Monday, 22 January 2018

Capital Celluloid 2018 - Day 33: Fri Feb 2

Groundhog Day (Ramis, 1993): Prince Charles Cinema, 1.30, 3.50 & 6.10pm


It's the 25th anniversary of the movie Groundhog Day so what better way to celebrate than attending one of these 35mm screenings of Groundhog Day.

New Statesman film critic, Ryan Gilbey, has written a BFI Modern Classics monograph on Groundhog Day which I can highly recommend. Here is an extract from a feature he wrote for the Observer on the film:

'[Groundhog Day] has emerged as one of the most influential films in modern cinema - and not only on other movies. Tony Blair did not refer to Jurassic Park in his sombre speech about the Northern Ireland peace process. Dispatches during the search for weapons of mass distraction made no mention of Mrs Doubtfire . And the Archbishop of Canterbury neglected to name-check Indecent Proposal when delivering the 2002 Richard Dimbleby Lecture. But Groundhog Day was invoked on each of these occasions.

The title has become a way of encapsulating those feelings of futility, repetition and boredom that are a routine part of our lives. When Groundhog Day is referred to, it is not the 2 February celebration that comes to mind, but the story of a cynical TV weatherman, Phil Connors, played by Bill Murray, who pitches up in Punxsutawney to cover the festivities. Next morning, he wakes to discover it's not the next morning at all: he is trapped in Groundhog Day. No matter what crimes he commits or how definitively he annihilates himself, he will be returned to his dismal bed-and-breakfast each morning at 5.59am ...'

Here all the Ned Ryerson scenes, here are all the Ned Ryerson scenes, here are all the Ned Ryerson scenes ...

Sunday, 21 January 2018

Capital Celluloid 2018 - Day 32: Thu Feb 1

Inherent Vice (Anderson, 2014): Prince Charles Cinema, 8.30pm


This screening is part of the 'Paul Thomas Anderson 35mm tour' and you can read the full details of the season at the Prince Charles Cinema here.

Chicago Reader review:
Inherent Vice would be a landmark in movie history even if it weren't good. More than just an adaptation of Thomas Pynchon's 2009 novel—indeed the first official Pynchon adaptation, period—the film engages with the author's literature on the whole, attempting a filmic analogue to his virtuosic prose. Arguably the James Joyce of postmodern American fiction, Pynchon created a new kind of epic novel with V. (1963) and Gravity's Rainbow (1973), combining literary references high and low, probing considerations of postwar history, goofy counterculture humor (frequently about drugs and sex), and flights of formal experimentation. His books can be overwhelming on a first read, as they feature dozens (sometimes even hundreds) of characters and interweave multiple conspiracy plots, some of which touch on real historic events. How could one make a movie that conveys the depth of Pynchon's literature, to say nothing of his polyphonous language?
Ben Sachs ... continue reading the review here ...

Here (and above) is the trailer. 

Saturday, 20 January 2018

Capital Celluloid 2018 - Day 31: Wed Jan 31

Gun Crazy (Lewis, 1949): Rio Cinema, 6.10pm


The late Peggy Cummins is celebrated by the Rio Cinema with a three-night run (from January 30th to February 1st) in their new Screen Two of Joseph H Lewis's superb B movie, Gun Crazy.

Chicago Reader review:
One of the most distinguished works of art to emerge from the B movie swamp, Joseph H. Lewis's 1949 film is a proto-Bonnie and Clyde
 tale of an outlaw couple on the run. Lewis's long takes and sure command of film noir staples (shadows, fog, rain-soaked streets) make this a stunning technical achievement, but it's something more--a gangster film that explores the limits of the form with feeling and responsibility. With Peggy Cummins and John Dall.
Dave Kehr


Here (and above) is an extract.

Thursday, 18 January 2018

Capital Celluloid 2018 - Day 30: Tue Jan 30

The Goalie's Anxiety at the Penalty Kick (Wenders, 1972): Picturehouse Central, 6.45pm



Having remained unavailable for three decades, the film (formerly released as The Goalkeeper's Fear of the Penalty) returns to UK cinemas in January 2018, restored and remastered in stunning 4K, commissioned by the Wim Wenders Foundation under the direct supervision of Wenders himself.

