Spotlight on Cinema Books

Update June 11th, 2015: Last week, Stephanie Ogle announced she would be closing her beloved store, Cinema Books, later this summer. We’ve long been fans and patrons of the store (it was, in fact, the very first place I went the day I moved to Seattle almost 17 years ago), and Stephanie has always been helpful to us in our various projects, either in finding books on Hou Hsiao-hsien, photos of Hollywood starlets or in providing prizes for our old Metro Classics trivia contests (she mentioned that one of those old gift certificates was used this week, in fact). We’ll be sad to see the store go, the latest in a string of closings and transformations that has turned the Seattle movie scene I knew into something else entirely. Shortly after we launched the site here, Mike interviewed Stephanie, and we’re rerunning that below in place of our Featured Film this week.

cinema books logo

Seattle is a unique and vibrant film town. We have the best video store in the world in Scarecrow, which carries over 120,000 titles. Our film festival began in 1976 and is now the largest in the country, playing more films per year than any other. A year after SIFF premiered, our local film noir series debuted and it is just as popular now as it was four decades ago. Also in 1977, a specialty bookstore opened on Capitol Hill that was dedicated solely to film.

Cinema Books Sign
Photos by stupidhead

Now located in the University District, Cinema Books is owned and operated by the invaluable Stephanie Ogle. Stephanie is the key to the glorious, overflowing stacks of her store. Classic stills of John Wayne in Red River are buried in a backroom and only Stephanie knows where. Little Totoros pop up here and there. There are posters, postcards and imported magazines but most of all, there are books. Cinema Books carries every conceivable type of writing on film. There are screenplays, coffee table books on Disney animation, and in-depth interviews with directors.

Cinema Books Stephanie

Stephanie graciously agreed to sit down with Seattle Screen Scene to talk about her shop’s history, the diversity of film obsessions, and of course, submarines.

Continue reading “Spotlight on Cinema Books”

Friday, February 6th – Thursday, February 12th

Featured Film:

Two Days, One Night at the SIFF Cinema Uptown
The latest film from the acclaimed Belgian directorial team Jean-Pierre and Luc Dardenne continues this week at the SIFF Uptown. Featuring a crushingly beautiful, Oscar-nominated performance from Marion Cotillard. Our Preview.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

Central Cinema:

Sleepless in Seattle (Nora Ephron, 1993) Fri-Tues Our Preview.
Secretary (Steven Shainberg, 2002) Fri-Tues

SIFF Cinema Egyptian:

SFFSFF: The Dark Side Fri Midnight
A Girl Walks Home Alone at Night (Ana Lily Amirpour) Sat Midnight

Century Federal Way:

Breakfast at Tiffany’s (Blake Edwards) Sun Only

Grand Cinema:

Oscar Nominated Animated Shorts  Fri-Mon, Wed-Thurs
Oscar Nominated Live-Action Shorts Fri-Mon, Wed-Thurs
Oscar Nominated Documentary Shorts Tues Only
Aftermass: Bicycling in a Post-Critical Mass Portland (Joe Biel) Thurs Only

Grand Illusion Cinema:

The Babadook (Jennifer Kent) Fri-Thurs
Enter the Dangerous Mind (Youssef Delara and Victor Teran) Fri & Sat
Saturday Secret Matinee (The Sprocket Society) Sat only
My Last Year With the Nuns (Bret Fetzer) Sun-Tues

Landmark Guild 45th Theatre:

Mommy (Xavier Dolan) Fri-Thurs

Cinemark Lincoln Square Cinemas:

Shamitabh (R. Balki) Fri-Thurs
Breakfast at Tiffany’s (Blake Edwards) Sun Only

Regal Meridian:

Running Man (Hu Jia & Cen Junyi) Fri-Thurs

Northwest Film Forum:

Children’s Film Festival Seattle 2015 Program Details
Involuntary (Ruben Östlund, 2008) Fri Only – 35mm
Play (Ruben Östlund, 2011) Sat-Sun Only – 35mm
Force Majeure (Ruben Östlund, 2014) Sun Only
Concerning Violence (Göran Hugo Olsson, 2014) Sun-Weds

Regal Parkway Plaza:

The Amazing Praybeyt Benjamin (Wenn V. Deramas) Fri-Thurs

Scarecrow Video Screening Lounge:

Moonwalker (Jerry Kramer et al, 1988) Sat Only
Hecho en México (Duncan Bridgeman, 2012) Sun Only
Hairspray (John Waters, 1988) Mon Only
Heathers (Michael Lehmann, 1988) Tues Only
Rock & Rule (Clive A. Smith, 1983) Weds Only
The Diary of a Country Priest (Robert Bresson, 1951) Thurs Only

Landmark Seven Gables:

Oscar Nominated Animated Shorts  Fri-Thurs
Oscar Nominated Live-Action Shorts Fri-Thurs

SIFF Film Center:

Human Capital (Paolo Virzi) Fri-Sun
The Duke of Burgundy (Peter Strickland) Fri Only
SFFSFF: The Best in Sci-Fi and Fantasy Shorts Sat Only
Actress (Robert Greene) Mon Only Our Preview.

