★ AFI PREVIEW AFI PREVIEW THE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 11 June 21-July 29, 2004 ORWELL ROLLS IN HIS GRAVE ORWELL ROLLS IN HIS GRAVE Ingmar Bergman Featured Showcase Plus: Orson Welles Retrospective AFI Life Achievement Award Recipient Meryl Streep Showcase Marx Brothers Romp British Horror Films Ingmar Bergman Featured Showcase FANNY AND ALEXANDER CRIES AND WHISPERS PERSONA And Many More
Transcript
★AFIPREVIEWAFIPREVIEWTHE AMERICAN FILM INSTITUTE GUIDE TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 11
June 21-July 29, 2004
ORWELL ROLLS IN HIS GRAVEORWELL ROLLS IN HIS GRAVE
Ingmar Bergman
FeaturedShowcase
Plus:
Orson Welles RetrospectiveAFI Life Achievement Award Recipient Meryl Streep Showcase
Marx Brothers Romp
British Horror Films
Ingmar Bergman
FeaturedShowcaseFANNY ANDALEXANDERCRIES ANDWHISPERSPERSONA And Many More
On the cover: Bertil Guve and Pernilla Allwin in FANNY AND ALEXANDER
Information is correct at press time. Films and schedule subject to change. Check www.AFI.com/Silver for updates.
Features 2 ORWELL ROLLS IN HIS GRAVE 4 THE THIRD MAN
13 LAWRENCE OF ARABIA
AFI Life Achievement Award Recipient Showcase3 Two-time Oscar winner Meryl Streep in some of
her most memorable films
Film Series4 The Films of Orson Welles11 Marx Brothers Revue12 Bloody Hell: British Horror Films
Featured Showcase6 Ingmar Bergman City-Wide Retrospective
Calendar 8-9About AFI Silver/Kennedy Center Theatres 10Special Screenings and Events13 Members’ Only Event: THE BOURNE SUPREMACY13 Sam Raimi’s EVIL DEAD 2: DEAD BY DAWN14 Slow Food on Film Festival15 The National Institutes of Health’s Science in the
Cinema, with MISS EVERS’ BOYS
DC Area Exclusive15 Mid-Atlantic Regional Showcase (MARS):
OFF THE CHARTS: THE SONG-POEM STORY
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FEATURED FILM
“Skewers the news media and its ownersin a way that chills and disturbs, and isthe best rabble rousing piece of its kindI’ve ever seen.”
—Jeffrey Wells, HOLLYWOOD ELSEWHERE
US Theatrical Premiere Engagement!
ORWELL ROLLS IN HIS GRAVEOpens Friday, June 25“WAR IS PEACE,” “FREEDOM ISSLAVERY,” “IGNORANCE ISSTRENGTH…” Has America enteredan Orwellian world of double-speakwhere outright lies can pass for thetruth? Are its citizens being sold abill of goods by a handful of transna-tional media corporations and polit-ical elites whose interests have littlein common with the interests of theAmerican people? Director RobertKane Pappas uses searing testimony from the best and thebrightest to suggest this is the case. Pappas asks some troublingquestions about the size of media monopolies, how they got thatway, who decides what airs and what doesn’t, and why some news
stories go unreported (or underre-ported) by the mainstream media.Featuring interviews withCongressman Bernie Sanders,Charles Lewis, Mark Crispin Miller,Vincent Bugliosi, Robert McChesneyand an appearance by MichaelMoore, ORWELL ROLLS IN HIS
GRAVE questions whether Americans are being given the informa-tion a democracy needs or whether they’ve been electronicallylobotomized into loving Big Brother.
Directed, written and produced by Robert Kane Pappas. US,2004, color, 95 min.
“A marvel of passionate succinctness…refrains from preaching to the choir.”
