Wings with an original live score</a>. 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.<div>
<br /></div><div>This year, The Paramount presents a rarity, a true world cinema classic from Mexico. The film is <i><b><a href="http://www.imdb.com/title/tt0018503/">El Tren Fantasma</a></b></i> ("<i>Ghost Train</i>"), 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).</div><div>
<br /></div><div>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 <i><b>El Tren Fantasma</b></i> is a rare example of the country's film culture. The feature now stands as <a href="http://www.filmoteca.unam.mx/cinema/player/uno/cap1.html">one</a> of the best surviving silent Mexican films. </div><div>
<br /></div><div>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 <a href="http://www.last.fm/music/Charanga+Cakewalk">Michael Ramos and Charanga Cakewalk</a>. 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.
<br /></div><div>
<br /></div><div>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. </div><div>
<br /></div><div>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>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.</i></div><div>
<br /></div><div>
<br /></div><div style="text-align: center;">Showtime for the film:</div>
<br /><i><b>El Tren Fantasma</b></i>
<br />Saturday, Aug 13th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26901">8:00 </a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div>
<br /><div style="text-align: center;"><b>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.</b></div>
<br />Parking:
<br />"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." <div>
<br /></div><div>
<br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-78639406360895866662011-08-08T19:47:00.000-07:002011-08-10T13:54:36.610-07:00Preview: Comedy of the Past and Present<center><img src="https://lh5.googleusercontent.com/-DI2A6uDAAX0/TkGfmqB5i9I/AAAAAAAACWk/WS-RtbW06KQ/foreigncom.jpg" /></center>
<br />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.<div>
<br /></div><div>Last year I was reacquainted with Jacques Tati during a summer screening of <b><i><a href="http://usofcinemerica.blogspot.com/2010/08/film-64-mr-hulots-holiday-aug-24.html">Mr. Hulot's Holiday</a></i></b>, 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 <i>Little Tramp</i> or even Rowan Atkinson's <i>Mr. Bean</i>, they offer a heavenly innocence as a respite from the society they inhabit.</div><div>
<br /></div><div><b><i><a href="http://www.imdb.com/title/tt0062136/">Playtime</a></i></b> 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. </div><div>
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<br /></div><div><i><b>Playtime</b></i> 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 <b><i>Playtime</i></b>, 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.</div><div>
<br /></div><div>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<b><i> 8½</i></b>, <b><i>Nights of Cabiria</i></b> and <b><i>La Dolce Vita</i></b>, his movies are true works of art. Each reflects his unique and personal vision of memories, dreams, and society. <b><i><a href="http://www.imdb.com/title/tt0071129/">Amarcord</a></i></b> 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.</div><div>
<br /></div><div><center><iframe width="480" height="303" src="http://www.youtube-nocookie.com/embed/obTOMbMgWn8" frameborder="0" allowfullscreen=""></iframe></center></div><div>
<br /></div><div>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.</div><div>
<br /></div><div>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.</div><div>
<br /></div><div>
<br /></div><div style="text-align: center;">Showtimes for the films:</div>
<br /><b><i>Playtime</i></b>
<br />Thursday, Aug 11th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26886">7:00 </a>
<br />Sunday, Aug 14th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26887">2:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26888">7:00</a>
<br />
<br /><b><i>Amarcord</i></b>
<br />Thursday, Aug 11th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26889">9:30 </a>
<br />Sunday, Aug 14th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26890">4:30</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div>
<br />Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br />
<br />
<br />G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-15279849606551002342011-08-07T23:52:00.000-07:002011-08-10T14:10:08.844-07:00Preview: Theft and Thieves<center><img src="https://lh3.googleusercontent.com/-5-r2XZvFvWc/TkLzgYBL4UI/AAAAAAAACXI/KWxuHhSYniQ/theft.jpg" /></center>
<br />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. <div>
<br /></div><div>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, <i>tout le monde aimait quand Bradley Cooper parlait le français, non?</i></div><div><div>
<br /></div><div><div><b><i><a href="http://www.imdb.com/title/tt0047892/">Bob Le Flambeur</a></i></b>, 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 <i>francs</i>. 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.</div><div>
<br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/1bvc_rGhIMw" frameborder="0" allowfullscreen=""></iframe>
<br /></center></div><div>
<br /></div><div>A cool and confident movie with style in spades, <i><b>Bob Le Flambeur </b></i>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 <b><i>Hard Eight</i></b> and obviously in Steven Soderbergh's <i><b>Oceans 11</b></i> trilogy. In 2002, director Neil Jordan (<i><b>Mona Lisa</b></i>, <b><i>Interview with the Vampire</i></b>, <i><b>The Crying Game</b></i>) remade this French classic as <b><i><a href="http://www.imdb.com/title/tt0281820/">The Good Thief</a></i></b>, starring Nick Nolte.</div><div>
<br /></div><div>Robert Bresson is another influential French director who is known for making emotive and often gloomy yet beautiful tales. His <i><b>Diary of a Country Priest</b></i> and <i><b>Trial of Joan of Arc</b></i> are arguably his best known works, and examples of the Catholicism he injected into his stories about redemption and temptation. He made <b><i><a href="http://www.imdb.com/title/tt0053168/">Pickpocket</a></i></b> in 1959 and, far from a conventional crime story, more of a morality tale that many critics have compared with Dostoyevsky's novel, <b>Crime and Punishment</b>. 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?</div><div>
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<br /></div><div>So while the rest of the world feels so hot that it may well melt around you, say <i>oui</i> 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 <span style="font-style:italic;">canicule de l'été?</span> After all, that's what the French would say, <i>ça va</i>?</div></div></div></div><div>
<br /></div><div>
<br /></div><div style="text-align: center;">Showtimes for the films:</div><div style="text-align: center;">
<br /></div><b><i>Bob Le Flambeur</i></b>
<br />Tuesday, Aug 9th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26882">7:00</a>
<br />Wednesday, Aug 10th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26883">8:40</a>
<br />
<br /><i><b>Pickpocket</b></i>
<br />Tuesday, Aug 9th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26884">9:00</a>
<br />Wednesday, Aug 10th
<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26885">7:00</a>
<br />
<br /><div style="text-align: center;">Final Notes about the screening:</div>
<br /><div style="text-align: center;"><b>$2 discount for Austin Film Society members at the box office for all "World Cinema Classics" films!</b></div>
<br />Double Features:
<br />"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!)