Sundance Cinemas Seattle:

Mr. Turner (Mike Leigh) Fri-Thurs
Oscar Nominated Documentary Shorts Fri-Thurs

SIFF Cinema Uptown:

Two Days, One Night (Jean-Pierre & Luc Dardenne) Fri-Thurs Our Preview.
The Duke of Burgundy (Peter Strickland) Fri-Thurs
Escape from New York Live Scoring (John Carpenter, 1981) Fri Only
SFFSFF Encore Sun Only
SFFSFF: 10 Year Retrospective Sun Only
Human Capital (Paolo Virzi) Mon-Thurs
Lost Horizon (Frank Capra, 1937) Tues Only

Sleepless in Seattle (Nora Ephron, 1993)

Annie-sleepless-in-seattle-4032227-1920-1080

The middle film in the Ephron/Ryan trilogy that defined the romantic comedy from 1988 (When Harry Met Sally…) to 1998 (You’ve Got Mail), is back on the screen this week at the Central Cinema. Meg Ryan plays an affianced journalist (Bill Pullman is her Bellamy) who happens upon a late night talk show where she hears the sad story of recently widowed Tom Hanks and his precocious son. Instantly in love, Ryan struggles for most of the film with the weirdness of her feelings, ultimately leading to a meeting at the top of the Empire State Building.

Continue reading Sleepless in Seattle (Nora Ephron, 1993)”

Two Days, One Night (Jean-Pierre & Luc Dardenne, 2014)

B6hV5dsCEAEGwAY Continuing this week at the SIFF Uptown is the latest from neo-realist Belgian masters Jean-Pierre and Luc Dardenne, Two Days, One Night, their first foray into movie-stardom thanks to an Oscar-nominated performance from Marion Cotillard (The Dardennes themselves have never been nominated for an Academy Award, though they have accomplished the rare feat of twice winning the Palme d’Or at the Cannes Film Festival). Cotillard plays a factory worker (solar panels) who has just recently and barely recovered from the suicidal depression that caused a prolonged work absence, thus proving to her bosses that the factory will run just fine without her. She’s been laid off because her co-workers were made to vote on whether they’d rather she continue to work or they get their annual bonus. It’s an absurdly blunt premise that the Dardennes, whatever its worth, remain firmly committed to with their meticulous direct-cinema style. After talking her way into a revote as the film begins, the bulk of the movie follows Cotillard visiting each of her coworkers in turn over the weekend to beg them to allow her to keep her job. The fact that the Dardennes manage to make such a didactic and schematic premise watchable at all is a credit to their skill, and a testament to the fine performances of their cast. Cotillard first and foremost is a stunner, her portrait of a woman desperately trying to keep it together on the brink of disaster is easily on par with her exceptional work in 2013’s The Immigrant, which she probably should have been Oscar-nominated for as well. The only other recognizable face in the film is the man who plays her husband, Fabrizio Rongione, who also played the architect in 2014’s La Sapienza (look for Eugène Green’s very fine film to get a US release in the coming months, hopefully it’ll make it to Seattle), but all the performances are wonderful, each new co-worker bringing a wonderfully individualized set of hang-ups, guilts and possibilities of hope.

Two Days, One Night plays Friday through Thursday at the Kirkland Parkplace Cinema.

Actress (Robert Greene, 2014)

poster

One of my favorite movies of 2014 is back for one night only this Thursday at the Northwest Film Forum. I caught the movie when it played at the Grand Illusion Cinema a couple of years ago, and here is the review I wrote then on my blog.

I think I “related” to parts of Robert Greene’s non-fiction film in the way so many other people “related” to Boyhood, in that when we join her, stay-at-home mom Brandy Burre is very much looking to reestablish an identity for herself outside the home. This manifests itself as one of the main threads of the film’s story: her preparing to restart her acting career after a several years’ hiatus. That need for a creative outlet, for a definition of self that doesn’t revolve around one’s children (and the guilt inherit in that, a little voice telling you that not devoting yourself 100% to your children makes you a bad parent) is something I imagine every parent experiences, especially for those of us who abandon our careers for full-time parenthood. But also, more obliquely and (thankfully) alien to my own experience, this identity shift for Ms. Burre manifests itself in the collapse of her relationship with her partner Tim. This ultimately becomes the dominant storyline of the film: while Burre looks for jobs and gets her hair done and meets with friends, nothing really happens on the job front, but the relationship story unfolds dramatically in time as Tim gradually moves out of the house and we learn ever so little about what actually happened to break them up (both the proximate events and the emotions that underlay it).

