this week in film and television

THREE AUTEURS OF WORLD CINEMA — ANDREI TARKOVSKY: THE MIRROR

Andrei Tarkovsky’s surreal THE MIRROR will be screening for free at Mid-Manhattan Library

Andrei Tarkovsky’s surreal THE MIRROR will be screening for free at Mid-Manhattan Library

THE MIRROR (ZERKALO) (Andrei Tarkovsky, 1975)
Mid-Manhattan Library
455 Fifth Ave. at 40th St.
Wednesday, March 13, free, 7:00
www.nypl.org
www.kino.com

”Words can’t really express a person’s emotions. They’re too inert.” So says Andrei Tarkovsky in his dream-filled, surreal classic The Mirror, which features long scenes with little or no dialogue. Tarkovsky turns the mirror on himself and his childhood to tell the fragmented and disjointed story of WWII-era Russia through his own personal experiences with his family. Tarkovsky was obsessed with film as art, and this nonlinear film, which shifts back and forth between color and black-and-white, is his poetic masterpiece; he even includes his father’s (Arseny Tarkovsky) poems read over shots that are crafted as if paintings. Many of the actors (which include his mother, Maria Vishnyakova, and his wife, Larisa Tarkovskaya, in addition to Margarita Terekhova, Ignat Daniltsev, and Anatoli Solonitsyn) play several roles; have fun trying to figure out who is who and what exactly is going on at any one moment. The Mirror is screening for free March 13 at the Mid-Manhattan Library as part of the series “Three Auteurs of World Cinema,” which began with six films by Wong Kar-wai and continues with Tarkovsky’s Stalker and The Sacrifice before presenting eight works by Federico Fellini beginning April 10 with I Vitteloni.

BEATS ON FILM: FERLINGHETTI

Ferlinghetti

Lawrence Ferlinghetti proves to be a man of many hats in refreshing documentary

FERLINGHETTI: A REBIRTH OF WONDER (Christopher Felver, 2009)
Anthology Film Archives
32 Second Ave. at Second St.
Saturday, March 9, 9:00, and Sunday, March 10, 6:30
212-505-5181
www.anthologyfilmarchives.org
www.ferlinghettifilm.com

“Poetry should be dissident, and subversive, and an agent for change,” poet, publisher, painter, activist, and military veteran Lawrence Ferlinghetti says in Ferlinghetti: A Rebirth of Wonder, a refreshing and revealing documentary about the author of A Coney Island of the Mind and owner of the famous City Lights Bookstore in San Francisco. Director Christopher Felver, who has previously made documentaries on John Cage, Tony Cragg, Donald Judd, and Cecil Taylor, has compiled ten years of interviews with Ferlinghetti, including trips to Italy, where the poet’s father was born; France, where the aunt who raised him was from; and his childhood home in New York. Among those sharing their opinions of the charming and friendly Ferlinghetti, who turns ninety-four next month, are fellow poets Michael McClure, Gary Snyder, Anne Waldman, and Billy Collins as well as such other artistic figures as David Amram, Dave Eggers, Dennis Hopper, and Jean-Jacques Lebel, all of whom have only the most positive things to say about the film’s subject. Despite his radicalism and calls for social and political change around the world, Ferlinghetti is nearly always wearing a smile, clearly enjoying the long life he’s leading. He discusses his friendships with Kenneth Rexroth, Shakespeare & Co. founder George Whitman, and the Beats, primarily Jack Kerouac and Allen Ginsberg, focusing at one point on the censorship trial involving his publication of Ginsberg’s Howl, which turned into a critical battle over First Amendment rights. Counterculture guru Ferlinghetti is shown performing in a studio with Amram, accepting an award from the city of San Francisco, discussing his family, working on his abstract paintings, and wearing silly hats. He is completely at ease with who he is and where he came from, as well as where he’s going, still fighting the power as valiantly as ever, not just relaxing on his many laurels. Ferlinghetti: A Rebirth of Wonder is also likely to make viewers think twice about their own lives, realizing there’s a great big world out there, and it is possible for each and every person to make a difference. Ferlinghetti is screening March 9 at 9:00 and March 10 at 6:30 at Anthology Film Archives in conjunction with the series “Beats on Film” and the Grey Art Gallery exhibition “Beat Memories: The Photographs of Allen Ginsberg.”

