Thursday, 26 April 2018

Capital Celluloid 2018 - Day 113: Wed May 2

Falling Leaves (Iosseliani, 1966): Regent Street Cinema, 6.30pm


This 35mm screening is part of the Kino Klassika 'Youth on the March: the rise of the Soviet New Wave' season, tracing the clash of generations from the thaw to Perestroika, and curated by renowned film critic and journalist Konstantin Shavlovsky. Unlike the classic films of the French New Wave, these films are still unknown outside Russia. Most will be shown for the first time, certainly for the first time in their original formats. Full details of the season can be found by clicking here. This opening nigh screening will be introduced by the director.

Time Out review:
A documentary prologue – where Iosseliani is glimpsed enjoying a wine-harvest celebration – reveals his sympathies and interests when two young men – one an idealist, the other an ambitious opportunist – start work at a winery and, thanks to different attitudes to wine, women and socialising, go their separate ways. A lovely cautionary tale.
Geoff Andrew



Here (and above) is an extract.

Tuesday, 24 April 2018

Capital Celluloid 2018 - Day 112: Tue May 1

Out of the Blue (Hopper, 1980): BFI Southbank, NFT2, 8.40pm


This 35mm screening, part of the Lost America season (details here), is also being shown on May 5th. You can find all the details here.

Chicago Reader review:
Dennis Hopper described
Out of the Blue as a follow-up to Easy Rider, even though it contains none of the same characters or that film's fascination with motorcycle culture; rather, the connection is spiritual and stylistic. As Reader emeritus Jonathan Rosenbaum once wrote, the movie is defined by "the Hopper flavor: relentlessly raunchy and downbeat, and informed throughout by the kind of generational anguish and sense of doom that characterizes both of his earlier films [Rider and The Last Movie]." It's unmistakably a downer, beginning and ending with scenes of violent death and featuring numerous depictions of drug abuse and emotional violence along the way. It's also a haunting portrait of juvenile delinquency that ranks among the most powerful in American cinema.
Ben Sachs


Here (and above) is the trailer.

Monday, 23 April 2018

Capital Celluloid 2018 - Day 119: Mon Apr 30

Small Soldiers (Dante, 1998): Prince Charles Cinema, 8.45pm


This great subversive Joe Dante film will be shown from a 35mm print.

Chicago Reader review:
Director Joe Dante (Gremlins) is a national treasure, and his lack of recognition by the general public may actually make it easier for him to function subversively. His unpretentious fantasy romps have more to say about the American psyche, pop culture, and the ideology of violence than anything dreamed up by Steven Spielberg or George Lucas. This delightful 1998 adventure about war toys running amok in suburban middle America is a synthesis and extension of most of his previous movies, with echoes of Gulliver's Travels (including some of the satire). The toys in question are the villainous Commando Elite, fashioned using a microchip from the U.S. Defense Department to mercilessly slaughter the noble if freakish Gorgonites, a set of toys programmed (like other minorities one can mention) to hide and to lose; the Ohio citizens who wind up in the cross fire are strictly generic sitcom types, but we come to care about them almost as much as we care about the toys. It's typical of Dante as a pop connoisseur that he adroitly links a creepy sequence about mutated Barbie dolls to Bride of Frankenstein. His films are about not just culture and violence but also everyday cultural violence, something we all have to cope with.
Jonathan Rosenbaum


Here (and above) is the trailer.

Sunday, 22 April 2018

Capital Celluloid 2018 - Day 118: Sun Apr 29

if.... (Anderson, 1968): Curzon Soho, 3pm


This is the 11th screening in the excellent Enthusiasm strand at Curzon Soho and will be shown from a 35m print.

Curzon Soho introduction:
To celebrate the 50 years since Lindsay Anderson's if...., this 35mm screening will feature an introduction and Q&A from actor and playwright David Wood, who stars in the film as Johnny. David will speak of the making of the movie and work with maverick director Lindsay Anderson and actor Malcolm McDowell and afterwards will sign copies of his new book Filming if....