Continue reading Actress (Robert Greene, 2014)”

January 30th – February 5th

Featured Film:

The Beatles and A Hard Day’s Night at the SIFF Cinema Uptown
Beatlemania hits the SIFF Uptown with four “Deconstructions” of classic albums, including Revolver, Sgt. Pepper and The White Album, along with screenings of Richard Lester’s 1964 classic A Hard Day’s Night. Goo-goo-ga-joob. Our Preview.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

Central Cinema:

Groundhog Day (Harold Ramis, 1993) Fri-Sat, Mon-Wed
Lost in Translation (Sophia Coppola, 2003) Fri-Wed

SIFF Cinema Egyptian:

Reefer Madness (Louis J. Gasnier, 1936) Fri Midnight
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight

Century Federal Way:

Eh Janam Tumhare Lekhe (Harjit Singh) Fri-Thurs
Funny Girl (William Wyler, 1968) Sun Only

Cinemark Lincoln Square:

Baby (Neeraj Pandey) Fri-Thurs
Funny Girl (William Wyler, 1968) Sun Only

Grand Cinema:

Food Chains (Sanjay Rawal) Tues Only

Grand Illusion Cinema:

When Evening Falls on Bucharest, or Metabolism (Corneliu Porumboiu) Fri-Thurs
Naked Lunch (David Cronenberg, 1991) Fri & Sat Our Preview.
Saturday Secret Matinee (The Sprocket Society) Sat only

Cinemark Lincoln Square Cinemas:

Baby (Neeraj Panday) Fri-Thurs
Funny Girl (William Wyler, 1968) Sun Only

Northwest Film Forum:

Children’s Film Festival Seattle 2015 Program Details
Blade Runner: The Final Cut (Ridley Scott, 1982/2007) Mon Only – 35mm
The Guitar Mongoloid (Ruben Östlund, 2004) Thurs Only – 35mm

Regal Parkway Plaza:

The Amazing Praybeyt Benjamin (Wenn V. Deramas) Fri-Thurs

Scarecrow Video Screening Lounge:

Pariah (Dee Rees, 2011) Sun Only
The Jerk (Carl Reiner, 1979) Mon Only
Corpse Bride (Tim Burton & Mike Johnson, 2005) Tues Only
Months, 3 Weeks & 2 Days (Cristian Mungiu, 2007) Weds Only
House of the Long Shadows (Pete Walker, 1983) Thurs Only

Seattle Art Museum:

Fellini Satyricon (Federico Fellini, 1969) Thurs Only – 35mm

Landmark Seven Gables:

Oscar Nominated Animated Shorts  Fri-Thurs
Oscar Nominated Live-Action Shorts Fri-Thurs

SIFF Film Center:

Amira & Sam (Sean Mullin) Fri-Thurs
A Girl Walks Home Alone at Night (Ana Lily Amirpour) Fri-Sun
She’s Beautiful When She’s Angry (Mary Dore) Fri-Sun
National Gallery (Frederick Wiseman) Mon Only Our Preview.

Sundance Cinemas Seattle:

Mr. Turner (Mike Leigh) Fri-Thurs
Match (Stephen Belber) Fri-Thurs
Paganini: the Devil’s Violinist (Bernard Rose) Fri-Thurs

SIFF Cinema Uptown:

Two Days, One Night (Jean-Pierre & Luc Dardenne) Fri-Thurs
A Hard Day’s Night (Richard Lester, 1964) Sat-Sun Only Our Preview.
Deconstructing the Beatles Program Details
Frozen Sing-Along (Jennifer Lee, 2013) Sat-Sun Only
She’s Beautiful When She’s Angry (Mary Dore) Mon-Thurs
A Girl Walks Home Alone at Night (Ana Lily Amirpour) Mon-Thurs
Mr. Deeds Goes to Town (Frank Capra, 1936) Tues Only

National Gallery

national-gallery

Following a successful two-week run at the Northwest Film Forum late last year, SIFF is bringing Frederick Wiseman’s latest documentary, National Gallery back for one Monday night this week as part of their Recent Raves series. At about three hours long, Gallery is only a medium length Wiseman film, a look at the venerable British art gallery, the paintings within it, the people that run it and the public that visits it. The 85 year old filmmaker is probably more well-known for his examinations of public institutions in films like Welfare (1975), Titicut Follies (1967), At Berkeley (2013) or High School (1968, followed by a sequel in 1994), but he’s also one of cinema’s great chroniclers of art as work. His dance films (Ballet, 1995; La danse, 2009; and Crazy Horse, 2011) are astounding, and, along with 2010’s Boxing Gym, form with National Gallery as expansive a look at the business, craft and sheer effort that goes into the presentation of art to an audience. Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience. The segments are broken up by shorter series of shots, much like the pillow shots of a Yasujiro Ozu film, where we get to look at the paintings and, as interestingly perhaps, the faces of the people as they look at the paintings. 19th Century landscape painter JMW Turner, himself the subject of a fine biopic directed by Mike Leigh starring Timothy Spall, is one of the featured artists. That film, Mr. Turner, is currently playing at the Sundance Cinemas. The pair would make for an excellent, if lengthy, cross-town double feature.

