Yearly Archives: 2012

15 FOR 15 — CELEBRATING RIALTO PICTURES: THE PRODUCERS

Zero Mostel and Gene Wilder prepare for quite a flop in THE PRODUCERS

THE PRODUCERS (Mel Brooks, 1968)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Friday, March 23, 1:45
Series runs through March 29
212-875-5601
www.filmlinc.com

No way around it; this is one funny movie. Written and directed by Mel Brooks (who won an Oscar for Best Original Screenplay), The Producers stars Zero Mostel as Max Bialystock, a once great Broadway producer now relegated to wooing old ladies for their checkbooks. Gene Wilder earned an Oscar nomination for Best Supporting Actor as Leo Bloom, a by-the-book accountant who figures out that it could be possible to make more money from a bomb than a hit. And the bomb they turn to is the extraordinary Springtime for Hitler, featuring a great turn by Kenneth Mars as a neo-Nazi. Brooks, Mostel, Wilder, Mars, and the rest of the crazy cast — which also includes Dick Shawn, Lee Meredith, Estelle Winwood, Christopher Hewett, Renee Taylor, Barney Martin, Bill Macy, and William Hickey — don’t just play it for laughs but for giant guffaws and jaw-dropping disbelief in this riotous romp that was turned into a very good but overrated Broadway musical and a terrible film version of the show, both starring Nathan Lane and Matthew Broderick, neither of whom can fill Mostel and Wilder’s shoes. The Producers is screening March 23 as part of the Film Society of Lincoln Center’s “15 for 15: Celebrating Rialto Pictures” series honoring the fifteenth anniversary of the art-house distributor founded by Film Forum programmer extraordinaire Bruce Goldstein; upcoming films include Jules Dassin’s Riffifi, Claude Berri’s The Two of Us, Federico Fellini’s Nights of Cabiria, and Jacques Becker’s Touchez pas au grisbi.

DANCE CONVERSATIONS 2012

David Appel will present “a boat makes its way across the water” on Saturday night at free festival at the Flea (photo by Jim Willet)

The Flea Theater
41 White St. between Broadway & Church St.
Through March 25, free
212-226-2407
www.theflea.org

The annual free Dance Conversations festival runs through Sunday at the Flea Theater, combining dance, film, and discussion. This year’s program, curated by Nina Winthrop and Taimi Strehlow, continues Thursday night with performances by Jessica Ray, Movement of the People Dance Company, Vangeline, and Megan Sipe, moderated by Gina Gibney. Friday night’s show includes Molissa Fenley, Maggie Bennett, Caliince Dance, and binbinFactory, moderated by Carol Ostrow. Pele Bauch moderates Saturday night’s program, with Alaine Handa/A.H. Dance Company, David Appel, Beau Hancock, and Talya Epstein. The festival concludes on Sunday afternoon with presentations by Luke Murphy, BARKIN/SELISSEN PROJECT, Daniel Gwirtzman Dance Company, and Peggy and Murray Schwartz celebrating Pearl Primus, moderated by Jonah Bokaer.

SAKURA — SPRING RENEWS, BEAUTY BLOOMS: DOLLS

Matsumoto (Hidetoshi Nishijima) and Sawako (Miho Kanno) are literally tied to each other in Takeshi Kitano’s DOLLS

DOLLS (DORUZU) (Takeshi Kitano, 2001)
Japan Society
333 East 47th St. at First Ave.
Friday, March 23, $12, 7:30
Series runs through April 18
212-715-1258
www.japansociety.org
office-kitano.co.jp

Takeshi Kitano, who is best known for such violent films as Sonatine, Brother, and Zatoichi, has also made family dramas and romances as well (Kikujiro, A Scene at the Sea), and Dolls might be his most emotional, introspective picture to date. Dolls opens with a Bunraku puppet theater excerpt from Monzaemon Chikamatsu’s The Courier for Hell before delving into the dark story of Matsumoto (Hidetoshi Nishijima) and Sawako (Miho Kanno). Matsumoto dumps Sawako so he can marry the boss’s daughter, but when Sawako tries to kill herself and ends up in a mental hospital, Mastumoto decides to take care of the speechless, frightened shell of a woman she has become. He leads her through the seasons, tied to her by a red cord, a pair of bound beggars. Two subplots, which we’re not sure were absolutely necessary, also deal with love and loss, obsession and desire. Joe Hisaishi’s music is gorgeous, as is Katsumi Yanagijima’s cinematography. Kitano, who wrote, directed, and edited Dolls, mixes in sensational colors to balance out black-and-white tuxedos or long patches of snow: You’ll be mesmerized by the red rope, a purple-and-black butterfly, Sawako’s pink child’s toy, a glowing blue bridge, Matsumoto’s bright yellow car, a green public phone, a blue drink, twirling pinwheels, a shockingly blue umbrella, a park filled with cherry blossoms, and Yohji Yamamoto’s sparkling costumes. The film is bleak, slow-paced, and heart-tuggingly pure, a rewarding experience that will stay with you for a long time. Dolls is screening March 23 as part of Japan Society’s “Sakura — Spring Renews, Beauty Blooms” festival, which also includes such films as Nagisa Oshima’s Taboo, Hirokazu Kore-eda’s Hana: The Tale of a Reluctant Samurai, and Hiroshi Inagaki’s The 47 Loyal Ronin.

