this week in film and television

SAKURA — SPRING RENEWS, BEAUTY BLOOMS: KABUKI DANCE

Japan Society celebrates the coming of spring with kabuki dance program this week (photo © Kiyofuji Studio)

Japan Society
333 East 47th St. at First Ave.
March 29-31,
212-715-1258
www.japansociety.org

For more than five hundred years, Japan has been telling stories using the art form known as kabuki, a highly stylized dance play that features ornate costumes, intricately choreographed movement, heavy makeup, and extreme facial gestures. As part of Japan Society’s “Sakura — Spring Renews, Beauty Blooms” festival, nihon buyo (Japanese classical dance) master Bando Kotoji will lead his troupe through four kabuki works March 29-31. Accompanied by live music, the program includes Sanbaso, Cho no Michiyuki (“The Last Journey of Two Butterflies”), Tamatori Ama (“The Pearl Diver”), and Yoshino-yama (“Yoshino Mountain”). All performances will be preceded by a lecture on shamisen music and kabuki dance by Dr. Sachiyo Ito. Japan Society will also be hosting a kabuki workshop on Saturday morning at 10:15 led by Bando; although participant tickets are sold out, you can still attend as an observer for eight dollars. Japan Society’s spring festival continues through April 14 with such films as Hirokazu Kore-eda’s Hana: The Tale of a Reluctant Samurai, a haiku workshop led by Sho Otaka and John Stevenson, and “J-Cation 2012,” an all-day event that includes live music, dance, art, film, food, storytelling, demonstrations, and more.

15 FOR 15 — CELEBRATING RIALTO PICTURES: NIGHTS OF CABIRIA

Giulietta Masina is unforgettable in Fellini masterpiece NIGHTS OF CABIRIA

NIGHTS OF CABIRIA (LE NOTTI DI CABIRIA) (Federico Fellini, 1957)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Wednesday, March 28, 1:30
Series runs through March 29
212-875-5601
www.filmlinc.com

Giulietta Masina was named Best Actress at Cannes for her unforgettable portrayal of a far-too-trusting street prostitute in Nights of Cabiria. Directed by her husband, Federico Fellini, produced by Dino De Laurentiis, and written in collaboration with Pier Paolo Pasolini, the film opens with Cabiria taking a romantic stroll by the river with her boyfriend, Giorgio (Franco Fabrizi), who suddenly snatches her purse and pushes her into the water, running off as she nearly drowns. Such is life for Cabiria, whose sweet, naive nature can turn foul tempered in an instant. Over the course of the next few days, she gets picked up by movie star Alberto Lazzari (Amedeo Nazzari), goes on a religious pilgrimage with fellow prostitutes Wanda (Franca Marzi) and Rosy (Loretta Capitoli), gets hypnotized by a magician (Ennio Girolami), and falls in love with a tender stranger named Oscar (François Périer). But nothing ever goes quite as expected for Cabiria, who continues to search for the bright side even in the direst of circumstances. Masina is a delight in the film, whether yelling at a neighbor, dancing the mambo with Alberto, or looking to confess her sins, her facial expressions a work of art in themselves, ranging from sly smiles and innocent glances to nasty smirks and angry stares. Fellini’s second film to win the Oscar for Best Foreign Language Film (after La Strada), Nights of Cabiria is screening March 28 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, who also worked on the updated translation for the 1998 restoration of this Fellini masterpiece.

