The Fountain Theatre Film Calendar by decree

VIEWS: 25 PAGES: 3

									                              The Fountain Theatre Film Calendar
               Nov.-Dec. 2004                                                                               fountaintheatre.org

                                                                  In the summer of 1970, a pair of Canadian rock promoters,
                        Festival Express                          Ken Walker and Thor Eaton, assembled an amazing list of
   Nov.
               Dir: Bob Smeaton, Canada (2003) 90 min. performers for a five-day tour that would begin with a concert
   5–11
                                  In English                      in Toronto and then travel by train to Winnipeg and Calgary.
                                                                  The talent included Janis Joplin, the Grateful Dead, the Band
and — for the same now-mysterious reasons they turned up in Woodstock — the oldies band Sha-Na-Na. But because of a
fight between the festival promoters and the producers of the movie, the footage was never edited and never seen. It has now
been reclaimed and cut into dynamic form by the music documentary specialist Bob Smeaton (“The Genesis Songbook”).
What Mr. Smeaton has created is, in effect, a brand new film from 1970. Respecting the cinema-vérité style and technical
limitations of the time (the grainy 16-millimeter film stock looks wonderfully like grainy 16-millimeter film stock), “Festival Express” seems
to step directly out of its period, and is guaranteed to thrill both survivors of those times and younger viewers who may know little of them.
– Dave Kehr, The New York Times Rated R for some language.

                                                                        Comic, novelist, actor and wit, Stephen Fry
                       Bright Young Things                              slaps another string to his bow with this enjoy-
   Nov.
               Dir: Stephen Fry, Italy/Spain/UK (2003) 106 min.         able directorial debut, a period dramedy which
  12–18
                                    In English                          gently satirises celebrity culture some 70 years
                                                                        before it became unbearable. Adam Symes is
a wannabe writer whose titular tome is destined to exploit the lifestyle of the rich and famous gadabouts of 30s Lon-
don. But returning from France, this “filth” is confiscated by customs - meaning he canʼt afford to marry socialite ʻparty animalʼ Nina Blout.
His attempts to earn a crust, their romance and friendships form the world through which we whirl for 106 breathless minutes, as Evelyn
Waughʼs novel “Vile Bodies” is whisked into a sprightly little movie. With drug-taking, celebrity scandals and the encroaching fog of war,
“Bright Young Things” couldnʼt be more prescient. The points it makes may be obvious, but they remain necessary in so superficial a society.
Some filmmakers would vilify the spoilt brats on screen, but itʼs to Fryʼs credit that he clearly cares about his creations - and elicits excellent
performances from the young cast. Emily Mortimer makes a potentially unsympathetic character tender and touching, Michael Sheen excels
as an exuberantly camp “naughty salt”-snorter, and Campbell Moore is astonishingly accomplished for a first-time feature actor - as is James
McAvoy, who burns brightly and brilliantly as the tragic Lord Balcairn. A witty, intelligent, promising picture. Carry on, Jeeves. – Nev Pierce,
BBCi Films Rated R for some drug use.

    Special Event: Saturday, November 20th at 6:30 PM PFLAG: Celebrate Diversity Fundraiser (see news section for details)

                                                                                A leisurely, never boring, grimly amusing,
                               The Corporation                                  and not entirely hopeless disquisition on
    Nov.
                 Dir: Jennifer Abbot, Mark Achbar, USA (2003) 145 min.          the contemporary worldʼs “dominant insti-
   19–24
                                         In English
                                                                                tution,” this Canadian documentary ranges
                                                                                from third-world sweatshops and Monsanto
petrochemical atrocities to the targeting of kiddie consumers and U.S. corporate collusion with Nazi Germany. The catalog
of outrage is nearly inexhaustible: Corporations succeed in patenting new life-forms and privatizing rainwater in Bolivia.
The destruction of the World Trade Center doubles the price of gold overnight. (“In devastation there is opportunity,” one
broker excitedly exclaims.) So-called corporate responsibility is merely a tactic. Right-wing economist Milton Friedman agrees with left-wing
historian Howard Zinn that the profit motive rules—and it naturally follows that multi-national profits trump national interest. The filmmakers
zero in on the fact that, thanks to judicial interpretation of the Fourteenth Amendment to the U.S. Constitution, corporations have the same
legal status as individual persons. In a particularly brilliant argument, they apply the Diagnostic and Statistical Manual of Mental Disorders
to demonstrate that, judged by human standards, the corporation is by nature psychopathic—self-absorbed, irresponsible, manipulative, and
unable to empathize or feel remorse. The corollaries to this institutional person are those individuals who, at least in their social roles, embody
the inhuman logic of the system: liberal CEOs, proud corporate spies, cheery specialists in undercover product placement, the scary behavioral
psychologist who advises toy companies how to maximize and exploit the power of a nagging child. – J. Hoberman, Village Voice Not rated.
Due to the length of this film, there will not be a 5pm showing on Sunday the 21st. There will also be no showing Saturday November 20th
due to the PFLAG event, and no showing Thursday, November 25, Thanksgiving day.
                                                                              If Yorkshire vet James Herriot were to be
                   The Story of the Weeping Camel                             ʻcoptered out from the Dales and into the
 Nov.26–
               Dir: Byambasuren Davaa, Luigi Falorni, USA (2003) 90 min. Gobi desert, this is sort of adorable situation
  Dec. 2
                            In Mongolian with English Subtitles
                                                                              he might be called upon to attend. A camel
                                                                              gives birth to her baby, or colt - but wonʼt
suckle it. Nightmare. So in accordance with legend, myth and custom, a local musician is summoned to play sweet harmonies
that will reunite mother and child and also cause the mother camel to weep tears of joy. There are some nice touches in this
unhurried docudrama, set in Mongolia, where non-professional humans and amateur dromedaries play real-life parturition
scenes. – Peter Bradshaw, The Guardian Rated PG for some mild thematic content.
                              The Fountain Theatre Film Calendar
               Nov.-Dec. 2004                                                                                fountaintheatre.org

