Film Exhibitions by pengxiang

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									     The Contenders, 2009                                                                 Nuts and Bolts: Machine Made Man in Films from the Collection
     MoMA Presents: ContemporAsian                                                        Artur Zmijewski
     Tim Burton and the Lurid Beauty of Monsters                                          Tim Burton
     Cool Men in a Golden Age: Alfred Leslie and Frank O’Hara                             Modern Mondays
     Lithuanian Cinema: 1990–2009                                                         An Auteurist History of Film
     Dino Risi: Comedy with a Twist
     Johnny Mercer Centenary Screening
     Jacques Tati
     Best Years: Going to the Movies, 1945–46




     Film Exhibitions
                                                                                          Sincerely Yours. 2009. Taiwan. Directed by Rich Lee

     Film Admission                                                                       MoMA Presents: ContemporAsian
     Tickets for film programs in Theaters 1 and 2 are available                          december 10–16
     at the Museum lobby information desk and at the film desk.
     Tickets for film programs in Theater 3 are available at the                          Asian cinema is fast becoming a cinema without borders.
     Museum lobby information desk and at the lobby desk of                               Digital filmmaking and international coproductions are
     The Lewis B. and Dorothy Cullman Education and Research                              transforming an industry in which the transnational flow
     Building. Please see page 63 for hours and further information.                      of talent and resources, even between the U.S. and Asia, has
                                                                                          become the norm. In the monthly exhibition ContemporAsian,
     T1: Theater 1 (The Roy and Niuta Titus Theater 1)                                    MoMA showcases films that get little exposure outside of
     T2: Theater 2 (The Roy and Niuta Titus Theater 2)                                    their home countries or on the international festival circuit,
     T3: Theater 3 (The Celeste Bartos Theater)                                           but which engage the various styles, histories, and changes
                                                                                          in Asian cinema. Presented in special weeklong engagements,
     The Contenders, 2009                                                                 the films in the series include recent independent gems and
     through january 11, 2010                                                             little-seen classics.

     Each year there are films that resonate far beyond a brief                           Organized by Jytte Jensen, Curator, Department of Film, with William
     theatrical release or film festival appearance. Their significance                   Phuan, independent curator. Grateful thanks to Laura Rugarber, Department
     can be attributed to a variety of factors, from structure to                         Assistant, Department of Film.
     subject matter to language, but these films are united in their
     lasting impact on the cinematic art form.                                            Qilu tiantang (Sincerely Yours). 2009. Taiwan. Directed by
         For this ongoing series, the Department of Film combs                            Rich Lee. With Lola Amaria, Banlop Lomnoi, May Kuei-Mei
     through major studio releases and the top film festivals in the                      Yang. Setia and Supayong are illegal workers in Taiwan.
     world, selecting influential, innovative films made in the past                      Setia works as domestic help to support her child and family
     year that we believe will stand the test of time. Each of these                      back in Indonesia, while Supayong, from Thailand, takes
     films is a contender for lasting historical significance—and                         on odd jobs to scrape together a living. Even as they enter
     any true cinephile will want to catch them on the big screen.                        a tentative love affair, the constant fear of deportation
     On December 1, the Independent Filmmaker Project (IFP), in                           threatens to overwhelm them. Lee’s finely tuned debut film
     conjunction with the Gotham Independent Film Awards, presents                        acutely captures the precarious plight of migrant workers,
     Kathryn Bigelow’s The Hurt Locker (2009), followed by a                              and the characters’ yearning for connection and a better
     discussion with the director and special guests. Visit MoMA.org                      life. In Mandarin; English subtitles. 96 min. Thursday,
     for more information on this month’s Contenders screenings.                          December 10, 7:00; Friday, December 11, 4:00; Saturday,
                                                                                          December 12, 8:00; Sunday, December 13, 5:45; Monday,
     Organized by the Department of Film. The exhibition is supported by BNP Paribas.     December 14, 4:00; Wednesday, December 16, 7:00. T2


14                                                                  FILM ExhIbItIons    FILM ExhIbItIons                                                              15
     Tim Burton and the Lurid Beauty of Monsters                                           This Rankin/Bass stop-motion-animated musical features
     december 2, 2009–aPrIL 26, 2010                                                       a campy cavalcade of classic horror characters, including
                                                                                           Dracula, the Mummy, and Dr. Jekyll and Mr. Hyde, as they
     In conjunction with MoMA’s career retrospective of artist                             plot to gain control of Baron von Frankenstein’s secret
     and filmmaker Tim Burton (see pages 7 and 31), the                                    weapon during a monster convention. The film’s pun-filled
     Department of Film presents Tim Burton and the Lurid Beauty                           humor was an obvious influence on Tim Burton’s cartoon
     of Monsters, a series of films that have influenced, inspired,                        drawings of the early 1980s. 95 min. Saturday, December 5,
     and intrigued Burton, and which reflect the motifs, themes,                           5:45; Sunday, December 6, 5:30. T1
     and sensibilities of his work. Taking as its starting point
     horror-movie screenings that Burton organized in his youth,                           Frankenstein. 1931. USA. Directed by James Whale.
     the series spans five decades and includes landmark                                   Screenplay by John L. Balderston, Francis Edward Faragoh,
     films of stop-motion animation, German Expressionism,                                 Garrett Fort, based on the play by Peggy Webling and the
     Grand Guignol horror, Universal monsters, and B-grade                                 novel by Mary Shelley. With Boris Karloff, Mae Clarke, Colin
     science-fiction. Burton has said of watching these movies                             Clive. This classic Universal horror film, featuring the
     while growing up, “I loved the lurid beauty of these monster                          work of renowned makeup artist Jack Pierce, clearly made
     movies. They spoke to me. I didn’t understand the world,                              an indelible imprint on the young Tim Burton. Frankenstein
     and these films were somehow symbolic of the way I felt.”                             showcases Karloff as a sympathetic monster whose principal
                                                                                           sin is his existence—a prominent theme throughout
     Organized by Jenny He, Curatorial Assistant, Department of Film. Special thanks       Burton’s work. 71 min. Saturday, December 26, 2:00. T1
     to Wayne Titus, Alice Remsnyder, Elizabeth Quilter, and Charlie Achuff.
                                                                                           Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari).
     The Omega Man. 1971. USA. Directed by Boris Sagal.                                    1920. Germany. Directed by Robert Wiene. Screenplay by
     Screenplay by John William Corrington, Joyce H. Corrington,                           Hans Janowitz, Carl Mayer. With Werner Krauss, Conrad
     based on I Am Legend, by Richard Matheson. With Charlton                              Veidt. In one of the landmark films of German Expressionism,
     Heston, Rosalind Cash. When asked to choose the one film                              a movement that greatly influenced Tim Burton’s visual
     he would bring to a deserted island, Tim Burton playfully                             style, the somnambulist Cesare commits murder under the
     recalled this story of the last man on earth. The only human                          control of the sinister Dr. Caligari. The theme of the reluctant
     not transformed by a viral epidemic into a light-sensitive                            villain plays a significant role in Burton’s films, in which
     creature of the night, Dr. Robert Neville (Heston) walks a                            characters like Catwoman and Sweeney Todd are made into
     razor-thin line between losing his mind and becoming                                  monsters by the wickedness of others. Silent, with piano
     mankind’s savior. 98 min. Wednesday, December 2, 6:00. T2                             accompaniment by Stuart Oderman. 71 min. Saturday,
                                                                                           December 26, 8:00. T1
     Jason and the Argonauts. 1963. USA/Great Britain. Directed
     by Don Chaffey. Screenplay by Jan Read, Beverley Cross.                               Murders in the Rue Morgue. 1932. USA. Directed by Robert
     With Todd Armstrong, Niall MacGinnis, Honor Blackman.                                 Florey. Screenplay by Florey, Tom Reed, Dale Van Every, based
     In search of the mythical Golden Fleece, Jason and the                                on the story by Edgar Allan Poe. With Bela Lugosi, Sidney Fox,
     crew of the Argo face such perils as a one hundred–foot                               Leon Ames. After the success of Dracula (1931), Universal cast
     living statue, bat-winged harpies, and the seven-headed                               Lugosi in this murder mystery, loosely based on Poe’s tale.
     Hydra—all brought to life by legendary special-effects master                         With roots in Parisian Grand Guignol and hints of The Cabinet
     Ray Harryhausen, one of Tim Burton’s childhood idols.                                 of Dr. Caligari, this film was also an influence on the B-movie
     “The stop-motion animation and the kind of reality and                                director (and Tim Burton muse) Ed Wood, who paid homage
     scale of it...was really amazing,” says Burton of the film,                           to the film in his own Bride of the Monster. Ames plays a
     “[Harryhausen was able to] imbue his monsters with more                               variation on Dupin, Poe’s seminal literary detective who gave
     emotion than most of the actors in those movies.” 104 min.                            rise to the tropes and structure of the classic whodunit—a
     Thursday, December 3, 8:00; Saturday, December 5, 3:15. T1                            tradition very much embodied in the Ichabod Crane of
                                                                                           Burton’s Sleepy Hollow. 61 min. Sunday, December 27, 2:30. T1
     Mad Monster Party. 1967. USA. Directed by Jules Bass.
     Screenplay by Forrest J Ackerman, Len Korobkin, Harvey
     Kurtzman. With the voices of Boris Karloff, Phyllis Diller.


