Jun 10, 2012

OO7 Continues and Fassbinder Concludes - Screening this week at the American Cinematheque - June 11 - 17, 2012

The OO7 at 50 series is off and running, and this week the series makes the shift into the 1970s and 1980s with Roger Moore and Timothy Dalton.

The Fassbinder series comes to a close and there are some other great screenings going on as well if OO7 isn't your thing (although I can't see why it wouldn't be!).

THE EGYPTIAN - 6712 Hollywood Boulevard, Hollywood, CA  90028

Wednesday, June 13th - 7:30pm

Singer and actor Pat Boone in person at a free screening for members.

STATE FAIR (1962, 20th Century Fox; Directed by: Jose Ferrer)

Get ready to have smile on your face with this Cinema-scope musical from the 60s.  A remake of the 1945 film (same name) has Pat Boone falling for the charms of Ann-Margret (and can you blame him!) much to the chagrin of his hometown girlfriend.

It's colorful, plenty of music, the screen is wide and Pat Boone along with author Richard Kibbey will be on-hand signing copies of the book - PAT BOONE, THE HOLLYWOOD YEARS.


Link to Information and Tickets HERE.

Thursday, June 14th - 7:30pm

Cruelly, Madly, Deeply: The Films of Rainer Werner Fassbinder

The fabulous Rainer Werner Fassbinder retrospective comes to a close with an encore performance of his most well-known film.

ALI: FEAR EATS THE SOUL (1974, Janus Films: Directed by: Rainer Werner Fassbinder)

A movie so good that the Cinematheque is screening it again.

A tale of forbidden love on two fronts as an older woman gets involved in a cross-racial relationship with a much younger immigrant.  The couple deals with making a relationship work that is frowned upon by everyone around them. A beautifully made movie about forbidden passion.

Followed by...

CHINESE ROULETTE (1976, Janus Films: Directed by: Rainer Werner Fassbinder)

A man and a wife head off separately to carry out extra-marital affairs and end up at the same place - the couple's country home.  The weekend gets further complicated when their physically challenged teenage daughter and her mute attendant show up, engaging in a game of Chinese Roulette which involves asking some very intimate questions.  Cruel and emotional, things get out of hand very fast.



Link to Information and Tickets HERE.

Friday, June 15th - 7:30pm


The OO7 at 50 series continues as the Roger Moore years are in full swing (see below for the Aero's schedule on Thursday for the change over from Connery to Moore).  The best part, it's 3 x Bond and Maud Adams will be there live for a Q&A.

THE MAN WITH THE GOLDEN GUN (1974, United Artists; Directed by: Guy Hamilton)

The second Roger Moore James Bond film has him facing off with deadly assassin Christopher Lee.  Herve Villachaise, Britt Ekland and Maude Adams round out the cast.

Somehow, improbably, Sheriff J.W. Pepper of Louisiana (from LIVE AND LET DIE) ends up in Thailand but no matter.  The movie also features an amazing stunt with a car jumping over a river and doing a twist mid-air.

Followed by...

THE SPY WHO LOVED ME (1977, United Artists; Directed by: Lewis Gilbert)

Roger Moore teams up with Russian agent Barbara Bach (agent XXX) and meets steel toothed Jaws for the first time.  Jaws (played by Richard Kiel) is truly one of the best additions to the Bond cannon, and was so great he made it into MOONRAKER as well (see below).

The evil plot of the villain is outlandish, the ending is big and action packed and the theme song NOBODY DOES IT BETTER is one of the best - not to mention the huge intricate sets and production design which are a trademark of the Bond series.

Followed by...

MOONRAKER (1979, United Artists; Directed by: Lewis Gilbert)

James Bond goes to space.

At the end of THE SPY WHO LOVED ME, the credits make the usual announcement that JAMES BOND WILL RETURN but the title stated is FOR YOUR EYES ONLY.  One can assume that thanks to the popularity of STAR WARS that the OO7 producers switched gears and put MOONRAKER into production to capitalize on it.

As I mentioned above, Jaws makes a rare henchmen return and even (SPOILER ALERT) gets a girlfriend.

MOONRAKER for the longest time was one of my least favorite Bond movies, but recently revisiting the series I have grown a new appreciation for this one.  The overall plot by the villain is pretty diabolical, and the scenes in space - including a battle on jet packs that is to MOONRAKER what the underwater battle was to THUNDERBALL - are beautifully choreographed.  If only they didn't have the moment with a Pidgeon in Rome doing a double take.

