this week in film and television

I DON’T KNOW: KIND HEARTS AND CORONETS

Louis Mazzini (Dennis Price) is sick and tired of being bossed around by the D’Ascoynes (Alec Guinness in multiple roles) and decides to take extreme action in KIND HEARTS AND CORONETS

CABARET CINEMA: KIND HEARTS AND CORONETS (Robert Hamer, 1949)
Rubin Museum of Art
150 West 17th St. at Seventh Ave.
Friday, September 6, free with $7 bar minimum, 9:30
212-620-5000
www.rmanyc.org

After being spurned by their aristocrat family and watching the wealthy D’Ascoynes turn their back on his mother even in death, Louis Mazzini (Dennis Price) decides that he is not going to let them get away with such awful treatment. So Louis, the tenth Duke of Chalfont, comes up with a plot to get rid of the eight D’Ascoynes standing between him and the dukedom. In Robert Hamer’s wickedly funny black comedy Kind Hearts and Coronets, each one of those haughty D’Ascoynes is played by Alec Guinness, young and old, male and female, to deservedly great acclaim. The film is told in flashback as an elegant, distinguished Louis is writing his memoirs in prison on the eve of his execution. He eloquently describes the details of his multiple murders, as well as his unending yearning for the questionably prim and proper Sibella (Joan Greenwood), who continues her flirtations with him even after she marries Louis’s former schoolmate Lionel (John Penrose), as well as his relationship with Edith (Valerie Hobson), the wife of one of the D’Ascoynes he kills on his march to power, glory, and revenge. But his hubris leads to his downfall — and one of the most delicious twist endings in film history. Based on Roy Horniman’s 1907 novel, Israel Rank: The Autobiography of a Criminal, and adapted by Hamer (The Spider and the Fly, School for Scoundrels) and cowriter John Dighton (The Barretts of Wimpole Street), Kind Hearts and Coronets takes on British high society, class conflict, royalty, and hypocrisy with a brash dose of cynical humor and more than a hint of eroticism, pushing the sexual envelope amid all the laughter. Price is terrific as the dapper Louis, but it’s impossible to steal the show from Guinness, who is a riot as the succession of doomed D’Ascoynes. Guinness was originally asked to play four of the roles but suggested that he do them all, and thankfully Ealing Studios agreed; one of the key shots in the film is when six of the D’Ascoynes are seen together. Kind Hearts and Coronets is screening September 6 at the Rubin Museum, introduced by Vanity Fair contributing editor John Heilpern, kicking off the Cabaret Cinema series “I Don’t Know,” held in conjunction with the “Ignorance” festival of talks, films, and live music.

THE GRANDMASTER

Gong Er (Zhang Ziyi) and Ip Man (Tony Leung Chiu-Wai) battle it out in Wong Kar Wai’s THE GRANDMASTER

THE GRANDMASTER (Wong Kar Wai, 2013)
In theaters now
www.thegrandmasterfilm.com

Hong Kong Second Wave grandmaster filmmaker Wong Kar-wai once again chooses style over substance in his latest work, the visually sumptuous but ultimately confusing martial arts drama The Grandmaster. Wong regular Tony Leung Chiu-Wai (Days of Being Wild, Ashes of Time, In the Mood for Love) stars as Ip Man, the real-life Wing Chun master who eventually taught such students as Bruce Lee. The film follows Ip Man from his early days in Foshan, where he is chosen to defend the south against the more famous masters of the north, through the Second Sino-Japanese War and his move to Hong Kong. Along the way there are gorgeously filmed fight scenes (shot by cinematographer Philippe Le Sourd and choreographed by Yuen Woo-ping) involving “The Razor” Yixiantian (Chang Chen), Ma San (Zhang Jin), and, most intimately, Gong Er (Zhang Ziyi), daughter of retired master Gong Yutian (Wang Qingxiang), as challengers to Ip Man display their martial arts disciplines in attempts to defeat Wing Chun. An early battle in the rain is particularly breathtaking, bathed in alluring silver tones. But the screenplay, written by Wong with Zou Jingzhi and Xu Haofeng, never really delves deep enough into Ip Man’s character, giving especially short shrift to his relationship with his wife, Cheung Wing-sing (Song Hye-kyo), and children.