<br />
<br />Parking:
<br />"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."
<br />
<br />
<br />
<br />G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-21665055897170767462011-08-02T01:31:00.001-07:002011-08-04T15:08:43.624-07:00Preview: Birth of The Slasher<center><img src="https://lh6.googleusercontent.com/-WilPYFkcWbU/TdDKJUP4GYI/AAAAAAAACDk/my2rWGpLOrs/slasher.jpg" /></center><br />Oh, the <a href="http://en.wikipedia.org/wiki/Slasher_film">slasher flick</a>. 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>I love it</i>. You can keep your typical splatterhouse horror movies, because slasher films are the ones dearest to my heart.<div><div><br /><div>You see, the <i>slasher film</i> 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 <b><i>Halloween</i></b> 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 <i><b>Scream</b></i> movies reawakened the slasher genre in 1996, it was like greeting an old friend.</div></div><div><br /></div><div>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.</div><div><br /></div><div>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 (<i><b><a href="http://www.imdb.com/title/tt0039192/">Black Narcissus</a></b></i>, <b><i><a href="http://www.imdb.com/title/tt0040725/">The Red Shoes</a></i></b>) in 1960.</div><div><br /></div><div>Over fifty years after its original release, Alfred Hitchcock's <b><i><a href="http://www.imdb.com/title/tt0054215/">Psycho</a></i></b> 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 <b><i>Psycho</i></b>, but then again nothing can probably ever ruin my enjoyment of the film. Well, <a href="http://usofcinemerica.blogspot.com/2010/06/films-9-10-hitchcock-double-feature-jun.html">almost nothing</a>.</div><div><br /></div><div>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 <b><i>Psycho</i></b>, 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.</div><div><br /></div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/FAOaZY4MbDE" frameborder="0" allowfullscreen=""></iframe></center><br />To this day, one of the more remarkable elements of <b><i>Psycho</i></b> 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.</div><div><br /></div><div>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 <i><b>Psycho</b></i>.<div><br /></div><div><b><i><a href="http://www.imdb.com/title/tt0054167/">Peeping Tom</a></i></b>, 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.</div><br /><center><iframe width="480" height="303" src="http://www.youtube-nocookie.com/embed/Ndb9YBcwwVA" frameborder="0" allowfullscreen=""></iframe></center><br />Like <b><i>Psycho</i></b>, this film was considered shocking in its presentation. Unlike <b><i>Psycho</i></b>, however, <b><i>Peeping Tom</i></b> 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 <b><i>Peeping Tom</i></b> was way ahead of its time.</div><div><div><br /></div><div><div>The influence of <b><i>Peeping Tom</i></b> and <b><i>Psycho</i></b> runs deep over the past few decades. It's hard to imagine the horror franchises of the 80s, dramas like <i><b>Se7en</b></i>, <b style="font-style: italic; ">The Silence of the Lambs</b> and <i><b>Henry: Portrait of a Serial Killer</b></i>, or even subpar movies like <b><i>8mm</i></b> without these initial pioneers. Most recently, <b><i>Scream 4</i></b> (released just a few months ago) borrows heavily from the premise of <b><i>Peeping Tom</i></b> and even references it directly in that way that only the <b><i>Scream</i></b> movies can.</div></div><div><br /></div><div>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.</div><div><br /></div><div><center><img src="https://lh3.googleusercontent.com/-ANvjdLjO28g/Tjo9Ggk24EI/AAAAAAAACVQ/vzb9Gl0NIRg/psychoshower.jpg" /></center><br />It's just a figure of speech, <i>I swear</i>.<br /><br /></div><div><br /></div><div><br />Showtimes for the films:<br /><br /><b><i>Psycho</i></b><br />Saturday, Aug 6th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26806">4:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26821">8:45</a><br />Sunday, Aug 7th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26822">4:10</a><br /><br /><i><b>Peeping Tom</b></i><br />Saturday, Aug 6th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26823">6:15</a><br />Sunday, Aug 7th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26824">2:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26825">6:25</a><br /><center><br />Final Notes about the screening</center><center><br /><b>Bloody Mary & Peeping Tom Collins Drink Specials All Day!<br /><i>Psycho</i> Shower Photo Booth before 8:45 pm screening by Annie Ray </b></center><center><b><br /></b></center></div><div>Double Features:<br />"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!)<br /><br />Parking:<br />"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."<br /></div></div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-6422341248858122112011-08-01T17:06:00.000-07:002011-08-02T01:14:46.627-07:00Preview: Scary Cats<center><img src="https://lh4.googleusercontent.com/-mNsvH6q7vLk/Tc4MFQlgX6I/AAAAAAAACCY/GihkygafXQU/scarycats.jpg" /></center><br />A staple of horror movies are scary creatures. Most of the time, monster movies frighten us with creatures that are inherently scary (<b><i>Arachnophobia</i></b> with its spiders, <i><b>Jaws </b></i>with one big shark). Occasionally, a movie will come out of nowhere and change our views on a previously benign animal, like <i><b>Cujo </b></i>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 <b><i><a href="http://en.wikipedia.org/wiki/The_Twilight_Saga_(film_series)">Twilight</a></i></b> or <i><b><a href="http://en.wikipedia.org/wiki/Underworld_(film_series)">Underworld</a></b></i> movies.