Oh and Lois Chiles' character, yeah her name is Dr. Goodhead.




Link to Information and Tickets HERE.

Saturday, June 16th - 10:30am

One Saturday every month the Egyptian opens its doors for a behind the scenes tour followed by a screening of FOREVER HOLLYWOOD produced by the American Cinematheque.

The Egyptian is one of the oldest theaters in Hollywood and has a lot of history behind it.  The Cinematheque and painstakingly restored the theater which when I first moved to Los Angeles was run down and boarded up and now is gorgeous and is a thriving part of the community.

FOREVER HOLLYWOOD (1999, American Cinematheque; Directed by: Todd McCarthy & Arnold Glassman)

Link to Information and Tickets HERE.

Saturday, June 16th - 2:00pm

Presented by the Art Deco Society of Los Angeles, here is LOS ANGELES RESTAURANTS OF THE 1920s - 40s with a screening of...

MILDRED PIERCE (1945, Warner Bros.; Directed by: Michael Curtiz)

Joan Crawford gives an Oscar-winning performance of a mother just trying to make a go of it in 1940s Los Angeles.  Based on the novel by James M. Cain, this is Crawford at her Film Noir best.

Slices of Mildred's famous fruit pies will be on sale, as well there will be a discussion about Los Angeles restaurants from the 1920s - 40s - so you get a double dose with this cinematic classic, and a great visit to the L.A. of yesteryear.


Link to Information and Tickets HERE.

Saturday, June 16th - 7:30pm

The Cinematheque isn't done with June 16th yet.  Continuing in their ongoing MAYAN CALENDAR end-of-the-world series, here is a triple feature that ends the world in style.

THE TERMINATOR (1984, Orion; Directed by: James Cameron)

James Cameron's classic (did I really just use the word "classic" for a movie released in 1984?) returns to the big screen as Arnold Schwarzenegger becomes a mega-star as a killer cyborg hunting down Linda Hamilton to "terminate" her in order to change a post-apocalyptic future where machines have blown up the earth and a (SPOILER ALERT) rag-tag group of humans led by Hamilton's future son are engaged in a war with them.

This marks the first time Schwarzenegger uttered the famous line "I'll be back" and instantly this movie entered the stratosphere to become a loved classic and is still highly regarded 28 years later.

And when he said he'd be back...he wasn't kidding because this is followed by...

TERMINATOR 2: JUDGMENT DAY (1991, Tri-Star/Carolco; Directed by: James Cameron)

The summer of 1991 presented audiences with a rare thing - a sequel that blows the original out of the water.

James Cameron's TERMINATOR 2 (or T2) is one of the most mind-blowing cinematic experiences, and it holds up spectacularly still today (hard to believe this movie is 21 years old!).

(SPOILER ALERT) Arnold's the good guy now, and he's protecting future resistance leader John Connor (played by Edward Furlong) from a Terminator (Robert Patrick) made of liquid metal that can take the form of anyone and is completely unstoppable.

Also great about T2 is the transformation of Linda Hamilton from meek waitress just trying to stay alive in the original, to the bad-ass mercenary she becomes in the movie.


Followed by...

TERMINATOR 3: RISE OF THE MACHINES (2003, Warner Bros.; Directed by: Jonathan Mostow)

Arnold takes his promise of "I'll be back" one step further in this 3rd movie that was not directed by James Cameron as Jonathan Mostow (U571, BREAKDOWN) takes over.

Nick Stahl is John Connor now and Arnold is there to protect him from a bad-ass female Terminator this time and to help him attempt to stop Skynet from initiating World War III.  Claire Danes is along for the ride.

I have a great story about Jonathan Mostow from my days at Dave's video.  I had read the script for BREAKDOWN one night when I was interning at Universal and he came into the store the next day and I recognized the name and raved to him about how awesome his script was (I had also been going on about to co-workers all morning).

Months later I am working for Andrew Lazar at Warner Bros. and Jonathan Mostow calls in and remembers me from that day.  His quote "you know you're in L.A. when the video store clerk as read your script".  Yes indeed.




Link to Information and Tickets HERE.

Sunday, June 17th - 5:30pm

From the modern day end of the world, to the glorious days of studio system technicolor musicals.  The Art Director's Guild Film Society presents..

