this week in film and television

BRYANT PARK SUMMER FILM FESTIVAL: ALL ABOUT EVE

Anne Baxter and Bette Davis put on quite a show in ALL ABOUT EVE (yes, that’s Marilyn Monroe in the center)

ALL ABOUT EVE (Joseph L. Mankiewicz, 1950)
Bryant Park Summer Film Festival
41st St. at Sixth Ave.
Monday, August 13, free, dusk
212-512-5700
www.bryantpark.org

Nominated for fourteen Academy Awards and winner of six, including Best Picture, Best Director, and Best Screenplay, All About Eve is one of Hollywood’s all-time greatest movies, a searing depiction of naked ambition set on the Great White Way. Based on Mary Orr’s 1946 short story “The Wisdom of Eve,” writer-director Joseph L. Mankiewicz’s flawless drama stars Anne Baxter as Eve Harrington, who is not exactly the mousey wallflower she at first appears to be. She quickly worms her way into an inner circle of Broadway vets populated by superstar Margo Channing (Bette Davis), her younger lover, Bill Sampson (Gary Merrill), playwright and director Lloyd Richards (Hugh Marlowe), and Richards’s wife, Karen (Celeste Holm), who takes Eve under her wing. Joining in on all the fun is powerful theater critic Addison DeWitt (Oscar winner George Sanders), who marvels at all the manipulation and backstage drama, much of which he wickedly orchestrates himself. “There never was, and there never will be, another like you,” DeWitt tells Eve in one of the film’s most poignant moments. All About Eve is filled with classic quotes, including the iconic “Fasten your seatbelts, it’s going to be a bumpy night,” boldly proclaimed by Davis. In a movie about acting and the theater, Mankiewicz never shows anyone onstage; instead, he focuses on the characters and the intrigue with a sly flair that is deliciously entertaining. All About Eve is screening August 13 as part of the Bryant Park Summer Film Festival, which concludes August 20 with Raiders of the Lost Ark.

AMERICAN GAGSTERS — GREAT COMEDY TEAMS: THE AWFUL TRUTH

Ralph Bellamy, Cary Grant, and Irene Dunne get into quite a romantic pickle in THE AWFUL TRUTH

THE AWFUL TRUTH (Leo McCarey, 1937)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Sunday, August 12, 2:00, 4:30, 6:50, 9:15
Series runs through September 17
212-415-5500
www.bam.org

The insults fly fast and furious in Leo McCarey’s uproarious screwball comedy The Awful Truth. “Marriage is a beautiful thing,” a divorce attorney tells Lucy Warriner (Irene Dunne), but it can also be riotously funny. Adapted from Arthur Richman’s play, The Awful Truth features one of the great comedy pairings of all time, Dunne and Cary Grant, as a husband and wife seemingly at the end of their rope, with Grant’s Jerry Warriner coming home with a sun-lamp tan he claimed he got on a trip to Florida, while Dunne’s Lucy returns from a mysterious night in the country with her music teacher, Armand Duvalle (Alexander D’Arcy). Tired of the lies and deception, Jerry and Lucy decide to get a divorce, even fighting over who gets the dog, Mr. Smith. Jerry hooks up with wealthy socialite Barbara Vance (Molly Lamont), while Lucy is pursued by rich Oklahoma bumpkin Dan Leeson (Ralph Bellamy), who doesn’t seem to do anything without the approval of his beloved mother (Esther Dale). (Bellamy went on to play a similar role as Bruce Baldwin in Howard Hawks’s 1940 His Girl Friday, serving as the boring love interest for Rosalind Russell, playing Grant’s ex-wife.) But Jerry and Lucy can’t seem to stop running into each other and sabotaging their new relationships, exchanging brilliant one-liners — many improvised — while inwardly wondering if they really do belong together after all, even if they refuse to be the first one to admit it. They certainly deserve each other. In accepting the Oscar for Best Director for The Awful Truth, McCarey claimed he really should have gotten it for his other 1937 film, Make Way for Tomorrow, but it’s The Awful Truth that has had more lasting impact, still fresh after seventy-five years, filled with unforgettable scenes and bawdy, wry humor. The Awful Truth is screening August 12 in the BAMcinématek series “American Gagsters: Great Comedy Teams,” which runs through September 17 and consists of fifty films (all but one in 35mm) with a special focus on Grant, including Bringing Up Baby, Holiday, and The Philadelphia Story with Katharine Hepburn and the aforementioned His Girl Friday.