National Gallery plays at the Grand Cinema on Tuesday, March 3rd.

A Hard Day’s Night (Richard Lester, 1964)

beatles bow

Which Beatle came up with the title A Hard Day’s Night? Which Beatle was later cast in such meaty roles as Merlin the Magician, The Pope, and Frank Zappa? Which Beatle never wrote a bad song while a member of the band? Which Beatle is the true lead of A Hard Day’s Night?

Bingo, it’s all Ringo.

Ringo-bashing has been a pastime for so long that it’s no longer considered contrary and hip to be a staunch defender of the man. No matter, I will fight for Ringo’s honor until he garners the respect he truly deserves, not only for his contributions to the band but for his general, all-around awesomeness. All of this malarkey against Richard Starkey is baseless and unfair. He is a good drummer. He is hilarious. He is a downright cool rock ‘n’ roll star. There is no better example of Ringo’s worth than the entirety of A Hard Day’s Night.  Continue reading A Hard Day’s Night (Richard Lester, 1964)”

Naked Lunch (David Cronenberg, 1991)

naked lunch weller

The great achievement of David Cronenberg’s Naked Lunch is that it proves an adaptation need not be faithful to the original text to be successful. Of course, in this instance a straightforward adaptation would be all but impossible as William S. Burroughs’ hallucinogenic novel is one of the most infamously unfilmmable books. Instead, Cronenberg cleverly combines elements of the novel with pieces from Burroughs’ more straightforward work, as well as events from the author’s real life, to construct a feature that captures the essence of Naked Lunch, if not the literal plot.

Continue reading Naked Lunch (David Cronenberg, 1991)”

Friday, January 23 – Thursday, January 29

Featured Film:

Goodbye to Language 3D at the SIFF Cinema Uptown
A week-long run for the latest from French New Wave icon Jean-Luc Godard, a wild rumination on language, cinema, revolution, nature, Hitler and one magical dog. Our Preview.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

Central Cinema:

Spirited Away (Hayao Miyazaki, 2001) Fri-Wed
Troll 2 (Claudio Fragasso, 1990) Fri-Wed
The Room (Tommy Wiseau) Thurs Only

SIFF Cinema Egyptian:

The Big Lebowski (The Coen Brothers, 1998) Fri & Sat Midnight

Century Federal Way:

Ode to My Father (Yoon Je-kyoon) Fri-Thurs
How the West Was Won (Various) Sun Only

Grand Cinema:

She’s Beautiful When She’s Angry (Mary Dore) Tues Only

Grand Illusion Cinema:

Burroughs: The Movie (Howard Brookner, 1983) Fri-Thurs
Naked Lunch (David Cronenberg, 1991) Fri, Thurs Our Preview.
Saturday Secret Matinee (The Sprocket Society) Sat only
It’s Gonna Blow (Bill Perrine) Sat-Sun

Cinemark Lincoln Square Cinemas:

Baby (Neeraj Panday) Fri-Thurs
Ai (Shankar) Fri-Thurs
How the West Was Won (Various) Sun Only

Northwest Film Forum:

Children’s Film Festival Seattle 2015 Program Details

AMC Pacific Place:

20 Once Again (Leste Chen) Fri-Thurs

Regal Parkway Plaza:

My Big Bossing (Joyce Bernal, Marlon Rivera & Tony Reyes) Fri-Thurs

SIFF Film Center:

It’s Alive!: Frankenstein On Film  Program Details
Frankenstein and Bride of Frankenstein (James Whale, 1931 and 1935) Double Feature Fri Only
Flesh for Frankenstein (Paul Morissey, 1973) Sat Only
Abbott and Costello Meet Frankenstein (Charles Barton, 1948) Sun Only
Young Frankenstein (Mel Brooks, 1974) Sun Only
Rosewater (John Stewart) Mon Only

Sundance Cinemas Seattle:

Mr. Turner (Mike Leigh) Fri-Thurs
Song One (Kate Barker-Froyland) Fri-Thurs

SIFF Cinema Uptown:

Goodbye to Language 3D (Jean-Luc Godard) Fri-Thurs
Frankenweenie in 3D (Tim Burton, 2012) Sun Only
A Girl Walks Home Alone at Night (Ana Lily Amirpour) Fri-Thurs
It Happened One Night (Frank Capra, 1934) Tues Only