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     Cool Men in a Golden Age:                                                        who was awarded the Directors Guild of America Best
     Alfred Leslie and Frank O’Hara                                                   Documentary Filmmaker award in 2006 for Before Flying
     december 4                                                                       Back to Earth; and Jonas Mekas, whose creative and
                                                                                      organizational activity in the U.S. has been essential to
     In celebration of LUX’s recent DVD release Cool Man in a Golden                  American independent filmmaking. Other filmmakers
     Age: Alfred Leslie Selected Films, this evening commemorates                     like Raimundas Banionis and the team of Romas Lileikis
     the creative collaboration between two key figures of the                        and Stasys Motiejunas, whose films appeared early in
     postwar New York art scene, who together brilliantly                             the “liberation” of Lithuanian cinema, deserve to be better
     captured the excitement of a golden period in the city’s                         known abroad—as do Kristina Buozyte (The Collectress)
     artistic life. Alfred Leslie (b. 1927)—who will be present—                      and Gytis Luksas (Vortex), both of whom are enjoying their
     is celebrated for both his Abstract Expressionist and                            American premieres. All films are from Lithuania and in
     realist paintings and his films, including the seminal Beat                      Lithuanian with English subtitles, unless otherwise noted.
     document Pull My Daisy (1959, codirected with Robert
     Frank). Frank O’Hara (1926–1966) was one of the most                             Organized by Laurence Kardish, Senior Curator, Department of Film, in

     influential American poets of the twentieth century                              association with the Tinklai International Short Film Festival, Lithuania, and

     and a curator at The Museum of Modern Art. The screening                         its directors V.S. Panoptikumas and Arturas Jevdokimovas. Thanks to Julius

     is introduced by Daniel Kane, senior lecturer in American                        Ziz and the Lithuanian Consulate in New York.

     literature at the University of Sussex and author of We Saw
     the Light, Conversations between the New American Cinema                         Vaikai is ‘Amerikos viesbucio’ (Children from “Hotel
     and Poetry.                                                                      America”). 1990. Directed by Raimundas Banionis. Screenplay
                                                                                      by Maciej Drygas. In Kaunas, Lithuania’s second-largest city, a
     Organized by Charles Silver, Curator, Department of Film.                        group of young people listen to prohibited Western music and
                                                                                      surreptitiously attempt to create a Woodstock of their own.
     The Last Clean Shirt. 1964. USA. Directed by Alfred Leslie,                      93 min. Friday, December 4, 4:00; Monday, December 14,
     Frank O’Hara. In this short film, comprising a single                            7:00 . T2
     shot, a man and woman take a car ride through downtown
     Manhattan. The woman speaks in double-talk Finnish,                              Trys dienos (Three Days). 1991. Written and directed by
     which is interpreted into a brilliantly beautiful story through                  Sarunas Bartas. Two friends from Lithuania travel to Soviet
     subtitles written by O’Hara. 42 min.                                             Kaliningrad, hoping to find companionship in an allied
     USA Poetry. 1966. USA. Directed by Richard O. Moore.                             state. 76 min. Friday, December 4, 7:00; Saturday, December 5,
     O’Hara reads from his poems and, in a discussion with                            6:00. T2
     Leslie, considers his work and the relationships between
     poets, playwrights, and artists. 15 min. Introduced by                           Two Award-Winning Documentaries
     Daniel Kane. Friday, December 4, 8:00. T1                                        Pries parskrendant i zeme (Before Flying Back to Earth).
                                                                                      2005. Directed by Arunas Matelis. Matelis’s daughter was
                                                                                      treated for leukemia in a children’s ward in Vilnius.
     Lithuanian Cinema: 1990–2009                                                     After her release, the filmmaker returned to record the
     december 4–13                                                                    lives and dreams of the children who remained. 52 min.
                                                                                      Zmogus arklys (Man-Horse). 2008. Directed by Audrius
     This is the first U.S. survey to explore the last twenty years                   Mickevicius. Seasons and regimes change, but an
     of fiction and nonfiction feature and short films from                           elderly farmer remains tied to his faithful horse. 52 min.
     Lithuania. Since the Baltic republic declared its independence                   Saturday, December 5, 1:00; Sunday, December 6, 5:00. T2
     from the Soviet Union in the early 1990s, Lithuanian
     filmmakers, unconstrained by ideology and despite limited                        Namas (The House). 1997. Lithuania/France/Portugal.
     infrastructure, have made a number of distinguished                              Directed by Sarunas Bartas. Screenplay by Bartas, Katerina
     works exploring themes of identity—both personal and                             Golubeva. Might a house—strangely situated, curiously
     national—in original, passionate, and provocative ways.                          occupied, both welcoming and frightening—be a metaphor
     Some Lithuanian filmmakers have earned international                             for an entire nation? 120 min. Saturday, December 5, 3:30;
     reputations, including Sarunas Bartas; Arunas Matelis,                           Saturday, December 12, 1:00. T2