<div><br /></div><div>But can cats be scary? Well, yeah. Cats have been featured in some horrific films too. Take for instance, that abysmally horrible <b><i>Catwoman</i></b> 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.</div><div><br /><center><img src="https://lh4.googleusercontent.com/-9r2o5R7SJy0/TjblK6gCXmI/AAAAAAAACUE/IZepEKxesQ4/catwoman.jpg" /></center><br />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 "<i>untrustworthy, vile creatures</i>." Yikes. That's a bit... much, isn't it?</div><div><br /></div><div>Those feline haters would then probably get a real kick out of <b><i><a href="http://www.imdb.com/title/tt0034587/">Cat People</a></i></b>, 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 <i>man-eater</i>, like the <a href="http://youtu.be/yRYFKcMa_Ek">Hall & Oates song</a>. Alas, there is no passion for the newlyweds. This naturally causes <i>all</i> kinds of problems, whether they be real and fantastical.</div><div><br /></div><div>The trailer for this bizarre tale of felines and sexual repression can be seen <a href="http://youtu.be/mp0iYJRrDog">here</a>.</div><div><br /></div><div><br /><div>The success of <b><i>Cat People</i></b> spawned a more benevolent (and seemingly misnamed) sequel,<i><b> Curse of the Cat People</b></i>, that is most noteworthy for being the second film directed by Robert Wise (<i><b>The Haunting</b></i>, <i><b>West Side Story</b></i>, <i><b>The Sound of Music</b></i>). 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 <b><i>Home Alone</i></b>. The remake wasn't so good, but it did feature an awesome <a href="http://youtu.be/Lt6AdE-sb2Y">David Bowie song</a>.</div><div><br /></div></div><div>Now, when I say "black cat," what's the first thing that comes to mind? Bad luck? Halloween? That old <a href="http://en.wikipedia.org/wiki/Black_Cat_(song)">Janet Jackson song</a>? The <a href="http://en.wikipedia.org/wiki/Le_Chat_Noir">cabaret </a>with that iconic poster? That<a href="http://en.wikipedia.org/wiki/Salem_Saberhagen"> fake-looking thing</a> from "Sabrina The Teenage Witch?" Or does your mind conjure up this?</div><div><br /><div><div><center><img src="https://lh3.googleusercontent.com/-olU5YYr-J4Y/TjeJX2IINQI/AAAAAAAACUo/GGWpOjL-OlE/blackcat.png" /></center><br /></div><div>As much of a staple of Independence Day and New Year's celebration is <i>this</i> black cat is, it doesn't fit with the horror film theme I'm going with. With all apologies to Katy Perry, <i>baby that's just a firework</i>.</div><div><div><br /></div><div>No, the Black Cat in question is a classic Japanese horror film from 1968, and its a very dark tale indeed. The movie, <i><b><a href="http://www.imdb.com/title/tt0122136/">Kuroneko </a></b></i>(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 <i>onryō</i>, 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 <i><b>Onibaba</b></i>, another tale where women slay passing samurai. Atmospheric and spooky, <i><b>Kuroneko </b></i>is a unique terror tale that represents some of the very best in Japanese cinema.</div><div><br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/IzHRzDysAlc" frameborder="0" allowfullscreen=""></iframe></center><br />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 <i><b>Catwoman</b></i>. </div><div><br /></div><div>And if you find yourself too frightened in the theater aisles, just remind yourself that, like vampires, these <i>werecats</i> are only fictional. I mean, they just <i>can't</i> be real... right?</div></div></div></div><div><br /></div><div><center><img src="https://lh5.googleusercontent.com/-fXZls0jogNA/TjeJabkoMzI/AAAAAAAACUs/VmVtedR4j1o/thriller.jpg" /><br /></center></div><div style="text-align: center;">(Cure that scary Vincent Price laugh)</div><div><br /></div>Showtimes for the films:<br /><br /><b><i>Cat People</i></b><br />Thursday, Aug 4th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26802">7:00</a><br />Friday, Aug 5th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26803">9:05</a><br /><br /><b><i>Kuroneko</i></b><br />Thursday, Aug 4th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26804">8:40</a><br />Friday, Aug 5th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26805">7:00</a><br /><br /><div style="text-align: center;">Final Notes about the screening</div><div style="text-align: center;"><br /></div><b>Bring in an item for the <i>Austin Pets Alive!</i> drive and receive a free small popcorn! Check their wish list <a href="http://www.austinpetsalive.org/donate/wish-list/">here</a>.</b><div><div style="text-align: center;"><div style="text-align: left;"><br /></div><div style="text-align: left;">Double Features:</div><div style="text-align: left;">"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!)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Parking:</div><div style="text-align: left;">"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."</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div></div></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-19553526482717321492011-07-29T17:04:00.000-07:002011-08-02T01:18:02.122-07:00Preview: Don't Go Into The House!<center><img src="https://lh5.googleusercontent.com/-hwBFVOhJb_k/Tc4MFY3hgyI/AAAAAAAACCc/V5vAz6JMRtA/shining.jpg" /></center><div><br /></div>Oooooooh. Time for another theme week at The Paramount Theatre.<br /><div>This time, it's... <i>horror</i>. Thrills and chills, as they say.