Ip Man (Tony Leung Chiu-Wai) defends Wing Chun against all comers in martial arts drama

The choppy narrative makes it feel like The Grandmaster was supposed to be a much bigger, more expansive historical epic, and indeed the Chinese version is twenty-two minutes longer, so the 108-minute U.S entry seems lacking. It also comes at a time when the story of Ip Man has been experiencing a major revival, as there have been numerous productions about him over the last few years, including the theatrical releases Ip Man and Ip Man 2 starring Donnie Yen, Ip Man: The Final Fight with Anthony Wong, and The Legend Is Born — Ip Man with Dennis To as well as the television series Ip Man starring Kevin Cheng, so it’s possible that Wong’s film will ultimately get lost in the mix. Although there is still much to admire about The Grandmaster, it follows his disappointing 2007 English-language My Blueberry Nights and the head-scratching 2004 futuristic drama 2046, so it’s been quite a while since the masterful Wong’s heyday of the 1990s, which included such dazzling works as Chungking Express, Fallen Angels, and Happy Together before concluding with the lush, unforgettable In the Mood for Love in 2000. Here’s hoping his next film will be more than a series of stunning set pieces that make the story secondary.

Nominated for two Academy Awards: Best Cinematography (Philippe Le Sourd), Best Costume Design (William Chang Suk Ping)

AN AUTEURIST HISTORY OF FILM REPRISE: THE LIFE OF OHARU

Oharu (Kinuyo Tanaka) lives a life filled with misery after misery in Mizoguchi melodrama

THE LIFE OF OHARU (SAIKAKU ICHIDAI ONNA) (Kenji Mizoguchi, 1952)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Tuesday, September 3, 4:30
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk beginning at 9:30 am
212-708-9400
www.moma.org

We used to think that Aki Kaurismäki’s The Match Factory Girl was the saddest film ever made about a young woman who just can’t catch a break, as misery after misery keeps piling up on her ever-more-pathetic existence. But the Finnish black comedy has nothing on Kenji Mizoguchi’s The Life of Oharu, a searing, brutal example of the Buddhist observation of impermanence and the role of women in Japanese society. The film, based on a seventeenth-century novel by Ihara Saikaku, is told in flashback, with Oharu (Kinuyo Tanaka) recounting what led her to become a fifty-year-old prostitute nobody wants. It all starts to go downhill after she falls in love with Katsunosuke (Toshirô Mifune), a lowly page beneath her family’s station. The affair brings shame to her mother (Tsukie Matsuura) and father (Ichiro Sugai), as well as exile. The family is redeemed when Oharu is chosen to be the concubine of Lord Matsudaira (Toshiaki Konoe) in order to give birth to his heir, but Lady Matsudaira (Hisako Yamane) wants her gone once the baby is born, and so she is sent home again, without the money her father was sure would come to them. Over the next several years, Oharu becomes involved in a series of personal and financial relationships, each one beginning with at least some hope and promise for a better future but always ending in tragedy. Nevertheless, she keeps on going, despite setback after setback, bearing terrible burdens while never giving up. Mizoguchi (Sansho the Bailiff, The 47 Ronin, Street of Shame) bathes much of the film in darkness and shadow, casting an eerie glow over the unrelentingly melodramatic narrative. Tanaka, who appeared in fifteen of Mizoguchi’s films and also became the second Japanese woman director (Love Letter, Love Under the Crucifix), gives a subtly compelling performance as Oharu, one of the most tragic figures in the history of cinema. Winner of the International Prize at the 1952 Venice International Film Festival, The Life of Oharu is screening September 3 at 4:30 as part of MoMA’s “An Auteurist History of Film Reprise,” which gives film enthusiasts a second chance to catch works that have previously been shown at MoMA at earlier hours in the day, when many people cannot see them.

FAMILY FILMS: SINGIN’ IN THE RAIN

Gene Kelly dazzles during unforgettable solo scene in classic MGM musical SINGIN’ IN THE RAIN

SINGIN’ IN THE RAIN (Stanley Donen & Gene Kelly, 1952)
Film Society of Lincoln Center, Francesca Beale Theater, Film Center Amphitheater
144 West 65th St. at Amsterdam Ave.
Sunday, September 1, and Monday, September 2, 2:00
Series continues through February 17
212-875-5601
www.filmlinc.com

The 1952 MGM musical Singin’ in the Rain is one of the all-time-great movies about movies, in this case focusing on the treacherous transition from silent films to talkies. It’s the mid-1920s, and the darlings of the silver screen are handsome Don Lockwood (Gene Kelly) and blonde bombshell Lina Lamont (Jean Hagen). They’re supposedly just as hot offscreen as on, as Don explains to radio gossip host Dora Bailey (Madge Blake, later best known as Aunt Harriet on the Batman TV series) at their latest Hollywood premiere, but in actuality the debonair Don can’t stand the none-too-bright yet still conniving Lina. After accidentally bumping into Kathy Selden (Debbie Reynolds), an independent-thinking young woman who claims to not even like the movies, Don is soon trying to chase her down, determined to get to know her better. Meanwhile, studio head R. F. Simpson (Millard Mitchell) decides he has to capitalize on the surprise success of the first talking picture, The Jazz Singer, by turning the latest Lockwood-Lamont movie, The Dueling Cavalier, into a talkie, with initially disastrous results, threatening to bring everything and everyone crashing down.

