Before becoming an renowned auteur, a favorite of critics and film festivals the world over, Johnnie To was known primarily in the West for the two films he made in 1993 in collaboration with director and action choreographer Ching Siu-tung. The Heroic Trio and Executioners star Michelle Yeoh, Maggie Cheung and Anita Mui as superheroes in a pre- and then post-apocalyptic Hong Kong, a wuxia Charlie’s Angels. Though he’d had a run of local hits, including back-to-back highest-grossing films of the years 1988 and 1989 (the ensemble farce The Eighth Happiness and the melodrama All About Ah-Long, respectively), none of his films managed to find much interest outside of Hong Kong, and his reputation, locally as well as abroad, was one of a competent professional filmmaker, subservient to the authorial personalities of his stars (Chow Yun-fat, Stephen Chow and Andy Lau) and producers (the gang at the Cinema City studio, where he worked alongside more accomplished peers such as Tsui Hark and Ringo Lam). But the prospect of beautiful women in sexy costumes flying around, doing weird shit and beating the hell out of people was enough to get the Heroic Trio films a home video release in the US, where more than 20 years later they remain among the most available of all of To’s films, standard content for streaming services. It was the first Johnnie To film I ever saw, I rented the old English-dubbed VHS from Scarecrow Video a long time ago. It plays tomorrow night in a definitely-better (hopefully subtitled) version in Scarecrow’s Screening Lounge.
Author: Sean Gilman
Bajrangi Bhaijaan (Kabir Khan, 2015)
This guest review comes from Jhon Hernandez of the Society for the Study of Modern Visual Culture.
When discussing Bajrangi Bhaijaan, the first instinct might be to solely view it as a Salman Khan vehicle. After all, Khan is one of the biggest stars in all of Indian cinema, and this is but another in a string of hits that he’s had over the last 20 years. His recent films have all been formulaic action thrillers that mostly rely on his charisma and the relationship he has with his adoring fans to make them work, if they work at all. And, while a lot of what’s pleasurable about the new film has to do with Salman Khan’s film persona and how this film uses it to its own ends, a look at the director, Kabir Khan, might be worthwhile. I’m an auteurist. What can you do?
Friday July 31 – Thursday August 6
Featured Film:
Wild City at the AMC Pacific Place
After more than a decade of spending time with his family, legendary director Ringo Lam is back with Wild City, a noir-inflected action thriller that hearkens back to the classics of late 80s Hong Kong cinema. Louis Koo and Shawn Yue play brothers who help a mysterious woman with a secret fend off hordes of gangsters and their even more vicious ultra-rich employers. The apocalyptic Hong Kong of Lam’s early films is no less electric, but is now marked by an dangerously unstable, justice-shattering mix of lawless capital and an omniscient surveillance state. Our Review.
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Playing This Week:
Wallace & Gromit: Curse of the Were-Rabbit (Nick Park & Steve Box, 2005) Weds Morning Only
The Muppet Movie (James Frawley, 1979) Fri-Tues
The Matrix (The Wachowskis, 1999) Fri-Tues
Fateful Findings (Neil Breen) Thurs Only
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Far from the Madding Crowd (Thomas Vinterberg) Fri-Thurs
Tangerine (Sean Baker) Fri-Thurs Our Review
The End of the Tour (James Ponsoldt) Thurs Only
Angrej (Simerjit Singh) Fri-Sun Only
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Tues & Weds Only
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
The Stanford Prison Experiment (Kyle Patrick Alvarez) Fri-Thurs
Batkid Begins (Dana Nachman) Fri-Thurs
Antarctic Edge: 70˚ South (Dena Seidel) Tues Only
New Rijkmuseum (Oeke Hoogendijk) Fri-Thurs
Irrational Man (Woody Allen) Fri-Thurs
Irrational Man (Woody Allen) Fri-Thurs