<br /><br />Oh, how I could lambast the current state of cinematic affairs when it comes to horror. While at least the <i><b><a href="http://en.wikipedia.org/wiki/Saw_(franchise)">Saw</a></b></i> movies have finally appeared to run out of steam, there is still a plethora of "horror movies" that are light on terror but are big on gore or cheap scares. Can you believe they're making another <a href="http://www.imdb.com/title/tt1622979/">Final Destination</a> movie?! And let's be real, the "found footage" subgenre may have been scary when <b><i><a href="http://www.imdb.com/title/tt0185937/">The Blair Witch Project</a></i></b> came out, but when the plots now revolve around a hidden <a href="http://www.imdb.com/title/tt1772240/">lunar exploration</a>, you know Hollywood's slurping the last of the slurpee from the straw.</div><div><br /></div><div>They can keep all their gimmicks. To me, the scariest kinds of movies are those that get in your head.</div><div><br /></div><div>Horror week kicks off with two horror classics, featuring ghost encounters of the cerebral kind. In effect, they are haunted house tales. The spookiness you find in these are more intense than any episode of "Ghost Adventures."</div><div><br />There are so many creepy things in <b><i><a href="http://www.imdb.com/title/tt0081505/">The Shining</a></i></b> (aside from the overly late 1970s decor) that it's not even funny. This unlikely hybrid of Stephen King's bestseller and Stanley Kubrick's horrific sterility made for the ultimate in the cinema of the unnerving. Jack Nicholson plays Jack Torrence takes a job as a caretaker in a hotel for the winter so he can focus on his writing. HIs family comes along for the ride, and although it's clear they have inner demons of their own, it's nothing compared to what they encounter at this haunted hotel.</div><div><br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/zyfF5XNrIw4" frameborder="0" allowfullscreen=""></iframe></center><br /><b><i>The Shining</i></b> is Kubrick's overt attempt at a horror story, and it's chock full of unsettling imagery. That trademark "sterility" of Stanley's films really is served well here, and the film features some great steadicam work and long shots of desolation and despair. Nicholson's work here is the source of endless imitation and parody, but that's because it's so damn frightening to see his descent into madness. The effects on his loved ones is also startling, from his son's susceptibility to supernatural forces ("REDRUM!"), to his wife's (Shelley Duvall) becoming unhinged in fear. All in all, it's some intense (and deliberately paced) stuff.</div><br /><br /><div><b><i><a href="http://www.imdb.com/title/tt0057129/">The Haunting</a></i></b>, based on the novel <b>The Haunting of Hill House</b> by Shirley Jackson, is a very stylish classic film directed by the great and versatile Robert Wise (<i><b>West Side Story</b></i>, <i><b>The Sound of Music</b></i>, <i><b>The Day The Earth Stood Still</b></i>). Here, a doctor investigates a notorious house with a dark past. Assisting him is a skeptic young man, a mysterious clairvoyant, and a sensitive psychic. Before long, all discover that they are in waaaaay over their heads. Full of terror and boasting a clever array of lens trickery to enhance the disorientation of the paranormal, <b><i>The Haunting</i></b> stands a darker and more intellectual horror movie.</div><div><br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/HoxJsp8aoRs" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Alas, this creepy movie spawned<a href="http://www.imdb.com/title/tt0171363/"> a truly horrible remake</a> in 1999, directed by Jan DeBont (<i><b>Speed</b></i>, <i><b>Twister</b></i>) and starring Liam Neeson, Catherine Zeta-Jones, Lili Taylor, and Owen Wilson (before anyone but <b><i>Bottle Rocket</i></b> fans knew who he was). True story: I saw the original with a friend of mine about ten years ago, and they dismissed it as boring (!!). Furthermore, they went on to say that the remake was much better (!!!). </div><div><br /></div><div><center><iframe width="480" height="303" src="http://www.youtube-nocookie.com/embed/2Cdcci4UM14" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>Yeesh. If you need CGI effects as the basis of your scares, then you probably don't have a scary movie on your hands. If Jan DeBont is the director, don't expect a tiny shred of subtlety. A big budget remake does not assure that bigger will be better. No small coincidence, I am no longer friends with this person who preferred the remake.</div><div><br /></div><div>Sigh. That remake only proves that they don't just even try to make 'em like this anymore. I wish modern audiences had better sensibilities so that Hollywood could stop churning out the crap. There's really no need for the senseless and purely visceral gore fests of today for experiences in fear. Sometimes all you need for a good scare is a cold and dark theater, where imagination can take over... and your heart can pound about the things that go bump in the night.</div><br /><div style="text-align: center;">Showtimes for the films:</div><br /><i><b>The Shining</b></i><br />Tuesday, Aug 2nd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26761">7:00</a><br />Wednesday, Aug 3rd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26762">9:10</a><br /><br /><b><i>The Haunting</i></b><br />Tuesday, Aug 2nd<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26781">9:40</a><div>Wednesday, Aug 3rd</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26801">7:00</a><br /><br /><div style="text-align: center;">Final Notes about the screening</div><br /><div style="text-align: center;"><b>Come drink Red Rum and hear Paramount ghost stories from stage before the screening of <i>The Shining</i>!</b></div></div><div><br />Double Features:<br />"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!)<br /><br />Parking:<br />"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."