—Ronnie Scheib, VARIETY
GEORGE ORWELL
MICHAEL MOORE
CelebratingMerylJune 23 through July 4MERYL STREEP: 32ND AFI LIFEACHIEVEMENTAWARD RECIPIENTArguably the definitive Americanactor of our time, Meryl Streep’sunique empathy for a variety ofwomen has led us into the lives ofsome of the most memorable charac-ters on film. She has brought to lifethe rich textures of a sweeping rangeof intricate women—on the plains ofAfrica, in the Outback of Australia, ina Manhattan courtroom, an Iowafarmhouse, a nuclear production lineand a Nazi concentration camp—allwith authenticity, honesty and intelli-gence that remain unparalleled.Beyond her uncanny ability to makeaudiences laugh, cry, think and feel,she can sing. In celebration of the32nd AFI Life Achievement Award, AFISilver proudly presents a half-dozenof the greatest roles of this legendarytwo-time Academy Award winner andrecipient of a record thirteen Oscarnominations.
In the words of AFI BoardChairman Sir Howard Stringer, “MerylStreep is one of the great artists inthe history of American film. Her tal-ent, range and determination tomaster her craft bring out perform-ances that sometimes border on theethereal. In that sense, she is trulypeerless. It is AFI’s great honor topresent its Life Achievement Award tothis truly gifted actor.”
THE FRENCH LIEUTENANT’SWOMANWednesday, June 30, 8:50; Saturday, July 3, 4:00In 19th century England, affiancedJeremy Irons loses himself in apassionate affair with fallen womanMeryl Streep—even as we see theactors portraying them engage in anoff-screen affair. Harold Pinter’s adap-tation of John Fowles’ “unfilmable”bestseller presents a complicatedinterweaving of past and present. FiveOscar nominations, including BestActress.
Directed by Karel Reisz; written byHarold Pinter from the book byJohn Fowles; produced by LeonClore. UK, 1981, color, 127 min.Rated R
SOPHIE’S CHOICEThursday, July 1, 8:40; Sunday, July 4, 1:00In postwar New York, budding writerPeter MacNichol befriends “utterly,fatally glamorous,” yet volatile KevinKline and his Polish girlfriend MerylStreep—but they’ve both got pastsecrets that haunt the present. Streepoften returns in her mind to thecamps of the Final Solution andrelives the worst choice a mother canbe forced to make. A Best ActressOscar, among five total nominations.
Directed/written/produced by AlanJ. Pakula; adapted from the novel byWilliam Styron; co-produced byKeith Barish. US, 1982, color, 150min. English, German, and Polishwith English subtitles. Rated R
OUT OF AFRICAFriday, July 2, 8:40; Saturday, July 3, 1:00In colonial Kenya circa 1913-1931,Danish noblewoman Meryl Streepstruggles to run a coffee plantation inthe absence of husband-of-conven-ience Klaus Maria Brandauer, while
finding love with hunter RobertRedford. This sweeping adaptation ofIsak Dinesen’s memoir garnered sevenOscars, including Best Picture,Direction, Photography, Screenplayand Music; with Streep andBrandauer nominated.
Directed/produced by SydneyPollack; written by Kurt Luedtke.US, 1985, color, 150 min. Rated PG
THE BRIDGES OF MADISON COUNTYSaturday, July 3, 8:45; Sunday, July 4, 8:45Just when life couldn’t seem moremonotonous for Italian-AmericanIowa housewife Meryl Streep, whoshould drive up but… Clint Eastwood!Streep, impeccably accented asalways, shows a longing sensualitythat blossoms with the arrival of herweekend visitor. One of her bestperformances, with Eastwoodmatching her as the emotionaltemperature rises. “Leanness andsurprising decency, a moving, elegiaclove story”—Janet Maslin, New YorkTimes.