18                                                               FILM ExhIbItIons   FILM ExhIbItIons                                                                   19
     Kolekcioniere (The Collectress). 2008. Directed by Kristina             produce laughter tinged with bitterness, and the spectator
     Buozyte. Screenplay by Buozyte, Bruno Samper, Darius                    often ends up with a loving understanding of even the
     Gylys. When a respected pediatrician suddenly finds that                most controversial and questionable protagonists. Risi, who
     she cannot experience any emotions unless she is utterly                died only last year, attracted the most beloved actors and
     humiliated, her desire to feel leads to ever more desperate             collaborators to his very special brand of intelligent, sparkling
     measures. 84 min. Saturday, December 5, 8:00 (T2);                      humor, and his films stand as a passionate testament to
     Monday, December 7, 4:30 (T1)                                           the enduring attraction of the true soul of comedy. All films
                                                                             are directed by Risi, from Italy, and in Italian with English
     As esu (I Am). 1990. Written and directed by Romas Lileikis,            subtitles, unless otherwise noted.
     Stasys Motiejunas. A young boy with a vivid imagination
     witnesses social changes that he cannot understand. 69 min.             Dino Risi: Comedy with a Twist is produced by Associazione Napolicinema
     Sunday, December 6, 1:00; Wednesday, December 9, 4:00. T2               and 41˚ Parallelo (Napoli, Mediterraneo-New York, USA) and organized for
                                                                             The Museum of Modern Art by Jytte Jensen, Curator, Department of Film;
     Lithuanian Shorts                                                       Davide Azzolini, Director, 41˚ Parallelo; and Antonio Monda, Professor, New
     A program of Lithuanian short films, including Julius Ziz’s             York University. Grateful thanks to MiBAC DG Cinema, Centro Sperimentale
     Vilkas (The Wolf ) and The Window.                                      di Cinematografia, Cineteca Nazionale, and Cinecittá Luce SpA.
     Program approx. 105 min. Sunday, December 6, 3:00;
     Thursday, December 10, 4:00. T2                                         Profumo di donna (Scent of a Woman). 1974. Cowritten
                                                                             by Dino Risi. With Vittorio Gassman, Alessandro Momo,
     Lithuania and the Collapse of the USSR. 2008. Lithuania/USA.            Agostina Belli. A surly army captain is forced to retire as a
     Directed by Jonas Mekas. Using a video camera to film news              result of an accident that has left him blind. He travels across
     broadcasts off of his television screen, Mekas recorded the             Italy accompanied by a young recruit, intent on committing
     rocky and dramatic transition from Lithuania’s declaration              suicide, but his relationship with the young man and an
     of independence in March 1990 to its induction into the                 encounter with an old flame soon change his mind. 102 min.
     United Nations in September 1991. Given added depth by a                Thursday, December 10, 4:30; Sunday, December 13, 5:30. T1
     soundtrack in which Mekas’s domestic life competes with
     the words of commentators, this nearly five-hour-long work              Il sorpasso (The Easy Life). 1962. Cowritten by Dino Risi. With
     was described by Manohla Dargis in The New York Times                   Vittorio Gassman, Jean-Louis Trintignant, Catherine Spaak.
     as “perversely engaging…an increasingly gripping story of               When Bruno, an insatiable lover of sports cars and beautiful
     revolt, courage, and power.” 286 min. Wednesday, December 9,            women, meets timid college student Roberto, he decides to
     6:15; Sunday, December 13, 12:30. T2                                    drag him along for a trip on a seemingly endless August day.
                                                                             The trip becomes a rite of passage of sorts for Roberto, albeit
     Duburys (Vortex). 2009. Written and directed by Gytis                   one with a tragic ending. 106 min. Thursday, December 10,
     Luksas. An exquisite black-and-white chronicle of a                     8:00; Wednesday, December 16, 6:15. T1
     young man’s shifting relationships as he adjusts rather
     dramatically to the unfamiliarity of freedom. 150 min.                  Poveri ma belli (Poor, but Beautiful). 1957. Cowritten
     Friday, December 11, 7:00; Saturday, December 12, 3:15. T2              by Dino Risi. With Marisa Allasio, Maurizio Arena, Renato
                                                                             Salvatori. Best friends Romolo and Salvatore are more
                                                                             interested in chasing girls than finding work. When they
     Dino Risi: Comedy with a Twist                                          both fall in love with the same young woman, she amuses
     december 10–17                                                          herself by playing them against one another. 102 min. Friday,
                                                                             December 11, 4:30 (T1); Thursday, December 17, 7:00 (T2)
     Milanese by birth and Roman by adoption, Dino Risi
     (1916–2008) possessed, beneath his apparently cynical and               Una vita difficile (A Difficult Life). 1961. With Alberto Sordi,
     even cruel gaze, the traits of a true humanist, and his films           Lea Massari, Franco Fabrizi. The story of Silvio Magnozzi,
     exhibit a profound morality. Considered in its entirety, his            ex-partisan and unsuccessful journalist, who refuses to
     work forms an impassioned human comedy, exhibiting a                    compromise his ideals in any way. Abandoned by his wife, he
     disenchantment that results from a deep understanding of                finds himself forced to work for a rich industrialist who he
     his characters’ souls. For this reason his films frequently


20                                                      FILM ExhIbItIons   FILM ExhIbItIons                                                                21
                                                                                       Caro papà (Dear Father). 1979. Italy/France/Canada.
                                                                                       Cowritten by Dino Risi. With Vittorio Gassman, Andrée
                                                                                       Lachapelle, Aurore Clément. Albino Milozza is an
                                                                                       unscrupulous but successful businessman…and a terrible
                                                                                       family man. Busy with his mistress, he completely
                                                                                       disregards his kids: a drug-addicted teenage daughter who
                                                                                       decides to follow her guru to India, and a son who is an
                                                                                       extreme militant terrorist. 109 min. Sunday, December 13,
                                                                                       1:00 (T1); Thursday, December 17, 4:00 (T2)

                                                                                       Il segno di venere. (The Sign of Venus). 1955. Cowritten by
                                                                                       Dino Risi. With Sophia Loren, Franca Valeri, Vittorio De
                                                                                       Sica. Agnese is very beautiful and has plenty of male suitors,
                                                                                       but her cousin and housemate Cesira merely dreams of
                                                                                       the day her Prince Charming will come. Things start looking
     The Easy Life. 1962. Italy. Directed by Dino Risi (pg. 21)
                                                                                       up when a fortune-teller informs Cesira that she is in
     once skewered in print. As he learns life’s lessons he retrieves
                                                                                       the promising phase of the “Sign of Venus.” 100 min. Monday,
     his pride—and all else that’s dear to him. 118 min. Friday,
                                                                                       December 14, 4:30; Wednesday, December 16, 8:30. T1
     December 11, 8:00; Sunday, December 13, 3:00. T1