</div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-72636572155105719412011-07-21T18:28:00.000-07:002011-07-27T23:59:45.754-07:00Preview: Sing-A-Long Fun!<center><img src="https://lh5.googleusercontent.com/-ClgX8Wq09FI/Tc4MFpGsrfI/AAAAAAAACCg/EWK96mPgH1o/singalong.jpg" /></center><br /><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: 12px; line-height: 16px; ">♫ </span>The hills are alive... with the sound of Griswold. <span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: 12px; line-height: 16px; ">♫</span><div>Oh wait, that's the spoof from <b><i>National Lampoon's European Vacation</i></b>...</div><div>Let's try this again.</div><div><br /></div><div><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: 12px; line-height: 16px; ">♫</span>The hills are alive... with the sound of <i>music</i>. <span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: 12px; line-height: 16px; ">♫</span></div><div>There. That's much better.</div><div><div><br /></div><div>It should only be natural that the revered Rogers & Hammerstein musical <i><b><a href="http://www.imdb.com/title/tt0059742/">The Sound of Music</a></b></i> be screened during the Summer Classic Film Series. And so it shall. This 1965 musical stars Julie Andrews and Christopher Plummer in this story set in 1930s Austria. Andrews plays Maria, a nun who isn't quite making the grade in becoming a nun. A widower captain (Plummer) then hires her to watch after his "difficult" children, and she (in a fashion only fitting from the woman who played Mary Poppins) eventually charms her way into their hearts. Numerous obstacles rise as Maria and the Captain recognize deeper feelings, including a neighboring nation known as... Nazi Germany. Gulp.</div><div><br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/CnwMqiKnxS0" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>So how about that? A musical classic that can be enjoyed by the whole family. Sounds like a nice, wholesome and benign way to spend an afternoon, no? Oh, but wait (again). There's a little treat I forgot to mention.</div><div><br /></div><div>One of the screenings of <b><i>The Sound of Music</i></b> will be a sing-a-long. That's right. You can warble and yodel like a Ricola commercial to your hearts desire while imaging you're in a Bavarian postcard of musical fun. <a href="http://www.rebeccahavemeyer.com/">Rebecca Havemeyer</a> will be on hand to lead the audience in a warm up before the show and give a run down of the actions and use of the interactive goody bag the audience receives. That's right, a <i>goody bag!</i> I hear some folks will even dress up. Your only limit is your imagination. Heck, you can even close your eyes and pretend you're starring in a bizarre mashup of <i><b>The Sound of Music</b></i> and "Glee." You don't have to be a good singer (like "Glee"), you just have to be enthusiastic (like "Glee").</div><div><br /></div><div>It sounds like silly fun, but it's all to assist a worthy cause. The screening benefits the AIDS Services of Austin (ASA), and there is even a special VIP pass you can purchase that includes: pre-party admission with drinks & snacks, premier seating, and free parking. You can purchase that right <a href="https://secure2.convio.net/aidsa/site/Ecommerce?VIEW_CATALOG=true&store_id=2981&NAME=&FOLDER=1150&TYPE=The%20Sound%20of%20Music">here</a>.</div><div><br /></div></div><div><i>Sing-A-Long movies and Paramount screenings<br />ASA parties and singing with feeling<br />Fun times with others more precious than rings<br />These are a few of our favorite things<br /></i></div><div></div><i><br />When my voice cracks<br />And the song ends<br />Then I'm feeling sad<br />I simply remember my favorite things<br />And then I don't feel... sooooo bad<br /></i><br /><div><div><div style="text-align: center; ">Showtimes for the films:</div><br /><b><i>The Sound of Music (NON-Sing a Long)</i></b><br />Saturday, Jul 30th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26721">2:00</a><br /><br /><b><i>The Sound of Music (Sing-A-Long Event)</i></b><br />Saturday, Jul 30th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26741">7:00</a><br /><br /><div style="text-align: center; ">Final Notes about the screening</div><br />VIP Reception: </div><div>ASA Package Purchasers and Paramount Film Fans are invited to a pre-show reception on the Mezzanine Level of the Paramount Theatre. Complimentary drinks and snacks will be provided.<br /><br />Parking:<br />"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."</div><div><br /></div></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-13847080462304231182011-07-16T22:44:00.000-07:002011-07-21T18:28:48.578-07:00Preview: Iron and Wine Presents...<center><img src="https://lh6.googleusercontent.com/-UwlOGmgErU8/Tc3Vn3eJUvI/AAAAAAAACCA/pQfDiGN1DrU/ironwine.jpg" /></center><br />Some may be familiar with Sam Beam as the singer/songwriter known as <i>Iron and Wine</i>. His music is deliberate and contemplative, yet you can feel the emotion behind every chord. I admit to having a passing familiarity with his work, which I heard for the first time in 2004's <b><i>Garden State</i></b> starring Zach Braff and Natalie Portman. That song, "<a href="http://www.youtube.com/watch?v=XX5Dan0VE7w">Such Great Heights</a>," was part of a stellar soundtrack, and later appeared in a memorable <a href="http://youtu.be/N0rzvfa9A9Y">M&Ms</a> commercial. That proved to be just the tip of the iceberg for Beam, who has had music featured in "Grey's Anatomy," "Friday Night Lights," Paul Weitz's <b><i>In Good Company</i></b> (2004 film with Dennis Quaid and Topher Grace), Todd Haynes'<i><b> I'm Not There</b></i> (the unconventional biopic about Bob Dylan) and even (gulp) one of those <b><i>Twilight</i></b> movies.