UNACCOMPANIED MINORS: THE NIGHT OF THE HUNTER

Robert Mitchum gets caught up in some dangerous dichotomies in THE NIGHT OF THE HUNTER

VIEWS OF YOUTH IN FILMS FROM THE COLLECTION: THE NIGHT OF THE HUNTER (Charles Laughton, 1955)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Saturday, August 11, 8:00
Series runs through August 14
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

Robert Mitchum stars in Charles Laughton’s lurid story of traveling preacher/con man/murderer Harry Powell, who has the word “love” tattooed on one set of knuckles and “hate” on the other. While in prison, Powell bunks with Ben Harper (Peter Graves), who got caught stealing $10,000 — but the only person who knows where the money is is Ben’s young son, John (Billy Chapin). When Preacher is released from jail, he shows up on the Harpers’ doorstep, ready to woo the widow Willa (Shelley Winters) — and get his hands on the money any way he can, including torturing John and his sister, Ruby (Gloria Castillo). Laughton’s only directorial effort is seriously flawed — the scenes in the beginning and end with Lillian Gish are wholly unnecessary and detract from the overall mood. Stanley Cortez’s cinematography is outstanding, featuring his unique use of shadows, the battle between light and dark (which plays off of several themes: old versus young, rich versus poor, good versus evil, and men versus women), and some marvelous silhouettes. The Night of the Hunter is screening August 11 at 8:00 as part of the MoMA film series “Unaccompanied Minors: Views of Youth in Films from the Collection,” being held in conjunction with the new exhibit “Century of the Child: Growing by Design, 1900-2000.” Running through August 14, the festival includes such other films about childhood as William A. Wellman’s Frisco Jenny, Darren Aronofsky’s Black Swan, Vittorio De Sica’s Bicycle Thieves, and David D. Williams’s Thirteen.

DOCUWEEKS 2012: WE WOMEN WARRIORS

Three brave Colombian women fight for basic human rights in WE WOMEN WARRIORS

WE WOMEN WARRIORS (TEJIENDO SABIDURÍA) (Nicole Karsin, 2012)
IFC Center
323 Sixth Ave. at Third St.
August 10-16
Series continues through August 23
212-924-7771
www.ifccenter.com
www.wewomenwarriors.com

“If we don’t open our eyes, if we are afraid of challenges, then we won’t be cultivating life,” Flor Ilva Triochez says near the start of the compelling documentary We Women Warriors, continuing, “We will be cultivating death.” From 2002 to 2009, journalist Nicole Karsin covered the ongoing bloody battle in Colombia between the army, the paramilitary, and rebel guerrillas, a violent struggle whose collateral damage includes atrocities being suffered by the more than one hundred indigenous tribes caught in the middle, their very existence being threatened by the unending drug-related violence. Karsin picked up a camera to tell the story through the eyes of three three brave women who, independent of one another, decided to do what the government and others refused to and take matters into their own hands. Karsin follows Doris Puchana, an Awá governor who risks her life by speaking out publicly about a horrific massacre; Ludis Rodriguez, a Kankuamao mother who watched her husband get murdered and was then falsely accused of having killed fifteen policemen; and Flor Ilva, who, as the first female leader of the Nasa people in three hundred years, demands that the police take down their barracks and leave her community. Eventually the three amazing women come together to share details not only of their lives but of their organizational methods, unwilling to be silenced as they seek peace for their people. Part of the sixteenth annual DocuWeeks festival at the IFC Center, We Women Warriors is an inspiring tale filled with hope in the face of seemingly insurmountable odds, as three strong women overcome personal tragedy to fight for justice and freedom. We Women Warriors runs August 10-16, with the filmmakers on hand for one of the two daily screenings. The festival continues through August 23 with such other documentaries as Eugene Martin’s The Anderson Monarchs, about an African-American girls soccer team in an at-risk Philadelphia neighborhood, Dafna Yachin’s Digital Dharma: One Man’s Mission to Save a Culture, about Mormon E. Gene Smith’s determination to preserve ancient Sanskrit and Tibetan writings, and Thomas Riedelsheimer’s Garden in the Sea, in which Spanish artist Cristina Iglesias builds an underwater sculpture in the Mexican Sea of Cortez.