Baahubali (S.S.Rajamouli) Fri-Tues, Thurs Our Review (Telugu)
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs Our Review
Drishyam (Nishikant Kamat) Fri-Weds
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Tues & Weds Only
Irrational Man (Woody Allen) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs Our Review
Twinsters (Samantha Futerman & Ryan Miyamoto) Fri-Thurs
Court (Chaitanya Tamhane) Fri-Thurs
Miracle Mile (Steve De Jarnatt, 1988) Fri Only 35mm, with director
Dark Cool Quiet Sat Only
New Vacation: Installation Opening Sat Only
Her Wilderness (Frank Mosley) Weds Only Filmmaker in Attendance
A-Bomb: 70 Years Since Hiroshima Thurs Only 16mm
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Tues & Weds Only
Wild City (Ringo Lam) Fri-Thurs Our Review
Jian Bing Man (Dong Chengpeng) Fri-Thurs
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Tues & Weds Only
Bajrangi Bhaijaan (Kabir Khan) Fri-Tues Our Review
Scarecrow Video Screening Lounge:
The Adventures of Buckaroo Banzai (WD Richter, 1984) Fri Only
The Heroic Trio (Johnnie To, 1993) Sun Only Our Review
The Villain (Hal Needham, 1979) Mon Only
Barquero (Gordon Douglas, 1970) Tues Only
When a Woman Ascends the Stairs (Mikio Naruse, 1960) Weds Only
The Long, Long Trailer (Vincente Minnelli, 1953) Thurs Only
The Miracle of Morgan’s Creek (Preston Sturges, 1944) Thurs Only 35mm Our Podcast
Samba (Olivier Nakache & Eric Toledano) Fri-Thurs
Our Man in Tehran (Drew Taylor & Larry Weinstein) Fri-Thurs
Boulevard (Dito Montiel) Fri-Thurs
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Tues & Weds Only
The Stanford Prison Experiment (Kyle Patrick Alvarez) Fri-Thurs
That Sugar Film (Damon Gameau) Fri-Thurs
I am Chris Farley (Derik Murray & Brent Hodge) Fri-Thurs
The Young and Prodigious TS Spivet (Jean-Pierre Jeunet, 2013) Fri-Thurs
Beyond the Brick: A Lego Brickumentary (Daniel Junge & Kief Davidson) Fri-Sun
Daisies (Věra Chytilová, 1966) Tues Only
Dragon Ball Z: Resurrection ‘F’ (Tadayoshi Yamamuro) Weds Only
Wild City (Ringo Lam, 2015)
After more than a decade of semi-retirement, legendary director Ringo Lam returns to the big screen with a thriller that hearkens back to the golden age of the Hong Kong crime film. Lam made his mark in the late 80s and early 90s with a series of action films, gritty, ultra-violent and grounded in a darkly pessimistic view of human nature and Hong Kong’s future, movies where everything seemed to be, as many of their titles indicate, ‘on fire’. Rejecting the aspiration toward transcendence of John Woo, or the narrative and thematic ambition of Tsui Hark, Lam’s films best captured the nihilistic urge for chaos at the heart of the Hong Kong New Wave. That particular moment, an apocalyptic age when the prospect of the Handover to the Mainland hung over every aspect of Hong Kong life, had dissipated by the late 90s, when Lam had joined Woo and Tsui in scraping together Hollywood products beneath their talent level (as fine as many of their American films are, and many of them are quite good, I don’t think this point is debatable). When he tired of that, he walked away to spend more time with his family. His only film since the 2003 direct-to-video Van Damme film In Hell was one third of the omnibus film Triangle made with Tsui and Johnnie To in 2007.
Friday July 24th – Thursday July 30th
Featured Film:
The Apu Trilogy at the SIFF Uptown
Following a sold out run at this year’s Seattle International Film Festival, the very fine digital restoration of Satyajit Ray’s Apu Trilogy plays this week at the SIFF Uptown. Released between 1955 and 1959 and comprising the great Bengali director’s first, second and fifth feature films (Pather Panchali, Aparajito and The World of Apu, respectively), adapting two novels by Bibhutibhushan Bandyopadhyay. Warm and naturalistic in style, evincing the influence of both Jean Renoir and the Italian Neo-Realists, Ray’s films were among the first (and remain some of the few) Indian films to crossover into the European/North American canon.