ZIEGFELD FOLLIES (1945, Metro-Goldwyn-Mayer; Directed by: Lemuel Ayers and Roy Del Ruth)

This is a movie that all fans of classic Hollywood should go and see - a 1940s technicolor spectacular on the big screen.

Star-studded, plenty of song and dance and need I say it again GLORIOUS technicolor (and a 35mm print at that).  The movie is accompanied by a panel discussion on the legacy of the Ziegfeld Follies.


Link to Information and Tickets HERE.

THE AERO - 1328 Montana Avenue, Santa Monica

Wednesday, June 13th - 7:30pm

MUSIC FROM THE BIG HOUSE (2010; Directed by: Bruce McDonald)

Canada's Blues Queen Rita Chiarelli will be on hand live with a Blues performance, followed by the film which chronicles her visit to and performance at one of the roughest US prisons in Louisiana.


Link to Information and Tickets HERE.

Thursday, June 14th - 7:30pm

OO7 at 50 - Sean Connery steps aside and Roger Moore takes over.

DIAMONDS ARE FOREVER (1971, United Artists; Directed by: Guy Hamilton)

Sean Connery takes back the role from George Lazenby (and getting a then astronomical figure of $1 million to do so) which takes him to Amsterdam and Las Vegas tracking down some diamonds that tie into Ernst Blofeld's latest diabolical scheme.

You can tell Connery is kind of done with the role here but there are still some great moments like only he could pull off the reply when a character reveals herself to be name Plenty O'Toole - "Of course you are" staring at her very large and nearly exposed chest as he says it.

DIAMONDS ARE FOREVER has one of my favorite John Barry scores from the series even though it is not exactly my favorite of the movies.

Followed by...

LIVE AND LET DIE (1973, United Artists; Directed by: Guy Hamilton)

The first significant cast change happens when Roger Moore takes over as James Bond that would last for 7 movies - and here is the first one.

With a bit of blaxpoitation thrown in, James Bond goes to New York, New Orleans and the Caribbean as he takes on a drug kingpin named...wait for it...Mr. Big (Yaphet Kotto).  A very young and beautiful Jane Seymour is the love interest.



Link to Information and Tickets HERE.

Friday, June 15th - 7:30pm

This Must Be The Place: Music on the Big Screen

THE LAST WALTZ (1978, MGM; Directed by: Martin Scorsese)

Martin Scorsese's great documentary highlights The Band's final concert, and is filled with interviews and side stories - easily one of the best (if not THE best) concert movies ever made.  And is it any surprise that it gets that label with Martin Scorsese behind the camera?

Followed by...

COAL MINER'S DAUGHTER (1980, Universal; Directed by: Michael Apted)

Sissy Spacek won an Oscar with her portrayal of country music star Loretta Lynn as she goes from utter poverty to super stardom thanks to some assistance from her husband (Tommy Lee Jones) who gets shoved aside in a STAR IS BORN kind of way in the process.

This has all the earmarks of the usual Hollywood Bio-pic (rise from nothing to stardom), but is much better than most of them thanks to Spacek and Jones' performances.  Also features The Band's Levon Helm (nice tie-in to the previous movie) as Loretta Lynn's father.



Link to Information and Tickets HERE.

Saturday, June 16th - 7:30pm

OO7 gets another Triple Feature.

Friday night at the Egyptian has a Roger Moore triple feature, and here at the Aero the Roger Moore Bond era comes to a close with another triple offering.

FOR YOUR EYES ONLY (1981, United Artists; Directed by John Glen)

Bond stunt coordinator John Glen has his first outing as director (he directed 5 in total) for Roger Moore's 5th Bond film which enters decade #3 - the 1980s.

FOR YOUR EYES ONLY is probably my favorite of the Roger Moore Bonds.  A lot more down-to-earth than the series is accustomed to, Bond is in a race to get his hands on a British weapon's system decoder before the other side does.

Features an awesome helicopter action-sequence opening, a ski race that takes Bond through a bobsled course, Carole Bouquet as the love interest, Julian Glover is the villain and Olympic Skater Lynn Holly Johnson makes an appearance as well (and Bond proves he just doesn't hop into bed with everyone after all).

Followed by...