<div><br /></div><div>But don't hold that against him.</div><div><br /></div><div>Truth is, Sam Beam is somewhat of a modern Renaissance man. A former film studies professor, Beam still is known for his appreciation for the cinematic arts. Heck, the man even was selected by The Criterion Collection to present his personal <a href="http://www.criterion.com/explore/85-iron-and-wines-top-10">top 10</a>! He's even dabbled in directing, as he created the swoon-worthy yet torrential music video for The Swell Season's "Slow Rising."</div><div><br /><center><object width="480" height="303"><param name="movie" value="http://www.youtube-nocookie.com/v/b5KV1Lf2NkY?version=3&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube-nocookie.com/v/b5KV1Lf2NkY?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="303" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br /></div><div>And so, as an extension of his great taste, <i>Iron and Wine</i> has been selected to host a couple of films during the Summer Series. This year, we get to imbibe the cinema of Peter Bogdanovich, whose two films presented here have aged like a fine wine.</div><div><br /></div><div><b><i><a href="http://www.imdb.com/title/tt0070510/">Paper Moon</a></i></b> was probably the first Bogdanovich film I ever saw, way back during my early teens. A story about a con-man and a young girl (who may or my not be his daughter) during The Great Depression, it features real-life father and daughter Ryan and Tatum O'Neal. Their chemistry, needless to say is stellar. But just as impressive is Madeline Kahn in her role as Trixie Delight, a "harem dancer girl" that eventually tags along. With a name like that, you just gotta be an exotic dancer of some sort, am I right?</div><div><br /></div><div>The trailer for <b><i>Paper Moon</i></b> is a bit unorthodox. Although at times it feels like an outtake reel, it still gives a sense of the movie's vibe and sharp humor.</div><div><br /><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/ylBCkJ8OApU" frameborder="0" allowfullscreen=""></iframe></center><br /></div><div>For her debut performance in this picture, Tatum O'Neal became the youngest Oscar winner in history at age 10. Let me repeat that. <i>Ten</i>. Wow. At age ten I think I was somewhere still walking like an Egyptian and learning how to transform a toy robot into a cassette recorder.</div><div><br /></div><div>And really, what more can be said about <i><b><a href="http://www.imdb.com/title/tt0067328/">The Last Picture Show</a></b></i>? Well, I for one said plenty about it<a href="http://usofcinemerica.blogspot.com/2010/06/film-19-last-picture-show-jun-21st.html"> last year</a>. This film is simply amazing and authentic in its emotions. Who knew a story of complacency versus change in a small Texas community would reflect the human condition so strongly? Evidently, Bogdanovich did. The story of a town treading water to avoid drowning in its own malaise is filled with an amazing cast: Jeff Bridges, Timothy Bottoms, Ben Johnson, Cloris Leachman, Ellen Burstyn, Eileen Brennan, Randy Quaid and Cybil Shepard (who never looked more beautiful). </div><div><br /></div><div><center><iframe width="480" height="390" src="http://www.youtube-nocookie.com/embed/F3Ga24JCgrY" frameborder="0" allowfullscreen=""></iframe></center><br />Although captured perfectly here in a fictional Texan town, the loneliness depicted here isn't exclusive to the Lone Star state. Alas, it's definitely an American sensibility as well.<br /></div><div><br /></div><div>In his prime, Peter Bogdanovich was a young master of capturing sentiments and telling stories about people. And now, 40 years after <b><i>The Last Picture Show</i></b>, who better to host these two classics (where empathy and emotion are at play) than <i>Iron and Wine</i> himself, Sam Beam. A man whose music and artistic appreciation both runs deep and rings true. It promises to be an insightful couple of nights. </div><div><br /></div><div>Like the most affecting of music, the greatest stories can be those where we recognize something about ourselves, and then can reveal the truisms you don't even realize. It's our choice to do with them what we please. Do we allow the narrow views to restrain our spirit like iron shackles? Or, per chance, do we let this new awareness broaden our horizons... letting them mature like that fine wine?</div><div><br /><div style="text-align: center;">Showtimes for the films:</div><br /><b><i>Paper Moon</i></b><br />Wednesday, Jul 27th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26641">7:30</a><br /><br /><b><i>The Last Picture Show</i></b><br />Thursday, Jul 28th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26881">7:30</a><br /><br /><div style="text-align: center;">Final Note about the screening</div><br />Parking:<br />"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."<br /></div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-40675814134736719602011-07-16T22:27:00.000-07:002011-07-20T20:15:48.587-07:00Preview: LIghts! Camera! Music!<center><img src="https://lh5.googleusercontent.com/-vQ0goeceKPQ/Tc3Vn190wFI/AAAAAAAACCE/0QFlQmavWos/lightscamera.jpg" /></center><br />We've had some fun partaking of classics from many different varities: dramas, comedies, noir, sci-fi, thrillers and more. But now, it's time for some musicals. So get ready to watch a couple of vintage song-and-dance movies that'll have you humming under your breath and shuffling your feet under your seat.