                                                               Spike Lee is a filmmaker on a short list with directors like
                        She Hate Me                            Herzog, Sayles, Jarmusch, Altman, Paul Thomas Anderson,
   Dec.
                 Dir: Spike Lee, USA (2004) 138 min.           Todd Solondz and the new kid, David Gordon Green. He
    3–9
                               In English                      dances to his own music. This is the work of a man who
                                                               is confronting generic expectations, conventional wisdom
and political correctness. My guess is that Lee is attacking African-American male and gay/lesbian stereotypes not by
conventionally preaching against them, but by boldly dramatizing them. It is exciting to watch this movie. It is never
boring. Lee is like a juggler who starts out with balls and gradually adds baseball bats, top hats and chainsaws. Itʼs not an
intellectual experience, but an emotional one. “She Hate Me” invites anger and analysis about the stereotypes it appears
to celebrate; a film that attacked those stereotypes would inspire yawns. Think what you want on an Politically Correct level, but concede that
“She Hate Me” is audacious and recklessly risky. – Roger Ebert, Chicago Sun Times Rated R for strong graphic sexuality/nudity, language and
a scene of violence. Due to the length of this film, there will not be a 5pm showing on Sunday the 5th.

Special Event: Friday, December 10th at 9:45 PM The Almost Midnight Film Series: Strange Brew (see news section for details)

                                                                      In this sardonic psychological thriller, Sandra Bonnaire
                     Intimate Strangers                               portrays a Gallic answer to one of Alfred Hitchcockʼs
    Dec.
   10–16       Dir: Patrice Laconte, France (2004) 104 min.           sleek blond women of mystery. Imagine the Grace Kelly of
                       In French with English subtitles               “Rear Window” or the Kim Novak of “Vertigo” sprawled
                                                                      seductively on an analystʼs couch, smoking cigarettes and
confiding her sexual frustration to a repressed, wide-eyed shrink who is obsessed with her. The movie establishes a mood
of playful erotic suspense in the first 10 minutes and sustains its cat-and-mouse game between therapist and patient through
variations that are by turns amusing, titillating and mildly scary. The running joke is its revelation at the outset that the
shrink (Fabrice Luchini) is not really a therapist but a repressed, lonely tax accountant. Ms. Bonnaireʼs troubled character
has accidentally strayed into the wrong office, located on the same floor where the psychoanalyst she intended to consult
practices a few doors away. The movie takes place less in the real world than in the realm of voyeuristic fantasy, in other words, in the realm
of film itself. In the spirit of the best Hitchcock, it is seriously light. Or is it lightly serious? — Stephen Holden, The New York Times Rated
R for sexual dialogue.

                                                                               Funded in full by George Harrison after the
                  Monty Python’s Life of Brian                                 original funders got cold feet, Monty Pythonʼs
    Dec.
                          Dir: Terry Jones, UK (1979) 94 min.                  freeform biblical satire was attacked on its
   17–23
                                                                               1979 release by Catholic, Protestant and Jew-
                                        In English
                                                                               ish organizations. Though, in time-honored
tradition, none of the protesters had seen the film, they were (accidentally) onto something. Though it most obviously
stabs at Christianity with the story of Brian (Graham Chapman), a Jerusalem nobody whose life uncannily parallels that of
a certain J.C., the movieʼs target is not any one religion, but religions in general, even secular ones. Whether itʼs Brianʼs
unwanted disciples arguing over whether to follow the shoe or the gourd heʼs left behind as he runs away, or the anti-Ro-
man factions who do more damage to each other than the empire, Brian stabs at the heart of comedyʼs favorite target, con-
formity. If the jokes donʼt double you over with the same force the 400th time through, Life of Brianʼs spirit comes through
with ever-greater force. Apart from a few dead spots, this is Pythonʼs most sustained peak. – Sam Adams, Philadelphia City Paper Rated R
                                 NOTE: MVFS members will be admitted free to this classic film.