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Playing This Week:
The Muppet Movie (James Frawley, 1979) Weds Morning Only
Willy Wonka and the Chocolate Factory (Mel Stuart, 1971) Fri-Weds
Pulp Fiction (Quentin Tarantino, 1994) Fri-Weds
When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Review
Far from the Madding Crowd (Thomas Vinterberg) Fri-Thurs
Tangerine (Sean Baker) Fri-Thurs Our Review
Bajrangi Bhaijaan (Kabir Khan) Fri-Tues
Baahubali (S.S.Rajamouli) Fri-Tues Our Review (Hindi)
Gremlins (Joe Dante, 1984) Sun & Weds Only
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Testament of Youth (James Kent) Fri-Thurs
Charlie’s Country (Rolf de Heer, 2013) Tues Only
A Hard Day (Kim Seonghun) Fri-Thurs Our Review
VHS Über Alles presents Demonwarp (Emmett Alson, 1988) Sat Only VHS
EXcinema presents The Clearing (Various) Tues Only
Testament of Youth (James Kent) Fri-Thurs
Baahubali (S.S.Rajamouli) Fri-Tues Our Review (Telugu)
Bajrangi Bhaijaan (Kabir Khan) Fri-Tues
Gremlins (Joe Dante, 1984) Sun & Weds Only Our Review
Only You (Zhang Hao) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson) Fri-Mon Our Review
Do I Sound Gay? (David Thorpe) Fri-Thurs Our Review
Heaven Adores You (Nickolas Rossi) Sun Only
Our Lives in Google (Adam Sekuler) Mon Only Filmmaker in Attendance, Live Performance
Cotton Road (Laura Kissel) Tues Only Filmmaker in Attendance
Jian Bing Man (Dong Chengpeng) Fri-Tues
Bajrangi Bhaijaan (Kabir Khan) Fri-Tues
Testament of Youth (James Kent) Fri-Tues
Scarecrow Video Screening Lounge:
Castle in the Sky (Hayao Miyazaki, 1986) Sun Only
Chris Marker Group Mon Only
Marnie (Alfred Hitchcock, 1964) Tues Only
Tarzana (Steve De Jarnatt, 1972) Thurs Only Filmmaker in Attendance
The Palm Beach Story (Preston Sturges, 1942) Thurs Only 35mm
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
3 1/2 Minutes, Ten Bullets (Marc Silver) Fri-Thurs
Cartel Land (Matthew Heineman) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
Unexpected (Kris Swanberg) Fri-Thurs Our Review
The Apu Trilogy (Satyajit Ray, 1955-1959) Fri-Thurs
Gemma Bovery (Anne Fontaine) Fri-Thurs Our Review
Cartel Land (Matthew Heineman) Fri-Thurs
Caffeinated (Hanh Nguyen & Vishal Solanki) Fri-Sun Only
Shadows (John Cassavetes, 1959) Tues Only
A Hard Day (Kim Seonghun, 2014) & Unexpected (Kris Swanberg, 2015)
Opening this week on Seattle Screens are two fine features that played at this past Seattle International Film Festival. I reviewed them briefly when they played then, and here are some expanded versions of those short reviews.
A Hard Day – Somewhere the dominant strain of the crime movie genre morphed from Woovian tales of moral codes in unjust societies (ala A Better Tomorrow) to Rube Goldberg narratives driven by slapstick escalations of violence. I suspect it was somewhere around the time of Infernal Affairs, as Alan Mak and Andrew Lau’s crime thriller adopted the speed and rhythm of Johnnie To’s Milkyway thrillers, matched it with Lau’s bright, digitally slick blues, grays and blacks, and neglected to add To and his vast team of writers’ depth of purpose to their ingeniously wicked plot schematics. Thus suspense and drama comes not from characters or ideals, but from complications in plot, driving the protagonists into ever more desperate and implausible actions and unlikely camera angles. A world of shifting, impenetrable surfaces, as superficial as it is mutable. Laurel & Hardy, Where the Sidewalk Ends and The Big Clock are the reference points for Kim Seonghun’s thriller, about a cop who accidentally runs over a man on an empty street at night and goes to great lengths to cover it up. And when it turns out that he wasn’t alone on that street, and that maybe the guy he thought he killed was already dead, he finds himself lost in an ever escalating spiral of darkly comic suspense sequences, moving from mere moral corruption to unbelievably, but no less thrillingly, wild cacophonies of destruction.
