this week in film and television

TO SAVE AND PROJECT — THE 13TH MOMA INTERNATIONAL FESTIVAL OF FILM PRESERVATION: SHAMPOO

Warren Beatty is “great” in 1975 classic, being shown in a new 4K digital restoration at MoMA preservation series

SHAMPOO (Hal Ashby, 1975)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Friday November 6, 8:30, and Monday, November 9, 7:15
Series runs November 4-25
Tickets: $12, may be applied to museum admission within thirty days
212-708-9400
www.moma.org

To use George Roundy’s favorite adjective, Shampoo, is “great.” In this ’70s classic, Warren Beatty, who cowrote the screenplay with Robert Towne, stars as George, a Beverly Hills hairdresser who gives his wealthy clients more than just a cut-and-blow-dry. The film takes place primarily on November 4, 1968, as Nixon is battling Humphrey for the presidency, and George can’t keep it in his pants, running back and forth between Felicia (Lee Grant), Jackie (Julie Christie), and Lorna (Carrie Fisher) while trying to open his own shop, with help from business tycoon Lester (Jack Warden) — Felicia’s husband, Jackie’s lover, and Lorna’s father. The clothing is magnificent, as, of course, are the hairstyles. Ashby’s biting comedy wonderfully captures the sexual awakening of the 1970s in all its glory — and in all its vapidity. Horror fans should keep an eye out for Lester’s friend Sid Roth, who is played by gimmickmeister William Castle. Ashby, who died in 1988 at the age of fifty-nine, made only eleven narrative films and two concert documentaries in his too-brief life and career. Shampoo is screening in a new 4K digital restoration November 6 & 9 in the MoMA series “To Save and Project: The 13th MoMA International Festival of Film Preservation,” with the first show introduced by Sony Pictures executive Grover Crisp. The series, which celebrates newly preserved and restored films, runs November 4-25 and includes a wide variety of works, from the original theatrical version of Herk Harvey’s Carnival of Souls and William K. Howard’s Don’t Bet on Women to Otto Rippert’s silent Homunculus and the director’s cut of Helma Sanders-Brahms’s Deutschland blieche Mutter, in addition to “The Unknown Orson Welles,” including scenes from The Other Side of the Wind and The Dreamers introduced by Welles’s longtime partner, Oja Kodar, and Munich Filmmuseum director Stefan Droessler.

CATE BLANCHETT — A TRIBUTE: BLUE JASMINE

Jasmine (Cate Blanchett) has to start her life all over again with her sister (Sally Hawkins) in Woody Allen’s latest

Cate Blanchett is being honored at MoMA with an eight-film tribute series this month

BLUE JASMINE (Woody Allen, 2013)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Friday November 6, 4:30
Series runs November 5-15
Tickets: $12, may be applied to museum admission within thirty days
212-708-9400
www.moma.org
www.sonyclassics.com

Woody Allen’s best film in years, Blue Jasmine is a modern-day Streetcar Named Desire filtered through the Bernie Madoff scandal. Cate Blanchett won an Oscar for her marvelously nuanced and deeply textured performance as Jasmine French, an elegant socialite whose immensely wealthy husband, Hal (a wonderfully smarmy Alec Baldwin), amassed his fortune the new-fashioned way: by lying and cheating—only he was the rare financier who got caught and ended up in jail. Now broke and distraught, Jasmine moves in with her sister, Ginger (the delightful Sally Hawkins), a single mother with two kids living in a cramped apartment in San Francisco. Ginger and her ex-husband, Augie (an excellent Andrew Dice Clay), lost all their money by investing with Hal, and she is now trying to rebuild her life, working as a cashier and dating the gruff but dedicated Chili (a strong Bobby Cannavale). Not used to taking care of herself, Jasmine seems lost in a world that no longer treats her like a princess; she takes a job working for a dentist (Michael Stuhlbarg) and attends a computer class, but she is determined to regain her previous status. And that chance comes when she meets Dwight (a gentle Peter Sarsgaard), a man with grand plans who just might be the one to lead her back to the level to which she is accustomed.