15 FOR 15 — CELEBRATING RIALTO PICTURES: BILLY LIAR

Tom Courtenay and Julie Christie get close in BILLY LIAR

BILLY LIAR (John Schlesinger, 1963)
Film Society of Lincoln Center
Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Friday, March 23, 3:45
Series runs March 19-29
212-875-5601
www.filmlinc.com

Based on the novel by Keith Waterhouse (which he also adapted into a play with Willis Hall and which later became a musical), John Schlesinger’s Billy Liar is a prime example of the British New Wave of the 1950s and 1960s, which features work by such directors as Lindsay Anderson, Joseph Losey, Ken Russell, Nicolas Roeg, and Karel Reisz. Tom Courtenay stars as William Fisher, a ne’er-do-well ladies’ man who drudges away in a funeral home and dates (and lies to) multiple women, all the while daydreaming of being the president of the fictional country of Ambrosia. Billy lives in his own fantasy world where he can suddenly fire machine guns at people who bother him and be cheered by adoring crowds as he leads a marching band. Reminiscent of the 1947 American comedy The Secret Life of Walter Mitty, in which Danny Kaye dreams of other lives to lift him out of the doldrums, Billy Liar is also rooted in the reality of post-WWII England, represented by Billy’s father (Wilfred Pickles), who thinks his son is a no-good lazy bum. Shot in black-and-white, the film glows every time Julie Christie appears playing Liz, a modern woman who takes a rather fond liking to Billy. The film made Christie a star; Schlesinger next cast her in Darling, for which she won the Oscar for Best Actress. Billy Liar is screening March 23 as part of the Film Society of Lincoln Center’s “15 for 15: Celebrating Rialto Pictures” series honoring the fifteenth anniversary of the art-house distributor founded by Film Forum programmer extraordinaire Bruce Goldstein. “When I first encountered Billy Liar in the early 1970s, I’d never heard of it,” Goldstein wrote in a 2011 Criterion essay. “I’d somehow acquired a 16mm panned-and-scanned print, and was intrigued by both the title and cast. I certainly knew who Julie Christie was, and I vaguely remembered Tom Courtenay in The Loneliness of the Long Distance Runner, so I ran it. I then ran it a second time. And then again and again, until I fell in love with it.”

NEW DIRECTORS, NEW FILMS — THE RAID: REDEMPTION

Pencak Silat master Iko Yuwais faces a seemingly impossible task in THE RAID: REDEMPTION

THE RAID: REDEMPTION (SERBUAN MAUT) (Gareth Huw Evans, 2011)
Thursday, March 22, MoMA, 11 West 53rd St. between Fifth & Sixth Aves., $14, 6:00
Thursday, March 22, Film Society of Lincoln Center, Walter Reade Theater, 165 West 65th St. at Amsterdam Ave., $14, 11:00 pm
Opens in theaters Friday, March 23
newdirectors.org
www.sonyclassics.com

The Raid: Redemption is a nonstop claustrophobic thrill ride through a fifteen-story apartment complex where danger lurks around every corner and behind nearly every door. The gated, heavily protected building is run by Tama (Ray Sahetapy), a well-connected drug lord who enjoys terrorizing and killing traitors and enemies. Early one morning Jaka (Joe Taslim) leads his elite special forces unit on a raid of the complex, ordered to get Tama and end his brutal reign. As Jaka’s team falls one by one, it is left to a determined young rookie, Rama (Iko Uwais), to complete the mission, which is not quite what it appears to be. Written, directed, and edited by Welsh-born Gareth Huw Evans, The Raid: Redemption is a furious, testosterone-heavy action flick filled with breathtaking scenes of ultraviolence countered by moments of intense, quiet drama where one wrong move will be a character’s last. Primarily shot with a handheld camera that puts the audience in the middle of the battle, the film uses a variety of weapons in the well-choreographed fight scenes, from machine guns and pistols to serrated knives and machetes, while focusing on the martial art of Pencak Silat. Uwais, a former truck driver and Silat champion who was discovered by Evans while the director was researching a documentary on the martial art — the two previously teamed up on 2009’s Merantau — is outstanding as Rama, a father-to-be who might have met his match in Mad Dog (Yayan Ruhian), one of Tama’s chief operatives and a killer who prefers using his hands, fists, and feet to eliminate his opponents. (Uwais, Ruhian, and Evans collaborated on the action choreography.) Buoyed by a pulsating score by Joseph Trapanese and Linkin Park’s Mike Shinoda and evoking elements of the first Die Hard, Assault on Precinct 13, and New Jack City, The Raid: Redemption is a pulse-pounding, wildly successful film that has kicked off a franchise, with two sequels in the works. (Here’s hoping the translator does a better job in the next two movies, taking a much-needed crash course in punctuation.) Even the credits are awesome, with dozens of characters listed as Hole Drop Attacker, Riot Van Shooter, Carrying Bowo Fighter, Machete Gang, AK47 Attacker, Panic Man, Tortured Man, and Junkie Guy. “I deal in blood and mayhem,” Evans, who has been based in Indonesia since 2007, states in the film’s production notes. Indeed he does.