A Hard Day opens Friday, July 24 at the Grand Illusion.
Unexpected – The second-best Cobie Smulders film of the year so far, falling well behind Andrew Bujalski’s romantic comedy Results. Director Kris Swanberg’s story is about a high school teacher (Smulders) who becomes pregnant and bonds with one of her students, an African-American girl with dreams of going to college and who is just-as-surprisingly knocked-up. Swanberg is mostly successful at navigating a minefield of problematicism, as the two leads are developed and performed with just enough nuance that neither ends up as the source of lesson-learning for the other. The dangers in such a scenario should be obvious – this is as eyeroll-inducing a premise for an American indie film as I’ve seen in a while (and that includes Me and Earl and the Dying Girl). Still, despite exceeding expectations, there isn’t enough depth to the characters (everyone outside the two leads is broadly painted and either inexplicable or pointless) to overcome cheap plot contrivances (a key point in the film requires both women to demonstrate a complete lack of understanding of the geography of Chicago-area colleges, which is pretty much unforgivable). It’s an OK movie with a couple of fine performances. Its success lies in eliciting a shrug rather than a wince.
Unexpected open Friday July 24 at the Sundance Cinemas.
Friday July 17th – Thursday July 23rd
Featured Film:
Rebels of the Neon God at the SIFF Film Center
The 1992 debut film from singular Taiwanese director Tsai Ming-liang opens in a newly restored version at SIFF this week. It stars Lee Kang-sheng as Hsiao-kang, a lonely young man who lives with his parents and his haunted by water and the films of François Truffaut. We’ll see his story unfold in film after film for the next two decades, but this is where it all starts. In the precisely static long-takes that are the hallmark of his minimalist style, Tsai tracks Hsiao-kang’s growing obsession with some local teenaged toughs through the arcades, malls and apartment complexes of Taipei. Our Review.
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Playing This Week:
A Cat in Paris (Jean-Loup Felicioli & Alain Gagnol, 2010) Weds Only
Breakfast at Tiffany’s (Blake Edwards, 1961) Fri-Tues
La femme Nikita (Luc Besson, 1990) Fri-Tues
The Wolfpack (Crystal Moselle) Fri-Thurs Our Review
When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Review
Back to the Future (Robert Zemeckis, 1985) Fri Midnight Only
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight Only
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
Double Indemnity (Billy Wilder, 1944) Sun, Mon & Weds Only
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Testament of Youth (James Kent) Fri-Thurs
Emptying the Skies (Douglas & Roger Cass) Tues Only
Stung (Bennie Diez) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Testament of Youth (James Kent) Fri-Thurs
Baahubali (S.S.Rajamouli) Fri-Thurs Our Review
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
Double Indemnity (Billy Wilder, 1944) Sun, Mon & Weds Only
Testament of Youth (James Kent) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson) Fri-Thurs Our Review
Boom! (Joseph Losey, 1968) Sat Only 35mm with Intro
RADAR: Exchanges In Dance Film Frequencies Sun Only