IT IS NO DREAM: THE LIFE OF THEODOR HERZL

The life of playwright, journalist, and early Zionist Theodor Herzl is examined in new documentary

IT IS NO DREAM: THE LIFE OF THEODOR HERZL (Richard Trank, 2012)
Quad Cinema
34 West 13th St.
Opens Friday, August 10
212-255-2243
www.quadcinema.com
www.itisnodream.com

One of the most important figures in the creation of the State of Israel, Budapest-born writer and activist Theodor Herzl was surprisingly not a strong believer in the Jewish religion and tradition, as revealed in the staid, plodding documentary It Is No Dream: The Life of Theodor Herzl. Produced by the filmmaking wing of the Simon Wiesenthal Center, the international human rights organization that promotes tolerance while focusing on the Holocaust, the well-meaning but overly reverential film clumsily begins with a look at the neo-Nazi movement before examining Herzl’s transformation from a journalist and wanna-be playwright into a zealot combating anti-Semitism as a result of his covering the trial of accused French traitor Alfred Dreyfus. Public cries of “Kill the Jews” led Herzl to write Der Judenstaat (The Jewish State), a controversial plan for the creation of a Jewish homeland in Palestine. Director Richard Trank (Winston Churchill: Walking with Destiny) and cowriter Rabbi Marvin Hier, who previously teamed up on the Oscar-winning documentary The Long Way Home, gloss over Herzl’s personal life, which appears to have had many interesting facets, and instead relies on choppy narration by Sir Ben Kingsley and excerpts from Herzl’s diary dryly read by Christoph Waltz. Trank also includes only one talking-head expert, historian Dr. Robert S. Wistrich (although Israeli president Shimon Peres makes a brief appearance), making it feel incomplete, as if there is much more to tell. Although it does feature many intriguing details, It Is No Dream: The Life of Theodor Herzl never quite captures the fervor of the Zionist campaign, coming off more like the kind of documentary shown as part of a museum retrospective, where the surrounding materials are needed to help bring life to the story. The film opens Friday night at the Quad, with Trank on hand for Q&As and introductions at several weekend screenings.

AMERICAN GAGSTERS — GREAT COMEDY TEAMS: TROUBLE IN PARADISE

Kay Francis, Miriam Hopkins, and Herbert Marshall are caught in quite a pickle in risqué Ernst Lubitsch classic

TROUBLE IN PARADISE (Ernst Lubitsch, 1932)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Friday, August 10, 4:30 & 9:15
Series runs through September 17
212-415-5500
www.bam.org