Sisters Jasmine (Cate Blanchett) and Ginger (Sally Hawkins) go on an awkward double date in San Francisco

With Blue Jasmine, Allen has written his best screenplay since 1989’s Crimes and Misdemeanors, creating a complex, multilayered narrative that intelligently examines both sides of the financial crisis, as the rich Jasmine loses everything and the lower-middle-class Ginger can’t quite reach the next level. The relationship between the two sisters is bittersweet, evoking Tennessee Williams’s Blanche and Stella, with Jasmine the delusional sibling and Ginger as the much more realistic one, in this case dealing with a pair of Stanley Kowalski-type brutes. The story travels seamlessly back and forth between the past and the present, concentrating on Jasmine’s downward emotional and psychological spiral, which is supremely evident in Suzy Benzinger’s dazzling costume design and the detailed makeup, which focuses particularly on Blanchett’s stunningly emotive eyes. She physically dominates the screen like no previous Allen leading lady, with cinematographer Javier Aguirresarobe (Vicky Cristina Barcelona) making sure she fills the screen again and again. It’s a sensational star turn in a film loaded with superb acting. Blue Jasmine is a joy to watch from beginning to end, a deft commentary from a master back at the very top of his game. Blue Jasmine is screening November 6 at 4:30 as part of the MoMA series “Cate Blanchett: A Tribute,” consisting of eight films by the Oscar-winning actress, who was the honoree at this year’s MoMA Film Benefit, including Shekhar Kapur’s Elizabeth, Richard Eyre’s Notes on a Scandal, Steven Soderbergh’s The Good German, and Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring.

FIRST SATURDAY — CONNECTING CULTURES: A WORLD IN BROOKLYN

Details of four works in the “Connecting Cultures” installation, from top: “Girl in a Japanese Costume,” circa 1890, William Merritt Chase; “Seated Shakyamuni Buddha,” late 19th–early 20th century; “Warrior Figure,” Huastec, 13th or 14th century; “Mask (Ges),” 19th century

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, November 7, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum is making its long-term installation, “Connecting Cultures: A World in Brooklyn,” the focus of its November free First Saturday program. There will be live performances by Ilusha Tsinadze, Lafawndah, and OSHUN, an artist talk and performance by calligraphy master Wang Dongling, a calligraphy workshop with Society of Scribes, a movement workshop with Afro Flow Yoga, a music workshop with Afrika Meets India, a book club discussion with Patricia Park about her novel Re Jane, Belladonna* poetry readings by R. Erica Doyle, Kyoo Lee, and Nathanaël Stephens, a curator talk with Kevin Stayton, an interactive reading by Selina Alko of B Is for Brooklyn for kids, pop-up gallery talks, an art workshop inspired by Syrian mosaics, and Brooklyn Film Festival screenings of Girls Gone J-1 (Mikhail Shraga & Alina Smirnova, 2014), Green Card (Pilar Rico & David Whitmer, 2014), and Born into This (Lea Scruggs & Sean Ryon, 2014). In addition, the galleries are open late so you can check out such other exhibitions as “Impressionism and the Caribbean: Francisco Oller and His Transatlantic World,” “Kara Walker: ‘African Boy Attendant Curio (Bananas),’” “KAWS: ALONG THE WAY,” “Ai Weiwei: LEGO Collection Point,” and “Zanele Muholi: Isibonelo/Evidence.”

COUNTRY BRUNCHIN’: SERENITY

Joss Whedon continues FIREFLY series with feature film that reunites cast for one last adventure

SCI-FIGHTERS: SERENITY (Joss Whedon, 2005)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Saturday, November 7, 11:15 am
718-384-3980
www.nitehawkcinema.com
www.serenitymovie.com

We were huge fans of Joss Whedon’s Buffy the Vampire Slayer and Angel, so it was with much disappointment that we watched his 2002 TV show, Firefly, come and go so quickly. But the diehard fans, known as Browncoats, wanted more than the Fox network gave them, so Whedon delivered this exciting feature-length film for Universal, reuniting the cast, including Nathan Fillion as Mal, Gina Torres as Zoe, Alan Tudyk as Wash, Morena Baccarin as Inara, Adam Baldwin as Jayne, Jewel Staite as Kaylee, Sean Maher as Simon, Summer Glau as River, and Ron Glass (yes, the guy from Barney Miller) as Shepherd. The bad guy this time around is known simply as the Operative (Chiwetel Ejiofor), a cold-blooded killing machine out to destroy River, who has very dangerous special powers that the Alliance wants silenced. Also getting in the crew’s way are the Reavers, vile creatures who prefer to eat their prey alive. While the Browncoats should be thrilled with the film, so should newbies to this world, as Whedon has managed to make Serenity an involving stand-alone space Western that sci-fi fans can enjoy without knowing anything about Firefly. But after you see this thoroughly enjoyable flick, you’re likely to rush to catch up on everything you missed. Serenity is screening November 7 at as part of the Nitehawk Cinema series “Country Brunchin’” and “Sci-Fighters” and will be preceded by a live performance by the Brooklyn country band Tatters & Rags. “Sci-Fighters” continues Fridays and Saturdays in November around midnight with such other fab flicks as Ridley Scott’s Blade Runner and Alien, Kathryn Bigelow’s Strange Days, and Paul Michael Glaser’s The Running Man.