Polk County Pot Plane (Jim West, 1977) Weds Only VHS
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Forever Young (He Jiong) Fri-Thurs
Bajrangi Bhaijaan (Kabir Khan) Fri-Thurs
Breakup Playlist (Dan Villegas) Fri-Thurs
Testament of Youth (James Kent) Fri-Thurs
Scarecrow Video Screening Lounge:
Stardust (Mathew Vaughn, 2007) Fri Only
Scarecrows (William Wesley, 1988) Sat Only
Born in Flames (Lizzie Borden, 1983) Sun Only
My Man Godfrey (Gregory LaCava, 1936) Mon Only
Godzilla vs. the Smog Monster (Yoshimitsu Banno, 1971) Tues Only
Juggernaut (Richard Lester, 1974) Weds Only
Girlfriends (Claudia Weill, 1978) Thurs Only
Lost Highway (David Lynch, 1997) Fri Only 35mm Plus Shorts
Sullivan’s Travels (Preston Sturges, 1942) Thurs Only 35mm
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Rebels of the Neon God (Tsai Ming-liang, 1992) Fri-Tues, Thurs Our Review
1001 Grams (Bent Hamer) Fri-Sun Only
3 1/2 Minutes, Ten Bullets (Marc Silver) Mon Only
Shake the Dust (Adam Sjöberg) Thurs Only
Cartel Land (Matthew Heineman) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
A Murder in the Park (Christopher S. Rech) Fri-Thurs
Lila & Eve (Charles Stone III) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Gemma Bovery (Anne Fontaine) Fri-Thurs Our Review
Cartel Land (Matthew Heineman) Fri-Thurs
Ardor (Pablo Fendrik) Fri-Thurs
1001 Grams (Bent Hamer) Mon-Thurs Only
Double Indemnity (Billy Wilder, 1944) Sun & Mon Only
Belle de jour (Luis Buñuel, 1967) Tues Only Our Podcast
Two Romantic Comedies: Trainwreck (Judd Apatow, 2015) and The Lady Eve (Preston Sturges, 1941)
The latest release from the Judd Apatow empire opens tomorrow here in Seattle, written by and starring comedian Amy Schumer and directed by Apatow himself. Schumer plays a magazine writer with commitment issues and a fondness for wine and weed. Much to her surprise, she falls for a dweeby sports surgeon (Bill Hader) and must choose between growing up and reforming her ways or losing a swell guy. The film thus deftly flips the gender roles of a typical Hollywood romantic comedy, as it’s been practiced in film and television of the past 30 years or so. That reversal is the motor of the funniest parts of the film: Schumer’s assertiveness with her boyfriends (an agonizing attempt at dirty talk from John Cena) and Hader’s heartfelt exchanges with his athlete friends (LeBron James and Amar’e Stoudemire). Filled with the surreal-improv style comedy from the supporting players that defines the Apatow brand (it’s no surprise that the clear winner this time is Tilda Swinton), the film is dragged down by the shambolic, disjunctive approach to narrative that has also come to define Apatow’s work.
Friday July 10th – Thursday July 16th
Featured Film:
Bill & Ted’s Excellent Adventure at the Central Cinema
One of Mike’s All-Time favorite movies returns to Seattle Screens this week with a run at the Central Cinema. The enduring story of two dopey teens gifted with a time machine to help finish their history project, the successful completion of which is the lynchpin guaranteeing an idyllic future for all humanity stars Keanu Reeves, Alex Winter and George Carlin. We discussed it awhile back on The George Sanders Show, and along with that is Our Preview.