<div><br /></div><div>I saw <b><i><a href="http://www.imdb.com/title/tt0055614/">West Side Story</a></i></b> last year for the very first time, and was blown away. The thought of seeing it again on the big screen at The Paramount leaves me ecstatic. It's truly one of the finest musicals ever made, and I wrote on last year's experience <a href="http://usofcinemerica.blogspot.com/2010/08/film-65-west-side-story-70mm-aug-26.html">here</a>.</div><div><br /></div><div>The film is easily the most acclaimed musical in motion picture history. Winner of 10 Academy Awards including: Best Supporting Actor, Supporting Actress, Art Direction, Cinematography, Costumes, Editing, Direction, Score, Sound and Best Picture. At the time, the soundtrack album was also the best-selling album of all-time. Set on the streets of New York City, it's a clever modernized Romeo and Juliet that is far less headache-inducing than anything by Baz Luhrman. It's incredible, it's moving, it's visually stunning... it's <i><b>West Side Story</b></i>.</div><div><br /><center><object width="480" height="390"><param name="movie" value="http://www.youtube-nocookie.com/v/rt0PYliEwRQ?version=3&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube-nocookie.com/v/rt0PYliEwRQ?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="390" allowscriptaccess="always" allowfullscreen="true"></embed></object></center></div><div><br /></div><div>Does it seem a little dated to you? Well, then try this one on for size. It's a later trailer for a DVD release. It showcases much more of the soundtrack and the vibrant visual style, and captures the energy and vibe perfectly.</div><div><br /><center><object width="480" height="390"><param name="movie" value="http://www.youtube-nocookie.com/v/wP19gcyykEc?version=3&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube-nocookie.com/v/wP19gcyykEc?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="390" allowscriptaccess="always" allowfullscreen="true"></embed></object></center></div><div><br /></div><div>Just goes to show ya, after 50 years this one is still powerful and amazing. </div><div><br /></div><div>The second film featured, <b><i>Swing Time</i></b>, is a classic from the collaborations of Fred Astaire and Ginger Rogers, whom are still regarded as two of the best dancers in cinematic history. And contrary to what may have been instilled in you since the late 1990s, the title neither refers to <a href="http://youtu.be/aHWcN5YxuYc">The Brian Setzer Orchestra</a> or a <a href="http://youtu.be/knW1hGwmEXQ">Gap commercial</a>.</div><br />Of all the films featuring Fred Astaire and Ginger Rogers, <i><b><a href="http://www.imdb.com/title/tt0028333/">Swing Time</a></b></i> is often referred to as their best dance musical. Released in 1936, it marked the peak of popularity for the dancing duo. The story is about a young man (Astaire) who bumble a wedding and must make $25,000 to make up for his error. Broke and penniless in New York City, he then meets a dance school instructor (Rogers). They eventually form a successful dancing partnership, but let's be honest. Here, the plot is incidental; merely an excuse to see these two dance around each other like orbiting bodies. Director George Stevens smartly allows their dance sequences to be the showcases in the film and they are presented mostly in real time, without manipulation of edits. The results are beautiful to behold.<div><div><br /><center><object width="480" height="390"><param name="movie" value="http://www.youtube-nocookie.com/v/J78fsCXD_Ts?version=3&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube-nocookie.com/v/J78fsCXD_Ts?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="390" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br /><b><i>Swing Time</i></b> is also notable for the song "The Way You Look Tonight," which won the Academy Award for Best Original Song and has been covered countless times since. It's one of a few sequences in the film where Astaire and Rogers practically glide over the floor in such elegance. Once you see them in action, it will be easy to see why, after over 75 years, Fred and Ginger remain the gold standard in dance.<br /><br />Experience two of the most amazing musical dance films of all time at The Paramount. Even if you normally don't care for musicals, make the effort to check these out. They are two that simply don't want to miss. Musicals can engage you like few other films can. All you have to do is let them into your hearts and minds, let the rhythm surround you, and let the magic sweep you off your feet.</div><br /><br /><div style="text-align: center;">Showtimes for the films:</div><br /><b><i>West Side Story</i></b><br />Sunday, Jul 24th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26561">4:00</a><br />Tuesday, Jul 26th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26581">7:00</a><br /><br /><i><b>Swing Time</b></i><br />Sunday, Jul 24th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26601">2:00</a> <a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26621">7:00</a><br /><br /><div style="text-align: center;">Final Notes about the screening</div><br />Double Features:<br />"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!)<br /><br />Parking:<br />"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."</div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0tag:blogger.com,1999:blog-8440001190101876394.post-58802907437998517052011-07-12T00:52:00.000-07:002011-07-16T22:27:26.247-07:00Preview: The Movie Star, Katharine Hepburn<center><img src="https://lh3.googleusercontent.com/-5hzM_LaOSyQ/Tc3VwH3RRNI/AAAAAAAACCI/y_dzotwjNqE/hepburn.jpg" /></center><br />"<i>I'm a personality as well as an actress. Show me an actress who isn't a personality, and you'll show me a woman who isn't a star.