A mute rape victim (Zoë Tamerlis Lund) seeks revenge DEATH WISH-style in Abel Ferrara’s MS. 45
MS. 45 (Abel Ferrara, 1981)
BAMcinématek, BAM Rose Cinemas
30 Lafayette Ave. between Ashland Pl. & St. Felix St.
February 7-9
Series runs through February 18
718-636-4100
www.bam.org
www.drafthousefilms.com
Abel Ferrara’s third film, following the 1976 pornographic 9 Lives of a Wet Pussy Cat and the 1979 gorefest The Driller Killer, is a low-budget grindhouse female revenge fantasy set on the gritty streets of New York City. In Ms. 45 (also known as Angel of Vengeance), Zoë Tamerlis Lund makes her screen debut as Thana, a mute woman working as a seamstress in the Garment District. After being raped twice in one day on separate occasions, she soon goes all Death Wish / Taxi Driver on men seeking a little more from women. Thana — named after Freud’s death instinct, Thanatos, the opposite of the sex instinct, Eros — grabs herself a .45 and quickly proves she is one helluva shot as she goes out in search of potential victims in Chinatown, Central Park, and the very place where Woody Allen and Diane Keaton sat on a bench, romantically looking out at the Queensboro Bridge in an iconic moment from Manhattan. Ferrara, who plays the masked rapist, captures the nightmarish feel of the city at the time, where danger could be lurking around any corner, with the help of James Lemmo’s lurid, pornlike cinematography and Joe Delia’s jazz-disco soundtrack. Lund would go on to cowrite Ferrara’s Bad Lieutenant, in which she plays a junkie named Zoë, before drugs killed her in 1999 at the age of thirty-seven. A cult classic that keeps getting better with age, Ms. 45 is screening in a new digital projection February 7-9 as part of the BAMcinématek series “Vengeance Is Hers,” twelve days of films featuring fabulous woman protagonists and antagonists, including Sissy Spacek in Carrie, Sandrine Bonnaire in Secret Defense, Olivia de Havilland in The Heiress, Lily Ho and Betty Pei Ti Ting in Intimate Confessions of a Chinese Courtesan, and Pam Grier in Coffy.
Set in a seemingly postapocalyptic world that is never explained, Andrei Tarkovsky’s Stalker is an existential work of immense beauty, a deeply philosophical, continually frustrating, and endlessly rewarding journey into nothing less than the heart and soul of the world. Alexander Kaidanovsky stars as Stalker, a careful, precise man who has been hired to lead Writer and Professor (Tarkovsky regulars Anatoli Solonitsyn and Nikolai Grinko, respectively) into the forbidden Zone, a place of mystery that houses a room where it is said that people can achieve their most inner desires. While Stalker’s home and the bar where the men meet are dark, gray, and foreboding, the Zone is filled with lush green fields, trees, and aromatic flowers — as well as abandoned vehicles, strange passageways, and inexplicable sounds. The Zone — which heavily influenced J. J. Abrams’s creation of the island on Lost — has a life all its own as past, present, and future merge in an expansive land where every forward movement is fraught with danger but there is no turning back. An obsessive tyrant of a filmmaker, Tarkovsky (Andrei Rublev, Solaris) imbues every shot with a supreme majesty, taking viewers on an unusual and unforgettable cinematic adventure. (For our 2012 twi-ny talk with Geoff Dyer, the author of Zona: A Book about a Film about a Journey to a Room, which offers quite a unique take on Stalker, go 
Special effects master Douglas Trumbull, who worked on such sci-fi classics as 2001: A Space Odyssey, Close Encounters of the Third Kind, and Blade Runner, made his feature directorial debut with the environmentally prescient Silent Running. Bruce Dern stars as Freeman Lowell, one of four men stationed on the space terrarium Valley Forge, which is charged with protecting forests that can no longer grow on Earth. While it’s just another assignment for John Keenan (Cliff Potts), Marty Barker (Ron Rifkin), and Andy Wolf (Jesse Vint), it’s become an obsession for Lowell, who sleeps under a “Conservation Pledge” on the wall next to his bed and only eats food from his massive garden. But when the captain of the Berkshire (voiced by Joseph Campanella) informs them that the forests must be destroyed and they are to return home, Lowell takes matters into his own hands, fighting to protect what he has helped create. Soon he is alone on the Valley Forge, tending to the forest with drones Huey (Cheryl Sparks) and Dewey (Mark Persons), as Louie (Steven Brown) is no longer with them. At first Lowell thinks he is in his own private paradise, but extreme loneliness awaits him, along with some other shocks. Written by Deric Washburn and Michael Cimino (The Deer Hunter) and Steven Bochco (Hill Street Blues, L.A. Law), the low-budget Silent Running is a deserving cult classic, a worthy influence on such films and television shows as WALL-E, Moon, Mystery Science Theater 3000, and Red Dwarf. Emerging from the late-1960s Flower Power movement, the film’s ecological theme is boosted by environmentally friendly folk songs sung by Joan Baez, with overly melodramatic music by Peter Schickele. Dern gives a beautifully nuanced performance as Lowell, going from calm and meditative to distressed and angry in a heartbeat, and his paternal relationship with Huey and Dewey is both heartwarming and heartbreaking. A film that could only be made in the 1970s, with bright, bold colors and cheesy futuristic sets, Silent Running is screening on November 21 as part of the BAMcinématek series “Hot Dern!” which pays tribute to the seventy-seven-year-old Dern, the father of Laura Dern and former husband of Diane Ladd, on the occasion of the U.S. theatrical release of Alexander Payne’s Nebraska, for which Dern was named Best Actor at Cannes. The series continues through November 27 with such other wide-ranging Dern films as Psych-Out, Wild Bill, The Laughing Policeman, and Smile. In addition, Dern will be at BAM on December 4 for “An Evening with Bruce Dern,” which will include a screening of Nebraska followed by an extended Q&A with the actor.
Syracuse-born comic Bobcat Goldthwait might still be best known as the dude with the annoying voice in the Police Academy movies, but he’s carved out quite a little career for himself as a director, helming such television series as Jimmy Kimmel Live, Chappelle’s Show, and The Man Show as well as several low-budget indie films that he also wrote. On November 3, BAMcinématek will be screening three of the latter in a mini-festival, beginning with 2006’s Sleeping Dogs Lie, an oddly charming, offbeat romantic comedy. Amy (Melinda Page Hamilton) is a lonely college student who suddenly decides to try something a little different — she pleasures her dog in a special way, but immediately regrets it. Eight years later, she is in a serious relationship with John (Bryce Johnson), who wants them to be completely honest with each other. Hesitant to share this one detail of her life, she ultimately confesses, believing love trumps all. How wrong she is. Hamilton (Desperate Housewives, Big Love, Mad Men) is terrific in the lead role, playing a smart, attractive woman overwhelmed by this one secret. She gets comfort from a fellow teacher, Ed (Colby French), but none from her old-fashioned parents (Geoff Pierson and Bonita Friedericy) or her crystal-meth-smoking loser of a brother, Dougie (Jack Plotnick). Goldthwait and cinematographer Ian S. Takashi shot Sleeping Dogs Lie in a mere sixteen days, putting together part of the crew from Craigslist. A truly indie film, it was nominated for the Grand Jury Prize at Sundance. The Goldthwait triple play continues at 6:00 with the New York premiere of Willow Creek, followed by a Q&A with Goldthwait, and concludes at 9:00 with his 2009 film, World’s Greatest Dad, starring Robin Williams.