Directed/produced by ClintEastwood; written by RichardLaGravenese, from the book byRobert Waller; co-produced byKathleen Kennedy. US, 1995, color,135 min. Rated PG-13
KRAMER VS. KRAMERWednesday June 23, 6:45; Thursday June 24, 6:45Ill-equipped for motherhood andmatrimonial bliss, a twenty-some-thing Meryl Streep walks out onhusband Dustin Hoffman and youngson Justin Henry, but returns later fora climactic custody battle featuringcourtroom scenes re-tooled by Streepherself. Glenda Jackson and JaneFonda turned down the role, openingthe way for Streep’s first Oscar win.Four other statuettes for the filmincluded Best Picture and Best Actor.
Directed/written by Robert Benton;produced by Stanley R. Jaffe. US,1979, color, 105 min. Rated PG
SILKWOODWednesday June 23, 8:55; Thursday June 24, 8:55Based on the real-life events of nuclearplant worker Karen Silkwood, Streep’sportrayal of the Oklahoma whistle-blower who disappeared under myste-rious circumstances earned the actorher fifth Oscar nomination in sixyears. Four other Oscar nominations,including a Best Supporting nod forCher, and one for then-novice screen-writer Nora Ephron.
Directed by Mike Nichols; writtenby Alice Arlen and Nora Ephron;produced by Mike Nichols andMichael Hausman. US, 1983, color,131 min. Rated R
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SOPHIE’S CHOICE
OUT OF AFRICA
AFI LIFE ACHIEVEMENT AWARD
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The Films OfOrson WellesJune 23 through July 13By the time he was 26, Orson Welles[1915-1985] had mastered the stage,radio and cinema and was already aTIME cover boy—and he spent therest of his life trying to top himself.Lean or fat, broke or in the money,pitching wine in TV commercials orplumbing the depths of such charac-ters as Kane, Othello and Harry Lime,Welles dominated every project,defining FILMMAKER in the publicmind like no one else. As the com-plete film auteur, his lush dynamicvisuals, deep-focus long takes,sweeping camera movements andscintillating editing created a signa-ture style so bold it was consideredrevolutionary at the time—and stillis. His dominant themes: vanishedinnocence, the heavy hand of time,the changing of eras, and ultimately,loss. Of Welles’s journey to producinga body of work that earned himrecognition as one of the world’sgreatest directors, collaboratorHerman Mankiewicz once said, “Therebut for the grace of God goes God.”
New 35mm Print!THE LADY FROM SHANGHAIFriday, July 2, 6:45; Monday, July 5, 1:00 & 8:55Footloose Irish sailor Orson Wellesgets mixed up in murder withcrooked and disabled lawyer EverettSloane and his sultry wife RitaHayworth (then Mrs. Welles).Byzantine plot complications ensue—
including would-be-lovers discussinga murder plot as a shark in anaquarium swims behind them—high-lighted by a now-legendary hall-of-mirrors shootout finale.
Directed/written/produced byOrson Welles. US, 1947, b&w,86 min.
OTHELLOThursday, July 1, 6:45; Monday, July 5, 3:00;Wednesday, July 7, 7:00As Othello lies dead, a horrified Iagois hoisted above the crowd in an ironcage—and then the play begins.Shakespeare’s classic tale of jealousyand retribution may well be Welles’smost dazzingly visual work, from itsbaroque Venetian beginning to thewindy, sun-splashed battlements ofMogador and the riveting murder in aTurkish bath. Despite perhapsWelles’s most chaotic shooting sched-ule, it won the Grand Prize at Cannes.
Directed/written/produced byOrson Welles. US/France, 1952,b&w, 91 min.
New 35mm Print!THE MAGNIFICENTAMBERSONSFriday, July 9, 7:00; Saturday July 10, 1:30 &9:15; Sunday, July 11, 6:45Joseph Cotten pursues lost loveDolores Costello, despite her whipper-snapper son Tim Holt, amidst lavishballs in elegant mansions and sleighrides through Currier & Ives land-scapes at the turn of the century. Theonly one of Welles’s films in which hedid not appear chronicles the declineof a family and the end of an era, high-lighted by dazzling sets, photographyand Agnes Moorehead’s award-winning performance—despite studio-shearing of nearly an hour. “Even inthis truncated form, it’s amazing andmemorable”—Pauline Kael.