Cyd Charisse joins Gene Kelly for fantastical Broadway Melody ballet in SINGIN’ IN THE RAIN

Written by the legendary team of Betty Comden and Adolph Green and directed by Kelly and Stanley Donen (On the Town, Charade), Singin’ in the Rain is an endlessly thrilling and entertaining film, featuring gorgeous Technicolor set pieces photographed by Harold Rosson (the Broadway Melody ballet with Cyd Charisse is particularly spectacular), terrific tunes adapted from previous productions (“Fit as a Fiddle [And Ready for Love,]” “Moses Supposes,” “Good Morning”), and delightful performances by Kelly, whose solo foray through the title song is deservedly iconic; Donald O’Connor as Don’s longtime best friend, Cosmo Brown, who dazzles with a comic Fred Astaire-like turn in “Make ’em Laugh”; and Hagen channeling Judy Holliday from Born Yesterday. (Hagen served as Holliday’s understudy when Born Yesterday hit Broadway in 1947.) While all the elements come together beautifully (although things do get a little too mean-spirited in the end), this is Kelly’s film all the way, his smile and charm dominating the screen as only a genuine movie star can, so to see him playing a movie star merely doubles the fun. (It’s hard to imagine that Howard Keel was supposedly the first choice to play the role.) Curiously, Singin’ in the Rain was nominated for only two Oscars, with Hagen getting a nod for Best Supporting Actress and Lennie Hayton for Best Musical Score. Singin’ in the Rain’ is screening on September 1 & 2 at 2:00 as part of the Film Society of Lincoln Center’s “Family Films” series, which continues with such Jack Arnold sci-fi flicks as It Came from Outer Space, The Incredible Shrinking Man, and Creature from the Black Lagoon in 3-D.

OUR NIXON

Deputy Assistant Dwight Chapin zooms in on the Nixon White House in all-archival documentary (Super 8 film still, Dipper Films)

OUR NIXON (Penny Lane, 2012)
IFC Center
323 Sixth Ave. at West Third St.
Opens Friday, August 30
212-924-7771
www.ifccenter.com
www.ournixon.com

Penny Lane’s debut documentary, the all-archival Our Nixon, offers a compelling new inside look at the Nixon White House. The classic cautionary tale about power, corruption, and paranoia, which ultimately brought down the thirty-seventh president of the United States, has been told many times before, on film (All the President’s Men, Oliver Stone’s Nixon), in books (Woodward and Bernstein’s The Final Days, RN: The Memoirs of Richard Nixon), onstage (Frost/Nixon, Checkers), and even as an opera (John Adams’s Nixon in China). When Nixon moved into the White House in January 1969, he brought along three key figures: Chief of Staff H. R. Haldeman, Chief Domestic Adviser John Erlichman, and Deputy Assistant Dwight Chapin. And those three men brought along Super 8 cameras, prepared to document not only their daily lives but also how they were going to change the nation. During its investigation of the Watergate scandal, the FBI confiscated more than five hundred reels of footage, totaling more than twenty-six hours, taken by Haldeman, Erlichman, and Chapin, and these home movies, which belong to the Nixon Library and have been digitized specifically for the film, form the basis of Our Nixon. Director-producer Lane combines this deeply personal footage — showing alternate views of the 1969 inauguration, a White House Easter egg hunt, the moon landing, Trisha Nixon’s wedding, Nixon’s trip to China, the Republican National Convention, and other, more mundane events — with carefully chosen audio excerpts from the White House tapes, creating a unique audiovisual experience.

H. R. Haldeman takes home movies at the Great Wall of China in 1974 (Super 8 film still, Dipper Films)

Lane foregoes any political and historical experts in favor of having the protagonists do all the talking, through radio and television interviews (with Mike Wallace, Barbara Walters, and Phil Donahue), oral histories, and the secret White House recordings. In addition, there are supplemental news reports from Walter Cronkite, Dan Rather, Daniel Schorr, and others. As interesting as it is to see the home movies, the audiotapes are mesmerizing, revealing some of the behind-the-scenes manipulations that were often not nearly as planned as most people assume. It is actually both frightening and sad to hear Nixon talking to Haldeman about a just-completed short television address he gave to the nation, the president concerned about how he came off and upset that only one colleague called to congratulate him. And just wait till you hear what they have to say about Secretary of State Henry Kissinger. Although Our Nixon offers no excuses or apologies for the actions of the Nixon White House, it does humanize, instead of demonize, these central figures, who might not have been quite as overtly evil as many people would like to believe. Of course, that doesn’t mean they come across as a group of cuddly teddy bears either. Our Nixon opens August 30 at the IFC Center, with the filmmakers participating in several Q&As on Friday and Saturday night.