“Beginnings are always difficult,” suave thief Gaston Monescu (Herbert Marshall) says at the beginning of Trouble in Paradise, but it’s not difficult at all to fall in love with the beginning, middle, and end of Ernst Lubitsch’s wonderful pre-Code romantic comedy. It’s love at first heist for Gaston and Lily (Miriam Hopkins) as they try to outsteal each other on a moonlit night in Venice. Soon they are teaming up to fleece perfume heir Madame Mariette Colet (Kay Francis) of money and jewels as the wealthy socialite takes a liking to Gaston despite her being relentlessly pursued by the hapless François Filiba (Edward Everett Horton) and the stiff Major (Charles Ruggles). Displaying what became known as the Lubitsch Touch, the Berlin-born director has a field day with risqué sexual innuendo, particularly in the early scene when Gaston and Lily first meet (oh, that garter!) and later as Madame Colet’s affection for Gaston grows, along with Lily’s jealousy. Loosely based on the 1931 play The Honest Finder by Aladár László, which was inspired by the true story of Romanian con man George Manolescu, the 1932 film remained out of circulation for decades during the Hays Code, and it’s easy to see why. Trouble in Paradise is screening August 10 in the BAMcinématek series “American Gagsters: Great Comedy Teams,” which runs through September 17 and consists of fifty films (all but one in 35mm), including such other classics as Some Like It Hot, Sullivan’s Travels, Born Yesterday, Blazing Saddles, Airplane! and multiple movies starring Cary Grant, Woody Allen, Peter Sellers, Steve Martin, and Bill Murray.

AMERICAN GAGSTERS — GREAT COMEDY TEAMS: MY MAN GODFREY

Real-life divorced couple William Powell and Carole Lombard flirt with a possible romance in depression-eara screwball comedy MY MAN GODFREY

MY MAN GODFREY (Gregory La Cava, 1936)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
Thursday, August 9, 6:50 & 9:15
Series runs August 8 – September 17
212-415-5500
www.bam.org

After more than three quarters of a century, Gregory La Cava’s screwball comedy My Man Godfrey is still fresh and funny and surprisingly relevant as it takes on the one percent during tough economic times. William Powell stars as the title character, a down-on-his-luck aristocrat living with a group of lost souls in a city dump under a bridge when a pair of ritzy sisters, Cornelia (Gail Patrick) and Irene (Carole Lombard) Bullock, suddenly show up, looking for a “forgotten man” as part of a scavenger hunt. Godfrey soon finds himself working as a butler for the fabulously wealthy Bullocks, where he makes snide comments under his breath while serving Cornelia and Irene and their parents, successful businessman Alexander (Eugene Pallette) and his free-spending wife, Angelica (Alice Brady), who flits about with young plaything Carlo (Mischa Auer). The Oscar-nominated script by Eric Hatch and Morrie Ryskind is as sharp as a knife, skewering high society in myriad ways without getting heavy-handed. “All you need to start an asylum is an empty room and the right kind of people,” Alexander points out. But Godfrey sums it all up when he explains, “The only difference between a derelict and a man is a job.” Powell and Lombard, who divorced three years earlier after two years of marriage, are magical, lighting up the screen every time they’re together, beautifully mixing comedy and romance. The film was the first to earn Oscar nominations in all the main categories, with Powell up for Best Actor, Lombard Best Actress, Auer Best Supporting Actor, and Brady Best Supporting Actress, along with a nod for La Cava as Best Director. It somehow got snubbed for Outstanding Production, a list of ten films that featured such memorable movies as Libeled Lady and Three Smart Girls. One of the best depression-era tales to come out of Hollywood, My Man Godfrey is screening August 9 in the BAMcinématek series “American Gagsters: Great Comedy Teams,” which runs August 8 – September 17 and includes fifty films (all but one in 35mm), beginning with The Thin Man with Powell and Myrna Loy and continuing with such other classic duos as Jack Lemmon and Tony Curtis in Some Like It Hot, Spencer Tracy and Katharine Hepburn in Pat and Mike and Adam’s Rib, Abbott and Costello in Buck Privates and In the Navy, Joel McCrea and Claudette Colbert in The Palm Beach Story, the Marx Brothers in Monkey Business and Horse Feathers, and multiple films starring Cary Grant, Woody Allen, Peter Sellers, Steve Martin, and Bill Murray.