Chicage Reader review:
Lindsay Anderson indulges his taste for social allegory with a tale of a repressive boys' school rocked by student revolutionaries who listen to African music. Though clearly about Mother England and her colonies, the film found its popular success, in that distant summer of 1969, in being taken quite literally. Anderson deserves credit for sniffing out the cryptofascist side of the student movement, and his presentation of oppression—sexual and social—is very forceful. Yet the film finally succumbs to its own abstraction with an ending that satisfies neither symbolism nor wish fulfillment.
Dave Kehr


Here (and above) is the trailer.

Saturday, 21 April 2018

Capital Celluloid 2018 - Day 117: Sat Apr 28

A Thousand and One Nights (Yamamoto, 1969): Castle Cinema, 9pm


This screening is part of the East End Film Festival which runs from April 11th to 29th. You can find full details of the season here.

Cigarette Burns Cinema introduction:
Before Ralph Bakshi introduced us to to his X-rated animated feature Fritz the Cat, Astro Boy’s creator and master animator, Osamu Tezuka broke new ground with 1969’s A THOUSAND AND ONE NIGHTS, the first outing of his new adult oriented animation studio. Through Tezuka’s mad, psychodelic lines we follow Aldin’s journey from poor market boy to richest man in the world, as he chases love through a vibrant reimagining of the classic Middle Eastern folk tales, encountering sailors, sultans and sirens Aldin eventually finds himself learning much more about life and the world than he ever expected. Expect the pairing of Tezuka’s innovative animation style and Isao Tomita’s pioneering space music synthscape to transport you to a land far far away from Clapton’s Castle Cinema.

Capital Celluloid 2018 - Day 116: Fri Apr 27

A Fistful of Dynamite (Leone, 1971): BFI Southbank, NFT3, 7.45pm



This 35mm screening, which is also being shown in NFT1 on April 30th (full details here), is part of the Sergio Leone season at BFI Southbank. You can find all the details of the season here.

Chicago Reader review:
Sergio Leone's elliptical style and good performances from Rod Steiger and James Coburn combine to produce a vastly entertaining film (1971), also known as A Fistful of Dynamite, about the aftermath of the Mexican revolution. Coburn, a fugitive from the Irish "troubles," and Steiger, a Mexican bandit, team up to rob a bank and unwillingly become the focus of the counterrevolutionary forces. A marvelous sense of detail and spectacular effects--good fun all the way.
Don Druker

Here (and above) is the trailer.

Friday, 20 April 2018

Capital Celluloid 2018 - Day 115: Thu Apr 26

The Bounty (Donladson, 1984): Cinema Museum, 7pm


Cinema Museum introduction to 35mm screening:
The Celluloid Sorceress proudly presents a revisionist masterpiece, overlooked upon release, that has grown in stature and is considered by many among the finest epics of the 1980s. The Bounty (1984) is presented from a rare US 35mm print. Developed by Robert Bolt with Sir David Lean for over a decade and originally intended as a film in two parts, The Bounty was eventually directed by Australian Roger Donaldson. Stunningly photographed by Arthur Ibbotson and with one Vangelis’s finest score it also stars a stunning array of British talent including: Daniel Day Lewis, Liam Neeson, Philip Martin Brown, Bernard Hill, Phil Davis, Neil Morrissey, John Sessions, Dexter Fletcher, Edward Fox and Laurence Olivier. We are excited to welcome editor Tony Lawson (Straw Dogs (1971), Barry Lyndon (1975), Bad Timing (1980)) to the Cinema Museum to talk about The Bounty and his career in conversation with host Rebecca Nicole Williams.
Chicago Reader review:
Roger Donaldson's film of the classic tale of discipline and revolt in the British navy (1984) is far better than its predecessors, despite the dim wattage of Anthony Hopkins (as Captain Bligh) and Mel Gibson (as Mister Christian). Robert Bolt's screenplay was originally prepared for David Lean, and it contains a lot of Bolt-ish/Lean-ish disquisition on the question of civilization versus savagery. But Donaldson brings it alive by applying the agonizing rhythm of tension and release, suppression and explosion, that governed his superb New Zealand film 
Smash Palace. Hardly another filmmaker in the 80s could leap from smooth classicism to dynamic modernism with such agility and expressiveness. The appalling electronic score, by Chariots of Fire's Vangelis, is the film's only grating flaw. With Edward Fox and Laurence Olivier.
Dave Kehr
Here (and above) is the trailer.