BEYOND THE HILLS

BEYOND THE HILLS

Voichita (Cosmina Stratan) must choose between her faith and her best friend in harrowing BEYOND THE HILLS

BEYOND THE HILLS (DUPA DEALURI) (Cristian Mungiu, 2012)
IFC Center, 323 Sixth Ave. at Third St., 212-924-7771
Lincoln Plaza Cinema, 1886 Broadway at 63rd St., 212-757-2280
Opens Friday, March 8

Inspired by a true story detailed in a pair of nonfiction novels by Romanian journalist Tatiana Niculescu Bran, Cristian Mungiu’s Beyond the Hills is a powerful, emotional study of love, friendship, dedication, devotion, and sexual repression. In a barren section of modern-day Romania, Alina (Cristina Flutur) arrives at a poverty-stricken Orthodox monastery, where her childhood friend Voichita (Cosmina Stratan) has become a nun. Both young women grew up in a poor orphanage, and both still have no real place in society. Alina has come to try to convince Voichita — possibly her former lover — to leave the flock and go with her to Germany, where they can live and work together freely. Early on, Voichita rubs a tired Alina’s bare back; when Alina turns over, Voichita just stops short of massaging her friend’s chest, the sexual tension nearly exploding in a scene of quiet beauty that speaks volumes about their relationship. Despite Alina’s pleading, Voichita, apparently filled with deep inner guilt, refuses to turn her back on the priest (Valeriu Andriuţă), whom all the nuns refer to as Pa, and her newfound vocation. Unable to accept her friend’s decision, Alina begins acting out in threatening ways to both herself and the true believers, leading to shocking, tragic consequences. Mungiu’s feature-film follow-up to the 2007 Palme d’Or winner 4 Months, 3 Weeks and 2 Days is another harrowing examination of characters trapped in a devastating situation. The two-and-a-half-hour film seems to take place in a different era, far away from contemporary towns and cities, cell phones and even electricity. Mungiu, who won the Best Screenplay award at Cannes for the film, is careful not to condemn or belittle Pa, Ma (Dana Tapalagă), and their faith, but he doesn’t praise them either, leaving it up to viewers to decide for themselves. In their feature-film debuts, Flutur and Stratan, who are both from Mungiu’s hometown of Iasi and shared the Best Actress award at Cannes, are exceptional, their eyes filled with fear and longing as Alina and Voichita try to find a balance in their opposing worlds. Beyond the Hills opens March 8 at the IFC Center and Lincoln Plaza and will be available on Sundance Selects’ On Demand channel beginning March 14.

AMOUR

Jean-Louis Trintignant and Emmanuelle Riva play a married couple facing tragedy in Michael Haneke’s brilliant AMOUR

AMOUR (Michael Haneke, 2012)
IndieScreen
285 Kent Ave. at South Second St.
March 8-14
347-227-8030
www.indiescreen.us
www.sonyclassics.com/amour

Legendary French actor Jean-Louis Trintignant puts an exclamation point on his long, distinguished career with Amour, one of the most beautiful love stories ever told. In his first film in nearly a decade, Trintignant, the star of such classics as Z, My Night at Maud’s, A Man and a Woman, and The Conformist, plays Georges, an octogenarian who is immediately concerned when his wife, Anne (Oscar nominee Emmanuelle Riva), suddenly freezes for a few moments, unable to speak, hear, move, or recognize anything. So begins a downward spiral in which Georges takes care of his ailing wife by himself, refusing help from his daughter, Eva (Isabelle Huppert), as he faces the grim situation with grace and dignity. A genuine romance for the ages, Amour is brilliantly written and directed by Michael Haneke, earning the Austrian filmmaker an Oscar for Best Screenplay and his second Palme d’Or, following 2009’s The White Ribbon. Haneke (Cache, The Piano Teacher) and cinematographer Darius Khondji allow the heartbreaking tale to unfold in long interior shots with very little camera movement, spread across more than two hours. Despite its length, the film is far from torturous; instead, it is filled with quietly beautiful moments. Trintignant, now eighty-two, is magnificent as Georges, his every physical movement and eye glance rendered with powerful yet gentle emotions, whether he’s preparing food for Anne or trying to catch a bird that has flown into the apartment. It’s an unforgettable performance in an unforgettable film. Amour, which was nominated for five Academy Awards, including Best Picture and Best Foreign-Language Film, winning the latter in addition to the screenplay honor, has completed its extended run at Film Forum and now moves into Brooklyn, where it will run March 8-14 at IndieScreen.