OCTOPUSSY (1983, United Artists; Directed by: John Glen)

Bond heads to India to stop a Mad Russian General (Steven Berkoff) using a jewelry smuggling ring as a cover in his attempt to ignite World War III.

OCTOPUSSY is another Bond film that I have struggled with liking over the years, and it has kind of grown on me.  The plot itself is good, there are some great elements like a trio of assassins (one uses a circular table saw as a weapon), Maud Adams makes a return to the Bond series, and there is a great sequence in the middle where Bond races to foil (SPOILER ALERT - kind of) the villain's big plan.  The problem is that the ending sucks in that it's kind of ridiculous (even Q gets in on the action for some strange reason).  Again, one of John Barry's great scores in the series.

Followed by...

A VIEW TO A KILL (1985, United Artists; Directed by: John Glen)

The final Roger Moore Bond movie has him thwarting a plot by an industrialist (Christopher Walken being awesome as usual) that is aimed at Silicon valley.

This was the first Bond film I ever saw so I have a bit of a nostalgic appreciation for it.  First off, Moore is looking his age in this one, so the fact that he stepped aside after it made complete sense.  Then there is the Grace Jones and Christopher Walken factor.  Both chew up the scenery simply by showing up on screen.  Walken is truly over-the-top in this, and Grace Jones easily makes former CHARLIE'S ANGEL Tanya Roberts look well..kind of pathetic in the overall scheme of things.

The movie also marked the final appearance of Lois Maxwell as Miss Moneypenny.

(SPOILER ALERT) It all leads up to a spectacular ending involving a Zeppelin and a fight at the very top of the Golden Gate bridge.  One part I truly love involves one of Walken's henchmen about to use a stick of dynamite in a very confined space - and you have to wonder what he could possibly hope to achieve with such a weapon in the spot that they are in at the time.  It comes off as cartoony, but that's why I love it.  A fitting end to the Moore Bond legacy.




Link to Information and Tickets HERE.

Sunday, June 17th - 7:30pm

Timothy Dalton is now OO7 in a double feature.

THE LIVING DAYLIGHTS (1987, United Artists; Directed by: John Glen)

Cue James Bond actor #4 with the producers going with a lesser known name in Timothy Dalton.  Both Sam Neill and future Bond Pierce Brosnan were on the short list - but Dalton won out (Brosnan could not get out of his REMINGTON STEELE TV contract).

Another more down-to-earth plot sees Bond in a very Cold War tale coming up against a crazy arms dealer (Joe Don Baker).

The opening of the movie which has Bond on assignment to orchestrate a defection from behind the Berlin Wall and coming up against a female assassin is the entirety of the Ian Fleming short story THE LIVING DAYLIGHTS.

Dalton is a different kind of Bond - a lot less rough than Sean Connery and not quite as polished as Roger Moore - with a gentler side.  He seems less likely to mess around with every woman he sees (perfect for the AIDs age) but I liked his approach to the role.

THE LIVING DAYLIGHTS also featured John Barry's final score for the series.

I thought Dalton was the best suited for the movie that follows...

LICENCE TO KILL (1989, United Artists; Directed by: John Glen)

Dalton shows Bond has a bad side as he goes on a revenge mission.  Bond is still Bond here even without his licence to kill (it's revoked), but shows little sympathy as he hunts down Drug kingpin Robert Davi who is one nasty bloke as is his henchman played by Benicio del Toro.

David Hedison becomes the first actor to play CIA agent Felix Leiter in more than one movie, and (SPOILER ALERT) one of the first mainstay characters to suffer from a pretty nasty fate ("He disagreed with something that ate him").

Did I mention Wayne Newton is in this?

I think Dalton really has the hard edge down in this film, although it would be interesting to see what Daniel Craig would have done with it as well (not to take away from Dalton).  Alas this was to be Dalton's final Bond film.

The first Bond movie that I saw multiple times on the big screen - and the score by Michael Kamen is a different approach from the rest of the series.  Kamen was a big hit in the action score scene during this period thanks to his work on DIE HARD and LETHAL WEAPON.

LICENCE TO KILL marks the final directorial effort by John Glen in the series, and Robert Brown makes his final appearance as M (he took over from Bernard Lee after MOONRAKER).



Link to Information and Tickets HERE.

Next week - Pierce Brosnan takes OO7 into the 90s, and Daniel Craig is the first Bond for the 21st Century.