KOREAN MOVIE NIGHT: MY GIRLFRIEND IS AN AGENT

Soo-ji (Kim Ha-neul) and Jae-joon (Kang Ji-hwan) attempt to save the world and maybe salvage their relationship in MY GIRLFRIEND IS AN AGENT

IT’S A FINE ROMANCE: MY GIRLFRIEND IS AN AGENT (7KEUP KONGMUWON) (Shin Tae-ra, 2009)
Tribeca Cinemas
54 Varick St. at Laight St.
Tuesday, March 27, free, 7:00
Series runs every other Tuesday through April 10
212-759-9550
www.koreanculture.org
www.tribecacinemas.com

A box-office blockbuster in South Korea, Shin Tae-ra’s My Girlfriend Is an Agent is a goofy but fun mosh-up of Mr. and Mrs. Smith and the television shows Get Smart and Mission: Impossible. As the movie opens, the weak-kneed Jae-joon (Kang Ji-hwan) is threatening to leave Soo-ji (Kim Ha-neul), tired of her many lies. What he doesn’t know is that she is actually a secret agent working undercover for the government, but she is not allowed to tell anyone, instead claiming she is a travel agent to explain all the time she spends away from him. Three years later, they accidentally meet up again — Soo-ji recognizes his, um, member in a men’s room while he is relieving himself at a urinal and she is pretending to be a cleaning lady — but now Jae-joon is a secret agent for a different department, working the same case but from another angle while telling her he is an accountant. Crazy hijinks ensue, including plenty of mistaken identity, a wacky car chase, and a shootout in an amusement park, with Soo-ji and Jae-joon continually bumping into each other as they get closer and closer to the international terrorists seeking to gain control of a lethal virus that could wipe out much of the country. My Girlfriend Is an Agent, which is getting the Bollywood treatment in a remake directed by Bosco, is screening on March 27 at 7:00 at Tribeca Cinemas as the second installment of the free Korean Movie Night series “It’s a Fine Romance,” which concludes on April 10 with Kim Jeong-hoon’s 2010 chick flick, Petty Romance.

15 FOR 15 — CELEBRATING RIALTO PICTURES: ARMY OF SHADOWS

Lina Ventura gives a wonderfully subtle performance as a resistance fighter in Jean-Pierre Melville’s ARMY OF SHADOWS

L’ARMÉE DES OMBRES (ARMY OF SHADOWS) (Jean-Pierre Melville, 1969)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. at Amsterdam Ave.
Monday, March 26, 3:15
Series runs through March 29
212-875-5601
www.filmlinc.com

Based on the novel by Joseph Kessel (Belle de Jour), Jean-Pierre Melville’s 1969 WWII drama Army of Shadows got its first U.S. theatrical release some thirty-five years later, in a restored 35mm print courtesy of Rialto Pictures and supervised by the film’s cinematographer, Pierre Lhomme, who shot it in a beautiful blue-gray palette. The film centers on a small group of French resistance fighters, including shadowy leader Luc Jardie (Paul Meurisse), the smart and determined Mathilde (Simone Signoret), the nervous Jean-François (Jean-Pierre Cassel), the steady and dependable Felix (Paul Crauchet), the stocky Le Bison (Christian Barbier), the well-named Le Masque (Claude Mann), and the unflappable and practical Gerbier (Lino Ventura). Although Melville, who was a resistance fighter as well, wants the film to be his personal masterpiece, he is too close to the material, leaving large gaps in the narrative and giving too much time to scenes that don’t deserve them. He took offense at the idea that he portrayed the group of fighters as gangsters, yet what shows up on the screen is often more film noir than war movie. However, there are some glorious sections of Army of Shadows, including Gerbier’s escape from a Vichy camp, the execution of a traitor to the cause, and a tense Mission Impossible–like (the TV series, not the Tom Cruise vehicles) attempt to free the imprisoned Felix. But most of all there is Ventura, who gives an amazingly subtle performance that makes the overly long film (nearly two and a half hours) worth seeing all by itself. Army of Shadows is screening March 26 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.