     Una bella vacanza (A Beautiful Vacation). 2006. Directed
                                                                                       Johnny Mercer Centenary Screening
     by Fabrizio Corallo, Francesca Molteni. In this long interview
                                                                                       december 18
     with Dino Risi, which premiered in December 2006 on the
     occasion of his ninetieth birthday, the filmmaker talks about
                                                                                       Johnny Mercer, the man who gave us “Hooray for Hollywood,”
     the fun and melancholy behind sixty years of directing
                                                                                       penned over 1,500 songs during his legendary career, many
     comedies, Italian style. Sequences from his most famous
                                                                                       of them written for the ninety-odd films on which he worked
     films are shown, along with testimonies from Jean Louis
                                                                                       with composers like Harry Warren, Hoagy Carmichael,
     Trintignant, Monica Bellucci, Giancarlo Giannini, Catherine
                                                                                       Henry Mancini, and Gene de Paul. To mark the centenary of
     Spaak, Martin Scorsese, Umberto Eco, and Carlo Verdone.
                                                                                       Mercer’s birth (November 10, 1909), the Department of Film,
     66 min. Saturday, December 12, 1:00; Monday, December 14,
                                                                                       in association with the Johnny Mercer Foundation and Barry
     6:30. T1
                                                                                       Day, presents one of Mercer’s most exuberant and popular
                                                                                       films, Seven Brides for Seven Brothers.
     Pane, amore e… (Scandal in Sorrento). 1955. Italy/France.
     Cowritten by Dino Risi. With Vittorio De Sica, Sophia Loren,
                                                                                       Organized by Laurence Kardish, Senior Curator, Department of Film.
     Lea Padovani. When Marshal Antonio Carotenuto returns to
     Sorrento to take command of the local police force, he finds
                                                                                       Seven Brides for Seven Brothers. 1954. USA. Directed by
     his former home occupied by a beautiful fish vendor named
                                                                                       Stanley Donen. Songs and lyrics by Johnny Mercer. With
     Sofia. But instead of throwing her out, he falls madly in love
                                                                                       Jane Powell, Russ Tamblyn, Julie Newmar. Courtesy Warner
     with her. 101 min. Saturday, December 12, 3:30; Monday,
                                                                                       Bros. 102 min. Friday, December 18, 7:00. T2
     December 14, 8:30. T1

     Il mattatore (Love and Larceny). 1959. Italy/France. With
                                                                                       Jacques Tati
     Vittorio Gassman, Dorian Gray, Anna-Maria Ferrero, Peppino
                                                                                       december 18, 2009–january 2, 2010
     De Filippo. Gerardo, aka the Artist, is a master con man.
     Having performed as a variety actor from a young age, he
                                                                                       The Museum of Modern Art’s retrospective of the French
     can take on a range of diverse personas in order to trick his
                                                                                       screenwriter, director, and actor Jacques Tati (born Jacques
     victims. Still, his loving wife tries in vain to reform him. 104 min.
                                                                                       Tatischeff, 1907–1982) features newly struck, gloriously
     Saturday, December 12, 6:00; Wednesday, December 16,
                                                                                       restored 35mm prints of his six feature films—Monsieur
     4:00. T1
                                                                                       Hulot’s Holiday, Playtime, Mon Oncle, his long-dreamed-of


22                                                                FILM ExhIbItIons   FILM ExhIbItIons                                                       23
     Mon Oncle. 1958. France. Directed by Jacques Tati (pg. 26)


     colorized version of Jour de fête, the revelatory Traffic, and                          Playtime. 1967. France/Italy. With Jacques Tati, Barbara
     the little-seen Parade—along with three short sketch films.                             Dennek. Tati’s towering achievement, a triumph of widescreen
     One of cinema’s greatest comedians, Tati was also one of                                space, color, design, and stereophonic sound, has been
     its most radical modernists. His experiments with sound,                                painstakingly restored to the director’s original full-length
     color, image, language, and technology are a fundamental,                               vision. Playtime is a gentle, absurdist satire of modern life
     if often overlooked, bridge between the innovations of the                              as homogenized, mechanized, commodified, and voyeuristic,
     silent era and those of his contemporaries Jean-Luc Godard,                             even as it celebrates the pleasures to be discovered in
     Marguerite Duras, and Robert Bresson—and have had an                                    places where we typically spend time waiting. Nöel Burch
     unmistakeable influence on the style and humor of many                                  observed that Playtime is “the first film in the history of
     filmmakers today, from from Roy Andersson to Wes Anderson,                              cinema that not only must be seen several times, but [also
     Otar Iosselliani to Elia Suleiman, Takeshi Kitano to Sylvan                             from] different distances from the screen.” In several
     Chomet. Through his long-take, deep-focus, all-over tableaux,                           languages (French, English, German, etc.), without need of
     a Babel of languages, and a musique concrete of machines                                subtitles. 126 min. Friday, December 18, 8:00 (introduced
     gone haywire, Tati creates an entire cosmos, a meticulously                             by Macha Makeïeff and Jérôme Deschamps, founders of
     choreographed chaos in a Cartesian world, and a singularly                              Les Films de Mon Oncle); Tuesday, December 29, 4:00. T1
     new, transformative, and democratic way of experiencing
     the moving image. In this way, as in so many others,                                    Jour de fête (Holiday/The Big Day). 1949. With Jacques Tati,
     Tati celebrates the importance of being playful. All films                              Paul Frankeur. In his first masterpiece, Tati plays a bumbling,
     are directed by Jacques Tati, from France, and in French                                self-important postman with a reverse Midas touch. Seeking
     with English subtitles, unless otherwise noted.                                         to bring streamlined American efficiency to the delivery of
                                                                                             the day’s mail, he instead brings chaos (and hornets) to
     Organized by Joshua Siegel, Associate Curator, Department of Film. Jacques              his sleepy village. The film contrasts the lyrical rhythms of
     Tati is presented in association with the Cultural Services of the French               pastoral life with modern-day agitations and urgencies. To
     Embassy, Les Films de Mon Oncle, Janus Films, and CULTURESFRANCE.                       his great chagrin, Jour de fête was released in black and white
                                                                                             due to a failed new color process; this new colorized version,