SCARY MOVIES 9 — AN EVENING WITH LARRY FESSENDEN: THE LAST WINTER

THE LAST WINTER is first of two scary movies from Larry Fessendens Glass Eye Pix screening at Lincoln Center series

THE LAST WINTER is first of two scary movies from Larry Fessenden’s Glass Eye Pix screening at Lincoln Center on November 3

AN EVENING WITH LARRY FESSENDEN: THE LAST WINTER (Larry Fessenden, 2006)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Tuesday, November 3, 7:00
Series continues through November 5
212-875-5050
www.thelastwinter.net
www.filmlinc.org

In Alaska, a company called North is preparing to drill for oil in the Arctic National Wildlife Refuge, with the permission of the U.S. government. North has sent along environmentalist James Hoffman (James LeGros) and his assistant, Elliot Taylor (Jamie Harrold), to ensure that the team, led by the imposing Ed Pollack (Ron Perlman), follows all proper guidelines and agreements. But when strange things start happening — including weird visions, odd disappearances, and brutal deaths — Pollack is determined to move forward, no matter the cost. Written and directed by Larry Fessenden (Habit, Wendigo), who also makes a cameo in the film, The Last Winter is a global-warming horror story in the tradition of John Carpenter’s The Thing, where the small cast of characters never knows just what is waiting for them around every corner — and out on the treacherous, blindingly white landscape that surrounds and engulfs them. The film also stars Connie Britton (Friday Night Lights) as Abby Sellers, a strong-minded woman who has left Pollack for Hoffman; indie stalwart Kevin Corrigan (Walking and Talking) as vehicle expert Motor; Zach Gilford (Friday Night Lights) as young and innocent Maxwell McKinder; Grammy-winning composer and musician Joanne Shenandoah (Skywoman) as Dawn Russell, who prepares the meals and cleans up after everyone; and Pato Hoffmann (Dr. Quinn, Medicine Woman) as Lee Means, a Native American who has a deep understanding of the land and the spirits. A scary look at an all-too-possible future, The Last Winter is screening on November 3 at 7:00 in the Film Society of Lincoln Center series “Scary Movies 9,” appropriately enough, and will be followed by a Q&A with Fessenden, Perlman, and LeGros. “An Evening with Larry Fessenden,” who is celebrating the thirtieth anniversary of his indie film company, Glass Eye Pix, continues at 9:30 with Mickey Keating’s Darling, followed by a Q&A with Keating, Fessenden, and actors Lauren Ashley Carter and Brian Morvant.

MATHIEU AMALRIC — RENAISSANCE MAN: THE BLUE ROOM

Mathieu Amalric stars as a husband and father in deep trouble in film he also directed and cowrote

CinéSalon: THE BLUE ROOM (LA CHAMBRE BLEUE) (Mathieu Amalric, 2014)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, November 3, $14, 4:00 & 7:30
Series continues Tuesdays through December 15
212-355-6100
www.fiaf.org
www.lachambrebleue-lefilm.com

Real-life partners Mathieu Amalric and Stéphanie Cléau strip Georges Simenon’s short 1955 novel The Blue Room to its bare essentials — and we do mean bare — in their intimate, claustrophobic modern noir adaptation, which kicks off FIAF’s six-week tribute to Amalric, consisting of the eight-film CinéSalon series “Mathieu Amalric: Renaissance Man” and the special two-night theatrical presentation Fight or Flight (Le Moral des Ménages), starring Amalric and Anne-Laure Tondu, directed by Cléau. In addition to being one of the world’s most talented actors, starring in such films as Kings and Queen, The Diving Bell and the Butterfly, A Christmas Tale, and Venus in Fur, Amalric has directed several previous works, including On Tour, which earned him the Best Director prize at Cannes. In The Blue Room, Amalric plays Julien Gahyde, a successful agriculture equipment salesman whose passionate affair with a local pharmacist’s wife, Esther Despierre (Cléau, who cowrote the script with Amalric), appears to have ended in murder. The film opens with Grégoire Hetzel’s lush, sweeping music as the camera makes its way to a blue hotel room where Julien and Esther have just made love offscreen. “Did I hurt you?” she asks. “No,” he responds. “You’re angry,” she says. “No,” he repeats as she laughs and a drop of blood falls on a creamy white sheet. Only then do we see the naked, sweaty couple, whose lurid tale has been succinctly revealed by this highly stylized, beautifully orchestrated scene. Next we hear Julien being interrogated by a magistrate (Laurent Poitrenaux) about a suspicious death, and soon we see Julien in handcuffs in the police station. We don’t know exactly what crime he has been accused of, nor do we know the victim — it could be Julien’s wife, Delphine (Léa Drucker), Esther’s husband, Nicolas (Olivier Mauvezin), or maybe even Esther herself. But as director Amalric, cinematographer Christophe Beaucarne, and editor François Gedigier cut between the past and the present, the details slowly unfold — although that doesn’t mean they ever become completely clear.