WAVERLY MIDNIGHTS — LONE STAR CINEMA: TEXAS ON SCREEN — THE WILD BUNCH

Ben Johnson, Warren Oates, William Holden, and Ernest Borgnine play friends to the bloody end in THE WILD BUNCH

THE WILD BUNCH (Sam Peckinpah, 1969)
IFC Center
323 Sixth Ave. at West Third St.
August 9-29
212-924-7771
www.ifccenter.com

Sam Peckinpah cemented his reputation for graphic violence and eclectic storytelling with the genre-redefining 1969 Western The Wild Bunch. When a robbery goes seriously wrong, Pike Bishop (William Holden), Dutch Engstrom (Ernest Borgnine), Freddie Sykes (Edmond O’Brien), Angel (Jaime Sánchez), and brothers Lyle (Warren Oates) and Tector Gorth (Ben Johnson) set out to get even, planning an even bigger score by going after a U.S. Army weapons shipment on a railroad protected by detective Pat Harrigan (Albert Dekker) and his hired gun, Deke Thornton (Robert Ryan), who is given nothing but “egg-suckin’, chicken-stealing gutter trash” to work with, including the hapless Coffer (Strother Martin) and T.C. (L. Q. Jones). The aging Pike, who sees this as his last score, is worried about being in cahoots with the unpredictable General Mapache (Emilio Fernández), a local warlord battling Pancho Villa’s freedom forces. But at the center of the film is the cat-and-mouse game between Pike and Thornton, the latter determined to capture his former partner, who left him to rot in jail years earlier. It all comes to a head in Agua Verde, which might translate to “Green Water” but will soon be bathed in red blood in one of the most violent shoot-outs ever depicted on celluloid. Peckinpah fills the film with plenty of drinking and whoring, and even torture, while exploring friendship and loyalty, embodied by Dutch’s selfless dedication to Pike. The Wild Bunch might be famous for its intense violence, much of it shot in slow motion, but it also has a lot more going for it, from its Oscar-nominated score by Jerry Fielding to its terrific cast and suspenseful twists and turns. (Western fans might get a kick out of knowing that Mapache’s right-hand man, Lt. Herrera, is portrayed by Mexican actor and director Alfonso Arau, who later played El Guapo in John Landis’s comic Western The Three Amigos.) The Wild Bunch is screening August 30-31 and September 1 as part of the IFC Center Waverly Midnights series “Lone Star Cinema: Texas On Screen,” which continues through October 26 with such other Texas-set movies as Reality Bites, Blood Simple, The Getaway, Bottle Rocket, and the original and still champion Texas Chainsaw Massacre.

I HEART NEW YORK HORROR: FRANKENHOOKER

Things go slightly awry in Frank Henenlotter’s cult classic FRANKENHOOKER

FRANKENHOOKER (Frank Henenlotter, 1990)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
August 30-31, 12:20 am
718-384-3980
www.nitehawkcinema.com
www.synapse-films.com

The Bride of Frankenstein meets Scanners, Weird Science, and Re-Animator in Frank Henenlotter’s over-the-top horror comedy Frankenhooker. When Elizabeth Shelley (August 1986 Penthouse Pet Patty Mullen) is done in by a runaway lawn mower during a family gathering, her geeky engineer fiancé, Jeffrey Franken (James Lorinz channeling 1980s star Andrew McCarthy, who is now one of the directors of the Netflix hit Orange Is the New Black), decides that he has to put her back together again. But since much of her body has been torn to shreds, Jeffrey has to go out looking for compatible parts — and just might find them at a prostitution party with some rather explosive crack on hand. As Jeffrey works tirelessly trying to rebuild and perfect his fiancée, Zorro the Pimp (Joseph Gonzalez) is hot on his trail, wanting to know what has become of his ladies of the evening. Shot in New York by native citizen Henenlotter (Basket Case, Brain Damage), Frankenhooker is silly fun, even when it gets overly ridiculous, as it regularly does. But those bodies blowing up are a hoot, and the film features some rather strange cameos, including Shirley Stoler (Seven Beauties, The Honeymoon Killers) as Spike the bartender, Louise Lasser as Jeffrey’s mother, and Zacherle as the creepy weatherman. Ted Hope, who went on to form the production company Good Machine with James Schamus, presenting films by Ang Lee, Todd Solondz, Nicole Holofcener, Hal Hartley, and others, served as first assistant director, while the script was cowritten with former Fangoria editor Robert Martin. One of those films you hate yourself for watching but you just can’t look away from, Frankenhooker is screening August 30 & 31 at 12:20 am as part of Nitehawk Cinema’s midnight series “I Heart New York Horror.”