24                                                                      FILM ExhIbItIons   FILM ExhIbItIons                                                    25
     overseen by his daughter Sophie Tatischeff and cameraman                  Cours du soir (Night Class). 1966. France. Directed by
     François Ede, painstakingly restores Tati’s original, stunningly          Nicolas Ribowski, Tati. In this comic diversion, made on
     vibrant vision. 90 min.                                                   the set of Playtime, Tati offers a master class in pantomime
     L’École des facteurs (The School for Postmen). 1947. France.              to a group of overly earnest students. 30 min. Saturday,
     With Jacques Tati, Paul Demange. A charming sketch film that              December 26, 4:00 (T2); Tuesday, December 29, 1:30 (T1)
     was a test run for Jour de fête. 18 min. Saturday, December 19,
     5:00 (T1); Saturday, December 26, 7:30 (T2)                               Trafic (Traffic). 1971. Screenplay by Jacques Tati, with the
                                                                               artistic collaboration of Jacques Lagrange, Bert Haanstra.
     Les Vacances de Monsieur Hulot (Mr. Hulot’s Holiday). 1953.               With Tati, Maria Kimberly. People get nowhere fast in Tati’s
     With Jacques Tati, Nathalie Pascaud. In Tati’s first runaway              unjustly neglected but hilarious Traffic—perhaps the real
     success, vacationers at a Brittany seaside resort get down to the         revelation of this retrospective. Monsieur Hulot takes his
     business of having fun, only to have the unfailingly well-                final bow as a Parisian automotive designer who tricks
     mannered and well-intentioned Monsieur Hulot show up and                  out his Rube Goldberg–like Camping Car with all the latest
     make a fine mess of things. This newly restored version                   gadgets and modern conveniences, naturally with calamitous
     incorporates Tati’s 1960s re-edits, as well as his 1978 addition          results. Tati’s lifelong fascination with things that move
     of a scene that sends up Steven Spielberg’s Jaws. Restored                reaches its apogee in this farcical look at modern life coming
     by La Fondation Thomson pour le Patrimoine du Cinéma et                   to a screeching halt. 100 min. Sunday, December 27, 2:00. T2
     de la Television, La Fondation Groupama Gan, Les Films de
     Mon Oncle, and La Cinémathèque Française. 88 min.                         Soigne ton gauche. 1936. Directed by René Clément.
     Saturday, December 19, 8:00; Thursday, December 24, 4:30. T1              Screenplay by Jacques Tati, Jean-Marie Huard. With Tati,
                                                                               Max Martel, Cliville. Young Tati cowrote and starred in
     Mon Oncle. 1958. Screenplay by Jacques Tati, with the artistic            this early sketch film that plays on a classic routine of silent-
     collaboration of Jacques Lagrange. With Tati, Jean-Pierre                 era comedy: the underdog in the boxing ring. 20 min.
     Zola, Adrienne Servantie. Winner of the Academy Award                     Sylvie et le fantôme. 1945. France. Directed by Claude Autant-
     for Best Foreign Language Film and the Jury Prize at                      Lara. Screenplay by Jean Aurenche, based on the play by
     Cannes, Tati’s most ingeniously comical film follows Monsieur             Alfred Adam. With Odette Joyeux, Jacques Tati. Autant-Lara’s
     Hulot, the bohemian uncle of young Gerard Arpel, as he                    lovely and sadly forgotten wartime fantasy stars Joyeux as
     grapples with (and wreaks havoc on) the ultramodern, ultra-               a beautiful teenage heiress who falls in love with the ghost
     hygienic “conveniences” of the Arpels’ automated home.                    of her dead grandmother’s lover, charmingly and touchingly
     Hulot liberates his nephew from the soulless, stifling, and               played by Tati in a rare appearance in another director’s film.
     regimented trappings of modern life—though purely by                      Courtesy La Cinémathèque française. 90 min. Wednesday,
     accident, like everything else he does. Tati simultaneously               December 30, 4:30. T1
     shot two versions of Mon Oncle, one in English (the one
     shown in this retrospective) and the other in French, and
     he considered them distinct works with differing mise                     Best Years: Going to the Movies, 1945–1946
     en scènes. 116 min. Sunday, December 20, 2:30; Wednesday,                 through december 30
     December 23, 8:00. T1
                                                                               The years 1945 and 1946 were among the most momentous
     Parade. 1974. Sweden/France. A joyous and touching swan                   in American history, and nowhere were the period’s outsized
     song, made for Swedish television, in which Jacques Tati                  dreams and nightmares better documented than in the
     returns to his music-hall roots by saluting that most popular             movies. The studios had contributed mightily to the effort
     and democratic of art forms: the circus. The film offers                  to defeat Fascism, but after the war they took up the task
     a delightful chance to see Tati performing his legendary                  of illuminating the transition from chaos to relative stability.
     Sporting Impressions act—as Anthony Lane observed in                      The film industry was also girding itself for the advent of
     The New Yorker, “[We] gain a touching sense, as with Buster               television and a renewed market for the importation of foreign
     Keaton, of skills learned and burnished with such graceful                films. The idea for this series was suggested by Charles
     application in an artist’s springy youth that, like his best              and Mirella Jona Affron, whose new book Best Years: Going to
     friends, they remain in service through the fall and winter               the Movies, 1945–1946 authoritatively and entertainingly gives
     of his career.” 75 min.



26                                                        FILM ExhIbItIons   FILM ExhIbItIons                                                     27
     a genuine sense of what it was like to ritualistically                               Where Are Your Children? 1944. USA. Directed by William
     attend movies in those halcyon postwar days before TV                                Nigh. With Jackie Cooper, Gale Storm, Patricia Morison, John
     and multiplexes.                                                                     Litel. An early warning of the flood of juvenile delinquency
                                                                                          films to come and of the fact that an imperfect America, in
     Organized by Charles Silver, Curator, Department of Film. Thanks to Martin           spite of uniting to defeat fascism, had homegrown problems
     Scorsese.                                                                            of its own. 70 min. Thursday, December 17, 4:30 (T1); Monday,
                                                                                          December 28, 7:00 (introduced by Mirella Jona Affron) (T2)
     Atomic Power (March of Time, Volume XII, Number 13).                                 They Were Sisters. 1945. Great Britain. Directed by Arthur
     1946. USA. Director unknown. 18 min.                                                 Crabtree. With Phyllis Calvert, James Mason, Dulcie Gray, Anne
     Raduga (The Rainbow). 1941. USSR. Directed by Mark Donskoy.                          Crawford, Pamela Kellino. This literate British melodrama—
     With Nina Alisova, Natalya Uzhviy, Vera Ivashova. In                                 which had forty minutes cut for American release—features a
     this starkly realistic depiction of the Nazi occupation of                           brutish Mason on the brink of international stardom. Kellino,
     a Ukrainian village, made under wartime conditions, a                                his wife at the time, plays his daughter. 114 min. Sunday,
     pregnant partisan woman is tortured, and some of the                                 December 20, 2:00 (T2); Monday, December 21, 4:30
     villagers collaborate with the German occupiers. The film                            (introduced by Charles Affron) (T1)
     opened in America six months before the Russians took
     Berlin, and it made audiences sympathetic to the plight
     of our allies. Donskoy, a veteran of the Red Army in the                             Nuts and Bolts: Machine Made Man in Films
     Russian Revolution and a former Ukrainian prosecutor                                 from the Collection
     turned film director, was most famous for his trilogy on                             through january 2, 2010
     the life of Maxim Gorky. In Russian; no English subtitles.
     A synopsis will be available at MoMA.org. 89 min. Friday,                            In his essay “The Founding and Manifesto of Futurism,”
     December 2, 8:00; Wednesday, December 30, 7:00. T2                                   published February 20, 1909, in the French newspaper
                                                                                          Le Figaro, Italian poet Filippo Tommaso Marinetti (1876–1944)
     The Great Piggy Bank Robbery. 1946. USA. Robert Clampett.                            called for a mass cultural movement that would reject the
     With Daffy Duck. 8 min.                                                              sober and genteel conventions of the bourgeois world and
     Playing by Ear. 1946. USA. A Pete Smith Specialty. 9 min.                            embrace the speed, technology, and dynamism of the early
     The Dark Corner. 1946. USA. Directed by Henry Hathaway.                              twentieth century. Marinetti breathlessly announced the
     With Lucille Ball, Clifton Webb, William Bendix, Mark Stevens.                       coming Futurist revolution, in which the heretofore-dark
     Gritty film noir with Ball in one of her best non-comic                              night would be “illuminated by the internal glow of electric
     performances and Webb in a role that recalls his Oscar-                              hearts.” His veneration of a machine age continued in “War,
     nominated appearance in Laura two years earlier. 99 min.                             the World’s Only Hygiene” (1911–15), wherein he averred
     Program 116 min. Friday, December 4, 4:30 (introduced by                             that the automobiles, trains, and vast machines driving the
     Mirella Jona Affron) (T1); Saturday, December 19, 5:45 (T2)                          technology of his day possessed “personalities, souls, or
                                                                                          wills,” and presaged the “nonhuman and mechanical being.”
     Badminton. 1945. USA. A Pete Smith Specialty. 10 min.                                    Throughout cinematic history mechanical creatures—
     La Bataille du rail (The Battle of the Rails). 1945. France.                         robots, androids, cyborgs—have reflected both the discord and
     Directed by René Clément. Narrated by Charles Boyer.                                 the connection between man and machine. Inspired by the
     This classic documentary depicts French railway workers’                             centenary of the founding of Futurism, and in celebration of
     resistance against Nazi occupiers. In French; English subtitles.                     last month’s Performa 09 performance art biennial, Nuts
     87 min. Saturday, December 5, 8:15 (T1); Wednesday,                                  and Bolts presents films from MoMA’s collection that reflect
     December 23, 4:00 (introduced by Charles Affron) (T2)                                Marinetti’s vision of the mechanical being in the machine
                                                                                          age: endlessly energetic, productive in the factory, free from
     Hare Conditioned. 1945. USA. Directed by Chuck Jones.                                sentimentality, immune to disease and death, and yet
     With Bugs Bunny. 7 min.                                                              somehow reflective of the human condition.
     Equestrian Quiz (What’s Your I.Q.? #11). 1946. USA.
     A Pete Smith Specialty. 10 min.                                                      Organized by Anne Morra, Assistant Curator, Department of Film, in
     The Town. 1944. USA. Directed by Josef von Sternberg.                                collaboration with Performa, for Performa 09. With grateful thanks to Sony
     Produced by the Office of War Information. 13 min.                                   Pictures Entertainment, Toho Co. Ltd., Lana Wilson, and RoseLee Goldberg.