</i>"<br /><div style="text-align: right;">-Katharine Hepburn</div><br />This summer, we've already visited with royalty of cinema; icons of the silver screen like Bogart, Chaplin, Brando, Newman and Audrey Hepburn. But when it comes to the most acclaimed actress in film, the biggest star, few can argue against that<i> other</i> Hepburn. Katharine Hepburn had a career that spanned six decades working with the titans of the industry. Or rather, perhaps I should say that many of the best known names in film worked with a titan like her. A talent that lit up screens and a personality to match her vivacious performances, Katharine Hepburn was truly one of a kind.<div><br /></div><div>She has the most Oscars for Best Actress with 4 wins, and had a total of 12 nominations under her belt. Katharine was known for playing strong-willed characters, and was at her best when she played off a strong male lead. Watching the inevitable clash of characters was always a joy to behold, whether it was dramatic or comedic.<div><br /></div><div><b><i><a href="http://www.imdb.com/title/tt0043265/">The African Queen</a></i></b> is one of the great classics, and is widely seen as the validating film near the end of Humphrey Bogart's illustrious career. Released in 1951 and directed by John Huston, the film also features Hepburn displaying her bossy splendor. She plays Rose Sayer, a missionary alongside her reverend brother in German East Africa at the outbreak of World War I. Bogart is Charlie, their rough-and-tumble supplier. When the mission village is destroyed and her brother is killed by German forces, Charlie helps her bury her brother and begins the task of helping her escape the volatile area in his ship, <i>The African Queen</i>. </div><div><br /></div><div>Rose, however, has other plans. Evocative of the spunk that so well defines Hepburn, she wants to strike back and convert the vessel into a torpedo boat to attack a fortified German boat. Charlie finds that the passage down a dangerous river is nothing compared to Rose's moxie. Audiences were beckoned to the adventure and the clashing of these two movie stars. Katharine was nominated for an Academy Award as Rose, and despite a treasure trove of performances by Humphrey Bogart over the years, this is the only film that won him an Oscar.</div><div><br /><center><object width="480" height="390"><param name="movie" value="http://www.youtube-nocookie.com/v/tgJiSrTkh_4?version=3&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube-nocookie.com/v/tgJiSrTkh_4?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="390" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br /></div><div>Not that Hepburn wasn't adept at comedy as well as dramatic river adventures.</div><div><br /></div><div>The comedic banter of Hepburn and Cary Grant may be best known in Howard Hawks' <b><i>Bringing Up Baby</i></b>, but they also made a trio of films with director George Cukor around the same time. <b><i><a href="http://www.imdb.com/title/tt0030241/">Holiday</a></i></b> is another fine example in the Hepburn and Grant repertoire of witty performances.</div><div><br /></div><div>It harkens back to a time when romantic comedies were actually both romantic and funny. In <b><i>Holiday</i></b>, Grant plays Johnny Case, a man who thinks outside he box and wants to escape the grinds of work to go on an extended holiday. Think of it as a retirement to enjoy one's youth while one is actually, well... young. Naturally, everyone thinks it's a bad idea. Among those trying to dissuade him are his finance and her millionaire father, who want Johnny to settle into their business, but he refuses to yield his ambition to do nothing.</div><div><br /></div><div>Actually, he does have encouragement from two of the darker sheep in the fiance's wealthy family: her lush brother and a free-spirited sister, Linda (Hepburn). As he gets to know the headstrong Linda, he begins to see that he has more in common with her than his fiance. With her influence, Johnny must decide what path is right for him... and possibly which girl. </div><div><br /></div><div><div>Katharine Hepburn was an actress who literally could do anything, over the decades she displayed enormous levels of talent, and she always had personality in spades. She's the grand dame of movie stars, and her level of smart and dynamic female roles opened the doors for actresses everywhere. Without her, we would have no Meryl Streep or Cate Blanchett... or Cate Blanchett winning an Oscar for playing Katharine Hepburn herself. A unique blend of sophistication, intelligence and charm, Hepburn was true Hollywood royalty. Hail to the queen.</div><div><br /><br /><div style="text-align: center;">Showtimes for the films:</div><br /><b><i>The African Queen</i></b><br />Tuesday, Jul 19th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26441">7:00</a><br />Wednesday, Jul 20th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26461">9:00</a><div>Thursday, Jul 21st</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26481">7:00</a><br /><br /><b><i>Holiday</i></b><br />Tuesday, Jul 19th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26501">9:10</a><br />Wednesday, Jul 20th<br /><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26521">7:00</a></div><div>Thursday, Jul 21st</div><div><a href="http://www.austintheatre.org/site/Calendar?view=Detail&id=26541">9:10</a><br /><br /><div style="text-align: center;">Final Notes about the screening</div><br />Double Features:<br />"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!)<br /><br />Parking:<br />"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."</div></div></div></div><div><br /></div><div><br /></div>G Barrazahttp://www.blogger.com/profile/09711840122102132463noreply@blogger.com0