MOVING IMAGE MASTER CLASS: SYNECDOCHE, NEW YORK

Philip Seymour Hoffman doesn’t quite understand what’s happening to him in SYNECDOCHE, NEW YORK

SYNECDOCHE, NEW YORK (Charlie Kaufman, 2008)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Sunday, March 25, free with museum admission, 6:00
718-777-6800
www.movingimage.us
www.sonyclassics.com/synecdocheny

In films such as Being John Malkovich (Spike Jonze, 1999), Adaptation. (Spike Jonze, 2002), Confessions of a Dangerous Mind (George Clooney, 2002), and Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004), writer Charlie Kaufman has created bizarre, compelling alternate views of reality that adventurous moviegoers have embraced, even if they didn’t understand everything they saw. Well, Kaufman has done it again, challenging audiences with his directorial debut, the very strange but mesmerizing Synecdoche, New York. Philip Seymour Hoffman stars as the bedraggled Caden Cotard, a local theater director in Schenectady mounting an inventive production of Death of a Salesman. Just as the show is opening, his wife, avant-garde artist Adele Lack (Catherine Keener), decides to take an extended break in Europe with their four-year-old daughter, Olive (Sadie Goldstein), and Adele’s kooky assistant, Maria (Jennifer Jason Leigh). As Caden starts coming down with a series of unexplainable health problems (his last name, by the way — Cotard — is linked with a neurological syndrome in which a person believes they are dead or dying or do not even exist), he wanders in and out of offbeat personal and professional relationships with box-office girl Hazel (a nearly unrecognizable Samantha Morton), his play’s lead actress, Claire Keen (Michelle Williams), his therapist, Madeleine Gravis (Hope Davis), and Sammy (Tom Noonan), a man who has been secretly following him for years. After winning a MacArthur Genius Grant, Caden begins his grandest production yet, a massive retelling of his life story, resulting in radical shifts between fantasy and reality that will have you laughing as you continually scratch your head, hoping to stimulate your brain in order to figure out just what the heck is happening on-screen.

Evoking such films as Federico Fellini’s 8 1/2 and City of Women, Woody Allen’s Stardust Memories, and Ingmar Bergman’s Wild Strawberries as well as the labyrinthine tales of Argentine writers Jorge Luis Borges and Julio Cortazar, Synecdoche, New York is the kind of work that is likely to become a cult classic over the years, requiring multiple viewings to help understand it all. The film is screening March 25 at the Museum of the Moving Image and will be introduced by production designer Mark Friedberg, who will be leading a Moving Image Master Class at 3:00 ($20) with chief curator David Schwartz. In addition, Hoffman is currently appearing in Mike Nichols’s new Broadway version of Death of a Salesman, the show he is putting together in Synecdoche, New York.

HONG SANG-SOO: OKI’S MOVIE

Oki (Jung Yumi) walks the fine line between fiction and reality in OKI’S MOVIE

OKI’S MOVIE (OK-HUI-UI YEONGHWA) (Hong Sang-soo, 2010)
Museum of the Moving Image
35th Ave. at 36th St., Astoria
Friday, March 23, free with museum admission, 7:00
718-777-6800
www.movingimage.us

In works such as Like You Know It All, Woman on the Beach Tale of Cinema, and Woman Is the Future of Man, Korean director Hong Sang-soo has explored the nature of his craft, using the creative process of filmmaking as a setting for his relationship-driven dramas. He examines the theme again in Oki’s Movie, a beautifully told tale told in four sections built around film professor Song (Moon Sung-keun) and students Jingu (Lee Sun-kyun) and Oki (Jung Yumi). Each chapter — “A Day for Chanting,” “King of Kiss,” “After the Snowstorm,” and “Oki’s Movie” — features a different point of view with a different narrator while walking the fine line between fiction and nonfiction. As in Tale of Cinema, certain parts are films within the film, shorts made by the characters for their class. Hong keeps viewers guessing what’s real as Oki balances a possible love triangle between her, Jingu, and Song; the final segment is a poetic masterpiece that brings everything together. Oki’s Movie is screening March 23 at 7:00, concluding the Museum of the Moving Image’s week-long tribute to Hong; the film will have its official U.S. theatrical release April 16-22 at the Maysles Cinema, the Harlem institution devoted to documentaries.

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.