The Raid: Redemption opens in theaters March 23, but you can catch it a day early as part of the “New Directors, New Films” series taking place at MoMA (6:00) and the Film Society of Lincoln Center (11:00), with director Evans on hand for Q&As following both screenings. The festival runs March 21 – April 1 and also includes such films as Pablo Giorgelli’s Las Acacias, Julia Marat’s Found Memories, Adam Leon’s Gimme the Loot, Stanley Kubrick’s Fear and Desire, and Nadine Labak’s Where Do We Go Now?

NORBERT BRUNNER: SMILING BROADLY

Norbert Brunner, “Contemplate the Possible,” digital print on plexi, Swarovski crystals, LEDs, mirror (photo by twi-ny/mdr)

Claire Oliver
513 West 36th St. between Tenth & Eleventh Aves.
Through March 24, free, 10:00 am – 6:00 pm
212-929-5949
www.claireoliver.com

Austrian artist Norbert Brunner follows up his 2010 American debut, “Fuck Luck,” with his second show at Claire Oliver, “Smiling Broadly,” a collection of self-actualizations spelled out in Swarovski crystal on mirrors with LED lights. Each mirror features a pair of eyes, and sometimes two, gazing back at the viewer, who can see themselves in the reflection at certain angles. Such phrases as “Visualize the Extraordinary,” “You Are Fantastic,” “Anticipate Greatness,” and “You Are Exceptional” can only be read when standing directly in front of the piece, as if those statements can come true for you only if you are on the right path. The exhibit can’t help but have a Stuart Smalley feel to it, the SNL character played by Al Franken who would look in the mirror and make such daily affirmations as “I’m good enough, I’m smart enough, and doggone it, people like me.” Of course, look what happened to Franken, who is now a U.S. senator. Be sure to head downstairs to see a leftover piece from “Fuck Luck.”

15 FOR 15 — CELEBRATING RIALTO PICTURES: BREATHLESS (À BOUT DE SOUFFLE)

They don’t come much cooler than Jean-Paul Belmondo and Jean Seberg in Jean-Luc Godard’s Nouvelle Vague classic

BREATHLESS (À BOUT DE SOUFFLE) (Jean-Luc Godard, 1960)
Film Society of Lincoln Center
Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Thursday, March 22, 1:15
Series runs March 19-29
212-875-5601
www.filmlinc.com

The fiftieth-anniversary restoration of Jean-Luc Godard’s Nouvelle Vague classic, Breathless, which came out in 2010, will leave audiences, well, breathless. Godard’s first feature-length film, buoyed by an original treatment by François Truffaut and with Claude Chabrol serving as technical adviser, is as much about the cinema itself as it is about would-be small-time gangster Michel Poiccard (an iconic Jean-Paul Belmondo), an ultra-cool dude wandering from girl to girl in Paris, looking for extra helpings of sex and money and having trouble getting either. Along the way he steals a car and shoots a cop as if shooing away a fly before teaming up with Patricia Franchini (Jean Seberg) and heading out on the run. Godard references William Faulkner and Dashiell Hammett, Humphrey Bogart and Sam Fuller as Michel and Patricia make faces at each other, discuss death, and are chased by the police. Anarchy prevails, both in Belmondo’s character and the film as a whole, which can go off in any direction at any time. Godard himself shows up as the man who identifies Michel, and there are also cameos by New Wave directors Jean-Pierre Melville and Jacques Rivette. The beautiful restoration, supervised by the film’s director of photography, Raoul Coutard, also includes a new translation and subtitles that breathe new life into one of cinema’s greatest treasures. Breathless is screening March 22 at 1:15 as part of the Film Society of Lincoln Center’s “15 for 15: Celebrating Rialto Pictures” series, consisting of fifteen films reissued and restored over the last fifteen years by the art-house distributor founded by Film Forum programmer extraordinaire Bruce Goldstein. The series includes such other seminal works as Melville’s Army of Shadows and Léon Morin, Priest, Robert Hamer’s It Always Rains on Sunday, Federico Fellini’s Nights of Cabiria, Claude Berri’s The Two of Us, and Mel Brooks’s The Producers.