28                                                                   FILM ExhIbItIons   FILM ExhIbItIons                                                               29
     The Birth of the Robot. 1936. Great Britain. Directed by                Felix the Cat in Astronomeows. 1928. USA. Produced by
     Len Lye. 6 min.                                                         Pat Sullivan. 7 min.
     The Robot. Date unknown. USA. Directed by Frank Gardner,                Alphaville, une étrange aventure de Lemmy Caution. 1965.
     Joan Gardner. 17 min.                                                   France/Italy. Directed by Jean-Luc Godard. In French;
     Sleeper. 1973. USA. Directed by Woody Allen. 87 min.                    English subtitles. 95 min. Thursday, December 31, 4:00. T2
     Program 110 min. Thursday, December 3, 4:00. T2

     A Clever Dummy. 1917. USA. Directed by Herman C.                        Artur Zmijewski
     Raymaker. Silent. Approx. 20 min.                                       through january 6, 2010
     The Iron Giant. 1999. USA. Directed by Brad Bird. 87 min.
     Thursday, December 3, 7:00. T2                                          In conjunction with the exhibition Projects 91: Artur Zmijewski
                                                                             (see page 9), MoMA’s departments of Film and Drawings
     Rhapsody in Steel. 1934. USA. Directed by F. Lyle Goldman.              present a selection of Zmijewski’s single-screen moving
     22 min.                                                                 image pieces. Full screening details are available at MoMA.org.
     L’Inhumaine. 1924. France. Directed by Marcel L’Herbier.
     Silent, with piano accompaniment. French intertitles                    Organized by Connie Butler, The Robert Lehman Foundation Chief Curator
     with English translation. Approx. 135 min.                              of Drawings.
     Saturday, December 19, 1:00. T2
                                                                             Short Films by Artur Zmijewski. In Polish; English subtitles.
     My Baby Doll. 1925. USA. Directed by Edward I. Luddy.                   Program approx. 90 min. Saturday, December 12, 6:30;
     Silent, with Dutch intertitles and piano accompaniment.                 Wednesday, December 16, 4:00; Monday, December 21,
     Approx. 11 min.                                                         4:00. T2
     Die Puppe. 1919. Germany. Directed by Ernst Lubitsch.
     Silent, with German intertitles and piano accompaniment.
     Approx. 48 min. Saturday, December 19, 4:00. T2                         Tim Burton
                                                                             through aPrIL 26, 2010
     La Marche des machines. 1928. France. Directed by Eugène
     Deslaw. Silent. Approx. 7 min.                                          A director of fables, fairy tales, and fantasies, with an
     Metropolis. 1926. Germany. Directed by Fritz Lang.                      aesthetic that incorporates the Gothic, the Grand Guignol,
     Silent, with English intertitles and piano accompaniment.               and German Expressionism, Tim Burton has created a body
     Approx. 124 min. Wednesday, December 23, 7:00. T2                       of films—fourteen features released over two and a half
                                                                             decades thus far—that reveal an uncompromised auteurist
     Techno-Cracked. 1933. USA. Directed by Ub Iwerks. 8 min.                vision. Burton’s striking visuals and indelible characters
     Kureji no buchamukure daihakken (Computer Free-for-                     make even his blockbuster studio films intimately personal.
     All). 1969. Japan. Directed by Kengo Furusawa. In Japanese;             From adaptations to musicals to stop-motion animated
     English subtitles. 84 min. Thursday, December 24, 4:00. T2              films, his work bears a distinctive, unmistakable point-of-
                                                                             view, and his original interpretations of well-known comic
     The Golem. 1995. USA. Directed by Robert Ascher. 4 min.                 and literary characters, real-life personalities, and beloved
     Der Golem (The Golem). 1920. Germany. Directed by                       childhood icons have resulted in creations that more than
     Paul Wegener, Carl Boese. Silent, with English intertitles              stand on their own. Along with his frequent collaborators—
     and piano accompaniment. Approx. 82 min.                                including actors Johnny Depp and Helena Bonham Carter,
     Monday, December 28, 4:00. T2                                           composer Danny Elfman, production designer Rick Heinrichs,
                                                                             and costume designer Colleen Atwood—Burton has crafted
     The Legend of John Henry. 1974. USA. Directed by                        a new canon of beloved characters, from Edward Scissorhands
     Sam Weiss. 11 min.                                                      and Beetlejuice to Jack Skellington and the Corpse Bride.
     Terminator 2: Judgment Day. 1991. USA. Directed by James                Held in conjunction with the gallery exhibition Tim Burton
     Cameron. 137 min. Wednesday, December 30, 4:00. T2                      (see page 7), this film retrospective presents all of the




30                                                      FILM ExhIbItIons   FILM ExhIbItIons                                                           31
                                                                                                      Corpse Bride. 2005. USA/Great Britain. Directed by Tim
                                                                                                      Burton, Mike Johnson. Screenplay by John August, Caroline
                                                                                                      Thompson, Pamela Pettler. With the voices of Johnny
                                                                                                      Depp, Helena Bonham Carter, Emily Watson. For his second
                                                                                                      feature-length stop-motion film, Burton transformed a
                                                                                                      nineteenth-century European folktale about a man caught
                                                                                                      between two women—one breathing, one not so much—into
                                                                                                      a musical filled with exquisitely crafted characters who
                                                                                                      prove that what appears frightening is often just
                                                                                                      misunderstood. 76 min. Sunday, December 6, 2:30. T1