Time Out review:
The Goalkeeper's Fear of the Penalty
 outdoes even Wenders' subsequent Alice in the Cities in its sense that everything shown is at once subjective and objective. German goalie Bloch (Brauss) walks out of a game in Vienna, hangs around, commits an arbitrary murder, and then takes a coach to the Austrian border to look up an old flame. It's the journey of a man who's getting too old for his job, living off his nerves, sustained by his taste for Americana, movies and rock (everything from Hitchcock to 'Wimaway'). Brauss' engagingly hangdog face anchors it all in recognisable human feelings, while avoiding the least hint of 'psychological' explanation. More than in his later movies, Wenders' style here has a remarkably charged quality: every frame haunts you for goddam weeks.
Tony Rayns


Here (and above) is an extract.

Wednesday, 17 January 2018

Capital Celluloid 2018 - Day 29: Mon Jan 29

Chimes At Midnight (Welles, 1966): Close-Up Cinema, 7.30pm


This screening is part of the Orson Welles season at Close-Up Cinema from January 15th to 30th. You can find all the details here. This film is also being ashown on January 19th. Details here.

Chicago Reader review:
Orson Welles's 1966 version of the Falstaff story, assembled from Shakespearean bits and pieces, is the one Welles film that deserves to be called lovely; there is also a rising tide of opinion that proclaims it his masterpiece. Restrained and even serene (down to its memorably muddy battle scene), it shows Welles working largely without his technical flourishes—and for those who have never seen beyond his surface flash, it is ample proof of how sensitive and subtle an artist he was. With Keith Baxter, John Gielgud, Margaret Rutherford, and Jeanne Moreau.
Dave Kehr


Here (and above) is the trailer.

Tuesday, 16 January 2018

Capital Celluloid 2018 - Day 28: Sun Jan 28

Death Line (Sherman, 1972): Waterloo Vaults, 3pm


Misc Films introduction:
First released in 1972, Death Line (retitled Raw Meat in the States) was truly ahead of its time in its mixture of grisly thrills, gallows humour and sharp social commentary. Now, it is rightly heralded as a British horror classic, and is a favourite of such genre aficionados as Edgar Wright, Guillermo del Toro and Mark Gatiss. Don’t miss this rare big-screen outing, presented by Misc. Films in the VAULT’s suitably shadowy, subterranean setting underneath Waterloo station.

Time Out review:
One of the great British horror films, Death Line is a classic example of what Hellraiser director Clive Barker calls 'embracing the monstrous'. The film's basic premise is a gruesome one: following a cave-in during the construction of an underground tunnel in 1892, successive generations of plague-ridden cannibals have survived and developed their own subterranean culture. Forced out of hiding by the death of his wife, the sole surviving cannibal begins abducting passengers from Russell Square tube station. The disgust provoked by the corpse-filled underground world inhabited by the cannibal is offset by the tenderness with which he treats his dying wife, and by the unutterable sadness of his lonely plight. The film's great achievement is in eliciting sympathy for a creature whose residual capacity for human feeling amid such terrible degradation is ultimately more moving than horrifying.
Nigel Floyd


Monday, 15 January 2018

Capital Celluloid 2018 - Day 27: Sat Jan 27

The Trial (Welles, 1962): Close Up Cinema, 7.30pm


This screening is part of the Orson Welles season at Close-Up Cinema from January 15th to 30th. You can find all the details here.

Chicago Reader review:
Though debatable as an adaptation of the Franz Kafka novel, Orson Welles's nightmarish, labyrinthine comedy of 1962—shot mainly in Paris's abandoned Gare d'Orsay and various locations in Zagreb and Rome after he had to abandon his plan to use sets—remains his creepiest and most disturbing work; it's also a lot more influential than people usually admit (e.g., 
After Hours, the costume store sequences in Eyes Wide Shut). Anthony Perkins gives an adolescent temper to Joseph K, a bureaucrat mysteriously brought to court for an unspecified crime. Among the predatory females who pursue him are Jeanne Moreau, Romy Schneider, and Elsa Martinelli; Welles himself plays the hero's tyrannical lawyer, and Akim Tamiroff is one of his oldest clients. Welles adroitly captures the experience of an unsettling and slightly hysterical dream throughout. Given the impact of screen size on what he's doing, you can't claim to have seen this if you've watched it only on video.
Jonathan Rosenbaum


Here (and above) is the trailer.