NWFF continues their Films of 69 series with two fine films. Oh! What a Lovely War was the directorial debut of Richard Attenborough, a sort of avante garde satire of of World War I that uses humor and song to decry the death and destruction wrought on an entire generation of young men. Alice’s Restaurant pokes at another conflict as Arthur Penn directs Arlo Guthrie and a free-spirited cast in a funny movie about a hippie Thanksgiving and what may very well be the single most entertaining visit to an Army recruitment center recorded on film based on Guthrie’s somewhat exaggerated real life stories.
Central Cinema presents the well-crafted Johnny Cash biopic Walk the Line starring Joaquin Phoenix as the Man in Black and Reese Witherspoon as his wife and sometime musical partner June Carter Cash.
SIFF heats up the cold nights with French Crime Wave, a series of crime-themed movies from France, some well known (Mississippi Mermaid, Diabolique) and some less so (Le Cercle Rouge, Classe tous risques). Every one of the films in this series are worth seeing, but of special note is Friday night’s offering Rififi with its stunning half hour heist segment shot without either dialogue or music (paired as a double feature with gangster flick Pepe le Moko set in the Casbah) and Louise Malle’s debut feature Elevator to the Gallows (Wednesday, 1/21)in which lovely Jeanne Moreau searches Paris for her lover who happens to be trapped in the elevator of a blacked-out building after murdering Moreau’s husband. Saturday’s Mississippi Mermaid directed by Francois Truffaut and starring Catherine Deneuve and Jean-Paul Belmondo, Sunday’s hardboiled Le Cercle Rouge, Monday’s Garde a vue andTuesday’s Classe tous risques offer two more chances to see Belmondo in a starring role.
Notorious director Roman Polanski made his directorial debut in 1962 with the Polish feature Knife in the Water, a psychological thriller sometimes called his greatest work and a definite precursor to the tense films he would become best known for in the US. When a married couple impulsively invite a hitchhiker they pick up to join them on their weekend boating trip they are all drawn into a tense emotional drama that leads to a violent conflict. At the Grand Illusion.
If you like your violence extra-bloody, stop by the Grand Illusion late nights this weekend for the aptly titled Tokyo Gore Police, a gory sci-fi story set in a scary future Japan.
One of the most exciting parts of my first real visit to San Francisco was my trip out to the Golden Gate Bridge where I thrilled to the sight of the very spot where James Stewart’s “Scottie Ferguson” rescues Kim Novak’s “Madeleine Elster” from her attempt to kill herself by jumping into the San Francisco Bay. The love story involving the lead characters of this complex psychological thriller is twisted and not just a little dark, but blended into this tale of obsession, anxiety and black-hearted scheming is a love note to the city in the form of extensive use of local scenery. The Cinerama present a series of special 70mm screenings of this classic starting Sunday at noon.
Seattle filmmaker Linas Phillips (Walking to Werner, Great Speeches from a Dying World) appears at On the Boards this weekend in Lasagna, or How I learned to stop slipping towards the prison of permanent darkness, a two-man show that utilizes extensive video footage to document conversations between Phillips and NYC actor Jim Fletcher that explore the edges of sex, philosophy, spirituality, and loneliness.
Midnight at the Egyptian: Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb, the Stanley Kubrick satire of global annihilation featuring Peter Sellers in no less than three roles, George C. Scott, the film debut of James Earl Jones and Slim Pickens riding an H-bomb like a cowboy rides a rodeo horse.