                                                                                                      Frankenweenie. 1984. With the voices of Shelley Duvall,
                                                                                                      Daniel Stern, Barret Oliver. Transporting Mary Shelley’s
     Tim Burton and Winona Ryder on the set of Edward Scissorhands. 1990. USA. Directed by Burton     classic tale to Southern California, Burton imagines
     director’s feature films. All films are from the U.S., unless                                    Frankenstein’s monster in the form of a reanimated
     otherwise noted.                                                                                 family pet. 29 min.
                                                                                                      Edward Scissorhands. 1990. Screenplay by Tim Burton,
     Organized by Ron Magliozzi, Assistant Curator, and Jenny He, Curatorial                          Caroline Thompson. With Johnny Depp, Winona Ryder,
     Assistant, Department of Film, with Rajendra Roy, The Celeste Bartos Chief                       Dianne Wiest, Alan Arkin, Vincent Price. Arguably Burton’s
     Curator of Film. Special thanks to Ned Price, Warner Bros.; Schawn Belston and                   most personal film, Edward Scissorhands delves into one of
     Caitlin Robertson, Twentieth Century Fox; Kristen McCormick, Disney; Barry                       his most recurrent themes: disconnection from the world at
     Allen and Andrea Kalas, Paramount; and Grover Crisp and Jared Sapolin, Sony                      large and the search for true identity. Incapable of directly
     Pictures Entertainment.                                                                          touching others with his razor-sharp fingers, Edward is the
                                                                                                      physical manifestation of spiritual isolation. When a kind
     Big Fish. 2003. Screenplay by John August, based on the novel                                    Avon lady discovers him and introduces him to suburbia,
     by Daniel Wallace. With Ewan McGregor, Albert Finney, Billy                                      his ability to shape things—hedges, hair, ice—into wondrous
     Crudup. On his deathbed, Edward Bloom retells his life                                           sculptures engenders a brief welcome. But his acceptance is
     through exaggerated tall tales. This lifelong habit of subjective                                short-lived in this parable of teenage angst and alienation.
     recollection alienates him from his son Will, who longs to                                       105 min. Saturday, December 26, 5:00. T1
     know his “real” father. Burton’s adaptation shifts the focus
     toward the elder Bloom, a character who fits the mold of                                         Sleepy Hollow. 1999. USA/Great Britain. Screenplay by
     Burton’s archetypical flawed and imperfect, yet revered,                                         Andrew Kevin Walker, based on The Legend of Sleepy Hollow
     father figure. 125 min. Thursday, December 3, 4:30. T1                                           by Washington Irving. With Johnny Depp, Christina Ricci,
                                                                                                      Christopher Walken. Burton’s film transforms Irving’s
     Vincent. 1982. Screenplay by Tim Burton. With the voice of                                       folktale into a supernatural whodunit, and the original
     Vincent Price. In this stop-motion animated short, a bored                                       meek schoolteacher, Ichabod Crane, into a priggish New
     suburban boy imagines a world worthy of Edgar Allan Poe. 6 min.                                  York City constable who is sent up the Hudson River to
     Tim Burton’s The Nightmare Before Christmas. 1993.                                               investigate a series of bizarre murders. The film’s macabre
     Directed by Henry Selick. Story and characters by Tim Burton.                                    humor melds perfectly with the “stylized naturalism” of
     Screenplay by Michael McDowell, Caroline Thompson. With                                          Burton’s sumptuous production. 105 min. Sunday,
     the voices of Danny Elfman, Chris Sarandon, Catherine O’Hara.                                    December 27, 5:30. T1
     With its ghoulish imagery and manic-depressive antihero,
     The Nightmare Before Christmas straddles the line between grim
     children’s fable and gentle horror story. Jack Skellington, the                                  Modern Mondays
     Pumpkin King of Halloween Town, has grown weary of his                                           ongoIng
     crown. Obsessed with his recent discovery of this thing called
     “Christmas,” he attempts to shake off his malaise by usurping                                    Where is the cutting edge of the motion picture? Discover it
     the mantle of “Sandy Claws” instead. 76 min. Saturday,                                           first at MoMA. Building upon the Museum’s long tradition of
     December 5, 1:30. T1                                                                             exploring cinematic experimentation, Modern Mondays is a

32                                                                             FILM ExhIbItIons     FILM ExhIbItIons                                                  33
     weekly showcase for innovation on screen. Engage with                               D. W. Griffith’s Competitors: Ince and DeMille
     contemporary filmmakers and moving image artists, and                               Although D. W. Griffith dominated the second decade of the
     rediscover landmark works that changed the way we                                   twentieth century, he was not without rivals and claimants
     experience film and media.                                                          to his throne. Thomas H. Ince (1882–1924) remains a shadowy
                                                                                         figure in film history, both because he frequently ignored
     Organized by the Department of Film and the Department of Media and                 the line between production and direction and because of
     Performance Art.                                                                    his untimely and mysterious death. Many of the films he
                                                                                         produced beginning in 1910 had a distinctively Ince-like look
     Modern Mondays is made possible by Anna Marie and Robert F. Shapiro.                to them, even though they were signed by other directors.
     Additional support is provided by The Contemporary Arts Council of The              His association with William S. Hart helped Ince to play a
     Museum of Modern Art.                                                               major role in the development of that most uniquely
                                                                                         American of genres, the Western. Cecil B. DeMille (1881–
     An Evening with Dara Friedman                                                       1959) also started with Westerns, but he soon discovered
     Dara Friedman (German, b. 1968), a moving-image artist                              the audience appeal of another commodity: sex. He would
     who lives and works in Miami, presents her Musical (2008),                          go on to a forty-year career as one of the most famous and
     which was recently acquired by MoMA. This exhilarating                              commercially successful, if not venerated, Hollywood
     “film” exactingly documents a series of singing performances,                       directors.
     made possible by the Public Art Fund, that were photographed                        Custer’s Last Fight. 1912. USA. Directed by Thomas Ince.
     between September 17 and October 5, 2007, on the streets                            With Francis Ford, J. Barney Sherry, Lillian Christy. This
     of midtown Manhattan. In an attempt “to turn the volume                             portrayal of the massacre at Little Big Horn shows a sense
     up on the song that’s going on in your head as you’re                               of filmic space often lacking in Griffith’s Westerns. Silent.
     walking down the street,” Friedman invited about sixty                              Approx. 50 min.
     ordinary New Yorkers to suddenly, surprisingly break                                The Cheat. 1915. USA. Directed by Cecil B. DeMille.
     into song—seemingly in mid-stride, whether in the middle                            Photographed by Alvin Wyckoff. With Sessue Hayakawa,
     of a block or inside a building. Program approx. 90 min.                            Fannie Ward. This steamy drama, which hinted at the hot
     Monday, December 7, 7:00. T2                                                        topic of miscegenation, helped Japanese immigrant and
                                                                                         Ince discovery Hayakawa become a matinee idol who soon
                                                                                         had his own studio. Silent. Approx. 50 min. Wednesday,
     An Auteurist History of Film                                                        December 2, 1:30 (musical accompaniment by Ben Model);
     ongoIng                                                                             Thursday, December 3, 1:30 (musical accompaniment by
                                                                                         Ben Model); Friday, December 4, 1:30. T3
     This two-year screening cycle is intended to serve as both
     an exploration of the richness of the Museum’s film                                 More Competition: Neilan and Vidor
     collection and a basic introduction to the emergence of                             Marshall “Mickey” Neilan (1891–1958), a nearly forgotten,
     cinema as the predominant art form of the twentieth                                 tragic figure, began his film career as D. W. Griffith’s
     century. The auteurist approach to film—articulated by                              chauffeur and wound up, like Griffith, an unemployable
     the critics of Cahiers du cinéma in the 1950s and brought                           drunk for the last two decades of his life. In between,
     to America by Andrew Sarris—contends that, despite the                              he was hailed as a young genius, and his sensitive direction
     collaborative nature of the medium, the director is the                             elevated Mary Pickford to unprecedented heights of
     primary force behind the creation of a film. The exhibition                         superstardom. Of their collaboration, America’s Sweetheart
     takes this theory as its point of departure, charting the                           said, “No director could wring the performance from
     careers of several key figures not in order to establish a                          me that Mickey did.” King Vidor (1894–1982) began a long
     formal canon, but to develop one picture of cinematic                               and distinguished career in 1919 as what we would
     history. More information is available at MoMA.org.                                 now call an “independent.” Within six years he saved
                                                                                         Metro-Goldwyn-Mayer with The Big Parade, and his
     Organized by Charles Silver, Curator, Department of Film. Yamaha Modus H1           ascension seemed to coincide with Griffith’s decline.
     piano generously provided through Yamaha Artist Services, New York.                 Amarilly of Clothesline Alley. 1918. USA. Directed by
                                                                                         Marshall Neilan. With Mary Pickford, William Scott,
                                                                                         Norman Kerry. Adapted by Frances Marion. Pickford