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Playing This Week:
Chicken Run (Nick Park & Peter Lord, 2000) Weds Only
Bill & Ted’s Excellent Adventure (Stephen Herek, 1989) Fri-Weds Our Review
Zoolander (Ben Stiller, 2001) Fri-Weds Quote-along
The Godfather Part II (Francis Ford Coppola, 1974) Thurs Only
Jaws (Steven Spielberg, 1975) Weds Only Laser Projection
The Wolfpack (Crystal Moselle) Fri-Thurs Our Review
When Marnie was There (Hiromasa Yonebayashi) Fri-Thurs Early shows dubbed, evening shows subtitled – check showtimes Our Preview
We are Still Here (Ted Geoghegan) Sat & Sun Midnight Only
Spaceballs (Mel Brooks, 1987) Sun & Weds Only
A Little Chaos (Alan Rickman) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Gemma Bovery (Anne Fontaine) Fri-Thurs
The Circle (Stefan Haupt) Tues Only
Tangerine (Sean Baker) Weds Only
Felt (Jason Banker) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Testament of Youth (James Kent) Fri-Thurs
Baahubali (S.S.Rajamouli) Fri-Thurs
Spaceballs (Mel Brooks, 1987) Sun & Weds Only
The Tribe (Myroslav Slaboshpytskiy) Fri-Thurs
Table Read: “Idaho ’73” Mon Only
Videoasis Weds Only
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Testament of Youth (James Kent) Fri-Thurs
Forever Young (He Jiong) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Breakup Playlist (Dan Villegas) Fri-Thurs
Far from the Madding Crowd (Thomas Vinterberg) Fri-Thurs
Scarecrow Video Screening Lounge:
Yes or No (Sarasawadee Wongsompetch, 2010) Fri Only
Seconds (John Frankenheimer, 1966) Sat Only
The Big Sleep (Howard Hawks, 1946) Sun Only
An American in Paris (Vincente Minnelli, 1951) Mon Only At the Seattle Public Library
A Day in the Country (Jean Renoir, 1936) Mon Only
Rebecca (Alfred Hitchcock, 1940) Tues Only
Kiss Me Deadly (Robert Aldrich, 1955) Weds Only
Cohen & Tate (Eric Red, 1989) Thurs Only
The Lady Eve (Preston Sturges, 1941) Thurs Only 35mm
Fair Play (Andrea Sedláčková) Fri Only
Václav Havel – A Life in Freedom (Andrea Sedláčková) Fri Only
Grey Gardens (Ellen Hovde, Muffie Meyer & the Maysles) Sat Only
Krasno (Ondřej Sokol) Sat Only
The Icing (Jan Hrebejk) Sat Only
Clownwise (Viktor Tauš) Sun Only
To See the Sea (Jiří Mádl) Sun Only
Breakup Playlist (Dan Villegas) Fri-Thurs
Strangerland (Kim Farrant) Fri-Thurs
The Third Man (Carol Reed, 1949) Fri-Thurs
Batkid Begins (Dana Nachman) Fri-Thurs
The Suicide Theory (Dru Brown) Fri-Thurs
Me and Earl and the Dying Girl (Alfonso Gomez-Rejon) Fri-Thurs Our Review
Grey Gardens (Ellen Hovde, Muffie Meyer & the Maysles) Fri, Sun-Thurs
A Story of Floating Weeds (Yasujiro Ozu, 1934) Sat Only Live Accompaniment
When a Woman Ascends the Stairs (Mikio Naruse, 1960) Tues Only
Christmas in July (Preston Sturges, 1940)
Tonight the Seattle Art Museum kicks off its latest series of 35mm film presentations, this one devoted to writer-director Preston Sturges, who with a handful of masterpieces in the early and mid-1940s brought the screwball comedy era to its magnificent conclusion. The museum is presenting six of his films, playing every Thursday night through August 13. We’ll be covering them all here at Seattle Screen Scene, along with recording an episode of the They Shot Pictures podcast devoted to Sturges, which we should have up in two weeks or so.
First up is the least well-known, unfairly I think, Christmas in July, in which Dick Powell plays a wannabe adman who is tricked by some fellow workers into believing his submission in a coffee company’s slogan contest has won the $25,000 grand prize. A series of misunderstandings gets him the big check, a promotion and an engagement, and before the truth can come out he’s showered his whole neighborhood with gifts and toys. Deftly sketching the generational layers of the mid-century immigrant class system, Sturges gives as subtle a portrait of the disasters and fantasies provoked by capitalism as you’ll find in Hollywood, a far cry from the sentimentality and privileged condescension of his future avatar John L. Sullivan. The tone is delicately balanced between screwball and melancholy, the warm loneliness of Powell and his girl (Ellen Drew) dreaming on a rooftop leavened by the ten minutes it takes him to explain his slogan to her (“It’s a pun” is his hopeless refrain). Sturges would never again be this relaxed.
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