Amalric fills The Blue Room with bold splashes of color amid all the darkness and muted skin tones, from the red towel that signals Julien and Esther’s illicit rendezvous to Delphine’s blue bikini to the strikingly red hair of Nicolas’s mother (Véronique Alain) and the shiny green and yellow John Deere equipment he sells. Amalric and Cléau trim so much out of the original story that it too often feels overly cold and calculating, the manipulation too clear and obvious. The nudity also lacks subtlety; Amalric and Cléau might be comfortable with each other sans clothing, but it seems to be a bit of an obsession with Amalric the director. Nonetheless, The Blue Room, shot in the old-fashioned aspect ratio of 1:33 and running a mere seventy-six minutes, is a gripping yarn, a lurid tale of sex and murder, pain and passion, and femmes fatale, told from the point of view of a relatively quiet, reserved man who never thought his world could just fall apart like it does. With such plot elements as adultery and murder and even the presence of a young daughter (Mona Jaffart), the story cannot fail to call to mind French author Gustave Flaubert’s classic novel of provincial France and misplaced passion, Madame Bovary, but the near-echoes never become too loud, merely adding a somewhat puzzling flavor to the film, like a dream half remembered. The Blue Room is screening at 4:00 & 7:30 on November 3 in Florence Gould Hall; Amalric and Cléau will participate in a Q&A following the 7:30 show. The series continues through December 15 with such other Amalric films as My Sex Life . . . or How I Got into an Argument, The Screen Illusion, Fantastic Mr. Fox, and The Diving Bell and the Butterfly. A companion series continues at Anthology Film Archives through November 8.

MAKING ROUNDS

Two doctors diagnose patients the old-fashioned way at Mount Sinai in MAKING ROUNDS

MAKING ROUNDS (Muffie Meyer, 2014)
Cinema Village
22 East 12th St. between University Pl. & Fifth Ave.
Opens Friday, October 30
212-924-3363
firstrunfeatures.com
www.cinemavillage.com

Over the last several decades, the U.S. health care system has grown increasingly impersonal because of technological advancement, the pharmaceutical boom, and the privatization of public hospitals. But two old-time doctors at Mount Sinai Heart are keeping the human touch alive, and not just for nostalgia’s sake. Muffie Meyer’s sweet-natured, important documentary, Making Rounds, follows Dr. Valentin Fuster, the director of Mount Sinai Heart, and Dr. Herschel Sklaroff, clinical professor of medicine, cardiology, as they lead residents from room to room in the Cardiac Care Unit at New York City’s Mount Sinai Hospital, diagnosing patients with a refreshing lack of reliance on technology. “We both have the philosophy that the number one objective in medicine is the patient,” Dr. Fuster explains. “We both believe that most of what you learn about a particular patient is at the bedside, not with machines.” Dr. Sklaroff adds, “Dr. Fuster and I make rounds the old-fashioned way. The first thing that we do is go to the patient and hold his hand. With that touch you establish rapport instantly. We were trained to go to the bedside and talk to the patients, and take the perfect history, do the perfect physical, from which one ought to be able to make a diagnosis or come close to a diagnosis, maybe ninety percent of the time.” They display a warm, caring bedside manner as they talk, touch, listen, and teach, examining a sixty-seven-year-old woman with coronary heart disease, a twenty-two-year-old single mother who needs a heart transplant, and a fifty-one-year-old man with cardiomyopathy who resists treatment.

Meyer, who codirected Grey Gardens and has directed many television documentaries and nonfiction miniseries (Twyla on Twyla, Liberty! The American Revolution), includes some surprising facts about the health-care system; for example: “In the U.S., we spend an estimated 700 billion dollars a year on tests and procedures that do not improve health outcomes” and “Every year in the U.S., there are at least half a million misdiagnoses in primary care alone — an estimated 10 to 20% of cases.” She doesn’t use any talking heads to either support or question the doctors’ methods, so it’s all a bit one-sided, but it seems pretty hard to deny the old-timers’ success. After watching this engaging, and, in its own way, scary portrait of a dying art, you’ll never look at your own doctor the same again. Making Rounds opens October 30 at Cinema Village; Meyer and Dr. Sklaroff will participate in a Q&A following the 7:00 show Friday night.