34                                                                  FILM ExhIbItIons   FILM ExhIbItIons                                                  35
     stars as a slum-dwelling gamine in this satirical look                   an actor for D. W. Griffith to founding his own Keystone
     at class differences with a twist of Pygmalion. Silent.                  Studio, a comedy factory that dominated the field and
     Approx. 60 min.                                                          produced the likes of Roscoe “Fatty” Arbuckle (1887–1933),
     The Jackknife Man. 1920. USA. Directed by King Vidor.                    Mabel Normand (c. 1894–1930), and Chaplin (1889–1977).
     With Fred Turner, Harry Todd, Bobby Kelso. The director’s                Buster Keaton (1895–1966) became apprentice to Arbuckle
     sixth film, made on zero budget, anticipates Charles                     after Fatty left Sennett.
     Chaplin’s The Kid as an endearing story of the love between              Max et son chien Dick. 1912. France. Directed by Max
     a homeless boy and the man who adopts him. Silent.                       Linder. With Linder. German intertitles. 6 min.
     Approx. 65 min. Wednesday, December 9, 1:30 (musical                     Caught in a Cabaret. 1914. USA. Directed by Mabel Normand.
     accompaniment by Ben Model); Thursday, December                          With Normand, Charles Chaplin. 15 min.
     10, 1:30 (musical accompaniment by Ben Model); Friday,                   The Knockout. 1914. USA. Directed by Mack Sennett.
     December 11, 1:30. T3                                                    With Charles Chaplin, Roscoe “Fatty” Arbuckle, Edgar
                                                                              Kennedy. 22 min.
     And Yet More Competition: Walsh and Tourneur                             The Rounders. 1914. USA. Directed by Charles Chaplin.
     Politics aside, Raoul Walsh (1887–1980) was not entirely                 With Chaplin, Roscoe “Fatty” Arbuckle. 8 min.
     unlike the rakish, swashbuckling John Wilkes Booth, whom                 A Night Out. 1915. USA. Directed by Charles Chaplin.
     he portrayed in The Birth of a Nation. His half-century as a             With Chaplin, Ben Turpin, Edna Purviance. 18 min.
     director produced many cinematic milestones, if few genuine              The Butcher Boy. 1917. USA. Directed by Roscoe “Fatty”
     masterpieces. Maurice Tourneur (1876–1961) brought with                  Arbuckle. With Arbuckle, Buster Keaton. French intertitles.
     him from France a sense of Gallic, Méliès-ian whimsy and a               22 min.
     distinctive visual style that probably influenced his protégé            All films silent, with musical accompaniment by Ben Model.
     Josef von Sternberg. Politically, he was suspect, first sitting          Program approx. 91 min. Wednesday, December 23, 1:30;
     out World War I in America and, after returning to France                Thursday, December 24, 1:30. T3
     in the 1920s, running the Vichy film industry during World
     War II.                                                                  Anthology of Italian Cinema, Part I (1895–1926). 1954. Italy.
     Regeneration. 1915. USA. Directed by Raoul Walsh. With                   Produced by Il Centro Sperimentale di Cinematografia. This
     Rockcliffe Fellowes, Anna Q. Nilsson, William Sheer.                     compilation of clips from silent Italian films is a priceless
     An early and realistic gangster film shot on the streets of              treasure chest spanning historical epics, diva films starring
     Walsh’s hometown, New York City, which he would later                    Lyda Borelli and Francesca Bertini, pre-Neorealist films,
     romanticize in films like The Bowery and Strawberry Blonde.              and comedies featuring Polidor and Cretinetti. Among the
     Silent. Approx. 60 min.                                                  directors represented are such names as Giovanni Pastrone,
     The Blue Bird. 1918. USA. Directed by Maurice Tourneur.                  Mario Caserini, Enrico Guazzoni, Gustavo Serena, and André
     Based on the play by Maurice Maeterlinck. Settings                       Deed. English narration. 152 min. Wednesday, December 30,
     designed by Ben Carre. With Tula Belle, Robin Macdougall.                1:30; Thursday, December 31, 1:30. T3
     Tourneur and designer Carre’s fantastic vision anticipated
     the alternate reality of the following year’s The Cabinet of             The Museum’s film programs are made possible with public funds from the

     Dr. Caligari. Approx. 65 min. Silent. Wednesday, December 16,            New York State Council on the Arts, a State Agency; and the New York City

     1:30 (musical accompaniment by Ben Model); Thursday,                     Department of Cultural Affairs.

     December 17, 1:30 (musical accompaniment by Ben Model);
     Friday, December 18, 1:30. T3
                                                                              Play a special Role at MoMA
     Send in the Clowns
     Throughout the silent era an enormous number of talented                 For a contribution of $5,000, your name, or the name of
     comedians, mostly refugees from music halls, entertained                 someone you wish to honor or remember, can be placed
     worldwide audiences with antics that we call “slapstick.”                on a seat in the Museum’s Roy and Niuta Titus Theater 1.
     The first of these notables was the Frenchman Max Linder
     (1883–1925), who committed suicide after a failed Hollywood              To name a seat or for more information, please contact Lisa
     venture, but not before exerting an enormous influence on                Mantone, Director of Development, at (212) 708-9671.
     Charles Chaplin. Mack Sennett (1880–1960) went from being                Contributions to name theater seats are 100% tax deductible.


36                                                       FILM ExhIbItIons   FILM ExhIbItIons                                                              37

								
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