HELLBOY

hellboy

HELLBOY (Guillermo del Toro, 2004)
115th St. Library, Alvin Ailey Community Room
203 West 115th St. between Seventh & Eighth Aves.
Saturday, March 9, free, 1:00
www.nypl.org

Even with the participation of Hellboy creator Mike Mignola, Guillermo del Toro’s (Pan’s Labyrinth) special-effects-laden big-screen adaptation of the popular comic book is a disappointment. Ron Perlman is fine as the cynical, wisecracking title character, used by the FBI to kill monsters, but the plot is a little too Buffy the Vampire Slayer crossed with the X-Files and Batman: The Animated Series, all three of which were superior to this mediocre movie. The all-star cast also features John Hurt, Selma Blair, Jeffrey Tambor, and the voice of David Hyde Pierce. Del Toro’s 2008 sequel, Hellboy II: The Golden Army, with most of the same actors reprising their roles, is significantly better.

ILLUSIONS REVEALED: ROSEMARY’S BABY

Rosemary (Mia Farrow) doesn’t know who she can trust in Roman Polanski’s horror classic

CABARET CINEMA: ROSEMARY’S BABY (Roman Polanski, 1968)
Rubin Museum of Art
150 West 17th St. at Seventh Ave.
Friday, March 8, free with $7 bar minimum, 9:30
212-620-5000
www.rmanyc.org

Based on the frightening novel by Ira Levin, Rosemary’s Baby is one of the greatest psychological horror films ever made — and one of the best ever about the hell that apartment life in New York City can be. When Rosemary (Mia Farrow) and Guy Woodhouse (John Cassavetes) move into the fancy Upper West Side apartment complex the Bramford (the Dakota), ready to start a family, Rosemary slowly grows suspicious of Guy’s new friends, particularly the sweet old couple next door (Oscar winner Ruth Gordon and Sidney Blackmer), with good reason. Written and directed by Roman Polanski, Rosemary’s Baby works primarily because it is so believable, with recognizable characters and situations that never go over the top. It’s not just about a satanic underworld gathering in New York City; it delves headfirst into urban paranoia and the fear of adulthood and responsibility, focusing on career success and parenting, with the baby-faced Farrow expertly cast as the mom-to-be. The frightening thriller, which is filled with truly scary scenes, has held up well over the years, so beware if you’re afraid of the dark. In any case, be prepared to have the bejesus scared out of you. Rosemary’s Baby is screening March 8 at 9:30 as part of the Rubin Museum Cabaret Cinema series “Illusions Revealed,” consisting of films that address misperception, and will be introduced by neuroscientist Ioana Carcea. The series continues with such films as Giuseppe Tornatore’s Cinema Paradiso, Louis Malle’s Black Moon, and Sam Peckinpah’s Cross of Iron through April 26.

TWI-NY TALK: SPRAGUE THEOBALD

Sprague Theobald (photo by Rod Millington)

Sprague Theobald details his family’s treacherous journey to the Northwest Passage in new book and film (photo by Rod Millington)

THE OTHER SIDE OF THE ICE (Sprague Theobald, 2013)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
March 8-14
212-255-2243
www.quadcinema.com
www.spraguetheobald.com

On June 16, 2009, author, sailor, and filmmaker Sprague Theobald boarded the 325-horsepower, 57-foot-long Bagan and took off for the Northwest Passage with a small crew that included his son, Sefton, his stepson, Chauncey Tanton, his stepdaughter, Dominique Tanton, and her boyfriend, Clinton Bolton, setting sail on a journey that few have attempted and fewer have survived. “The Northwest Passage is a ship killer, and always has been,” Theobald writes in The Other Side of the Ice: One Family’s Treacherous Journey Negotiating the Northwest Passage (Skyhorse Publishing, August 2012, $24.95; ebook available from Antenna Books, $9.99), which details the trials and tribulations he and his family experienced on the open seas. “At various stages of the journey, I found myself numb. Exhausted. Terrified. How had it all started? What were we doing?” A transatlantic racer, Theobald, who has previously written the novel The Reach and won an Emmy for his America’s Cup documentary The 25th Defense: End of an Era, explains exactly what they were doing, warts and all, in the book and its companion film, also called The Other Side of the Ice, a production of his Hole in the Wall team, which is a self-described “consortium of renegades, misfits, and malcontents intent on bettering the world through the art of film and storytelling.” The Other Side of the Ice will be playing at the Quad from March 8 to 14, and Theobald will be at the theater to discuss the film and sign copies of the book following the 7:30 screenings on March 8 and 9 and after the 5:30 show on March 10. But first Theobald discussed the book, the film, and the state of his family in our latest twi-ny talk.