                                                                          In “Zhou Yuʼs Train,” Zhou Yu (Gong Li) is a
                            Zhou Yu’s Train                               modern Chinese woman and porcelain painter
    Dec.
               Dir: Zhou Sun, China / Hong Kong (2002) 97 min.            who falls in love with Chin Chang (Tony Leung
   26–30
                                                                          Ka Fai/”The Lovers”) a timid librarian and as-
                        In Mandarin with English subtitles
                                                                          piring poet. Chin Chang is moved by Zhou Yu
and writes poetry about her. Chang is surprised when Zhou Yu visits him in his city, a several hour train ride from
her home. Zhou Yu starts making the trip twice per week and eventually offers to sell inherited objects to help Chang
publish his poetry. On one of her trips to visit Chang, Zhou Yu meets an assertive and flirtatious veterinarian, Zhang
Jiang (Sun Honglei) who tries to get closer to her through his interest in her porcelain. He pursues Zhou Yu persistently
while she continues to pursue Chin Chang who decides to take a position in distant Tibet. When Chin Chang withdraws
from Zhou Yu by leaving without even saying goodbye Zhou Yu feels desperate to prove Chang loves her. Zhang Jiang
dutifully stays with Zhou Yu and comforts her through her disappointment about her fading love affair with Chang. Zhou Yu persists in her
hope that her love affair with Chang is still possible, but eventually realizes that it is a lost cause. Her friendship with the veterinarian, Zhang
Jiang, evolves into a passionate and secure love, although Jiang seems to realize that Zhou Yu will never love him in the way she loved Chang.
– Joan K. Widdifield, Movie Magazine International Rated PG-13 for sexuality.              The Fountain Theatre will be closed December 24th and
25th. Merry Christmas!
            The Fountain Theatre Film Calendar
Nov.-Dec. 2004                                                                  fountaintheatre.org



 New s , S p e c i a l E v e n t s a n d S p e c i a l S c re e n i n g s

                                               The Almost Midnight Film Series
                                                    Strange Brew
                                                   Written, directed and starring
                                                  Rick Moranis and Dave Thomas

                                                  Friday, December 10th 9:45 PM
                                                          Admission: Free!

                                          Do you remember Bob and Doug McKenzie
                                          (“Take off, eh!”, “You hoser!”)? Back in
    1983, Rick Moranis and Dave Thomas decided to milk the popularity of SCTVʼs
    The Great White North by making a feature film. It featured the revolutionary
    3-B process (three beers and it looks okay). The story is based on Hamlet–when
    you have a guy named Claude running his dead brotherʼs Elsinore Brewery, it
    practically screams Hamlet. With a flying dog, mental patients playing hockey in
    Star Wars stormtrooper armour, and a hockey player saving the day at the end of
    the movie, yes–it is a silly movie, but itʼs a beauty way to go. – Anthony Leong,
    Media Circus

                     PFLAG: Celebrate Diversity
    PFLAG Las Cruces will be sponsoring the 9th annual Celebrate Diversity Fund-
    raiser on Saturday, November 20th beginning at 6:30pm with a Social Hour and
    Silent Auction Bidding. At 7:15, the movie “Changing our Minds: The Story of
    Dr. Evelyn Hooker” will begin. “Changing our Minds” was the winner in the Best
    Documentary category at the 1992 San Francisco International Lesbian & Gay
    Film Festival. It portrays the life and work of the woman described by the Los An-
    geles Times as The Rosa Parks of Gay Rights. At 9pm, the movie “One Wedding
    and a Revolution” will be shown. Debra Chasnoff, award-winning filmmaker, has
    recently documented one of the most historic moments in the movement toward
    the legalization of same-sex marriage. One Wedding and a Revolution is an emo-
    tional, funny, courageous look at the first wedding between a same-sex couple in
    San Francisco. Admission is $15 per person. Tickets can be purchased at Spirit
    Winds. Limited Seating so advanced purchase is recommended.

                 Admission: Regular–$6, Members–$4, Matinees–$5,
                 Wednesdays–$4, Seniors over 55 and Students w/ID–$5
                  The classic Film is free to all Film Society members.
                      Screening Times (unless otherwise noted)
                 Shows run every evening Friday through Thursday at 7:30 p.m.
                             Sunday Matinees are at 2:30 and 5:00

Not all films show at all times, and schedule is subject to change at the last minute. Please
phone the theatre, 505-524-8287, for current listings. Doors open 45 minutes before showtime
                          unless an earlier screening is in progress.

								
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