twi-ny: You begin both the book and the film by wondering whether you were in essence risking the lives of your family in order to accomplish this personal mission of sailing through the Northwest Passage. If you knew then what you know now, would you still go ahead with the trip?

Sprague Theobald: Knowing what I know now, I would certainly still go ahead with the trip but with a better sense of how deep and deliberating the extreme Arctic isolation can be, the hell it can raise on your thinking if not your soul. This I wasn’t prepared for.

twi-ny: What would you change if you had it to do all over again?

Sprague Theobald: If I had it to do all over again I would have spent a bit more time vetting the captain, who I was assured “could handle anything.” As it was he fell mentally and fell hard. I hired him so that I could concentrate on the documentary, but in the end I had to toss him off the boat and bring the boat, with the great help of my three children, to Seattle through three thousand miles of some of the world’s most torturous weather.

twi-ny: When the Bagan was stuck in the ice with nowhere to go, did you always think you’d eventually make it, or were there moments when you truly felt that you would join other Northwest Passage crews who were never seen or heard from again?

Sprague Theobald: While stuck in the ice and at one point alone in my cabin I thought, Jesus . . . I’ve missed the headline on this trip. All the while I thought it was going to be “Family Successfully Transits the Northwest Passage,” but instead the real headline is now, “Father Leads Children to Death Trying to Transit the Northwest Passage.” This was as real as real could be. I had to battle this thought and image, plus many more, minute after minute, hour after hour, day after day. I thought, Yes, the odds looked incredibly against us, but the only way to find out was to, if physically possible, continue to put one foot in front of the other and see where this takes us. I did my very best to keep these thoughts to myself and not share them with the kids. It was a pressure that, as I explain in the book and show in the documentary, I’d never before known and didn’t know if I could survive.

twi-ny: There were 280 hours of footage that were edited into a 77-minute film, and there was a four-month trip edited into a 220-page book. Which task did you ultimately find most challenging, making the film or writing the book? Did you make a conscious decision to save certain moments for the film and specific other ones for the book?

the other side of the ice

Sprague Theobald: No, I didn’t make a conscious decision to save “this” for the book or “that” for the film. What I did have to do, though, was go back through my personal journal, which, once the trip was over, I prayed I’d never have to look at again. After Herzog made Fitzcarraldo, he was too terrified to look at his personal journal for twenty-eight years. By no means do I compare myself to him, but I do understand the power and terror these raw words, written when all seemed lost, can carry.

twi-ny: In the book you write, “On very rare occasions, if you’re very lucky, you get a chance to look into someone’s heart and character.” What did you learn about your own heart and character on the journey?

Sprague Theobald: I found out that I am simply human, no more, no less. That if one gets too close to hubris, in any sense of the word, the stakes become extreme, the flame more powerful and hotter than anything imaginable in this world.

twi-ny: What did you find out about your family’s heart and character that most surprised you?

Sprague Theobald: I found out that my family’s heart is as strong as I had ever dreamt for it, wished for it to be, if not stronger. Their sense of commitment and total lack of selflessness, when one of them around them was demonstrating just the opposite, was a gift greater than I ever expected to be given.

twi-ny: Have the bonds that developed with your kids on the boat continued?

Sprague Theobald: Big time. It’s not to say that we’re in touch more often or that we call and have long talks over the phone any more than we did but that when we do get together the laughter and joy come from a base and foundation of the deepest respect and love. We now know what’s petty and what isn’t.

twi-ny: Now that the book has been published and the film is being released, are you getting the itch to travel again?

Sprague Theobald: This has kept me busy every single hour of every single day since we landed in Seattle on November 6, 2009. I truly haven’t had a day off in over five years. From time to time, though, I do daydream about talking a kayak from the headwaters of the Connecticut River up in Canada to where it terminates in the Atlantic, the Long Island Sound. But it’s going to be a while before I play out of the backyard again.