Directed/produced/written byOrson Welles. US, 1942, b&w,88 min.
The 1998 Restoration Print!TOUCH OF EVILSaturday, July 3, 6:30; Sunday, July 4, 6:30;Monday, July 5, 6:30; Tuesday, July 6, 8:55Police corruption and murder on theMexican border, starting with a bril-liant opening crane shot that followsthe actors for blocks, continuing witha dark-wigged Marlene Dietrich’s
RETROSPECTIVE
“One great scene after another! One greatshot after another! I’ve seen it 50 timesand it’s still magic”—ROGER EBERT
“Quite simply one of the finest films evermade!”—ELVIS MITCHELL, NEW YORK TIMES
New 35mm Print!
THE THIRD MAN Opens Wednesday, June 23, with daily shows throughTuesday, June 29In rubble-strewn post-World War II Vienna, Joseph Cotten’spulp-Western writer Holly Martins arrives to meet up with oldfriend Harry Lime, only to find he’s been killed in an accident.But who was that nameless third man at the scene? With Vienneselocations including the gigantic Prater Ferris wheel and the drip-ping sewers, Carol Reed/Graham Greene’s noir thriller is atriumph of atmosphere with its tilted camera angles, loomingshadows and unforgettable Anton Karas zither theme. With itsstars in their most iconic roles: Trevor Howard at his mostBritishly military; Alida Valli, enigmatic and Garboesque; andOrson Welles’s Harry Lime in one of the greatest star entrancesever. Three Oscar nominations, winning for Cinematography;Grand Prize at Cannes. The only film on both the AFI and BFItop 100 lists of the greatest American and British films.
Directed/produced by Carol Reed; written by Graham Greene.UK, 1949, b&w, 104 min.
FEATURED FILM
THE LADY FROM SHANGHAI
OTHELLO
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greeting to Welles’s memorably bloatedpolice chief: “You a mess, honey. You’vebeen eating too much candy,” andconcluding with an elaboratelyintercut chase by Mexican detectiveCharlton Heston over, under, aroundand through the canals of Venice,California. Welles’s first American filmin a decade—and his last ever. Afestival of bizarre camera angles, mile-long shots, and baroque lighting.
Directed/written by OrsonWelles, produced by AlbertZugsmith. US, 1958, b&w, 112 min.
Restored Director’s Cut ofMACBETHSunday, July 4, 4:00; Wednesday, July 7, 8:55In the gloomy, claustrophobic atmos-phere of a studio-shot primitiveworld, a feudal lord decides to go forthe kingship, with horrifically fatedresults. Welles described his versionof the Shakespeare classic as “aviolently sketched charcoal drawingof a great play.” Shot in three weeks,then mutilated by the studio, itsScottish brogues were dubbed intoAmerican, but are here fully restoredby the UCLA Film and TelevisionArchive. “Pure cinema “—GeoffAndrew, TimeOut.
THE IMMORTAL STORY[Histoire Immortelle]Monday, July 5, 5:00; Saturday, July 10, 3:30;Sunday July 11, 3:30To make the perennial tall tale of thetitle come true, aging Macaomerchant Welles hires a handsomesailor to sleep with his (also hired)wife Jeanne Moreau. But then theelaborate setup starts to take on a lifeof its own. Welles’ first color film,adapted from an Isak Dinesen story,with music by Erik Satie.
Directed/written by Orson Welles;co-written by Louise de Vilmorin;produced by Micheline Rozan.France, 1968, color, 58 min.
New 35mm Print!THE STRANGER Tuesday, June 29, 9:25; Wednesday, June 30, 6:45War Crimes Commissioner EdwardG. Robinson tracks the supposedmastermind of the Final Solution to aquiet Connecticut village, the home ofboys’ school professor Orson Wellesand his all-American bride LorettaYoung, as well as a looming 124-foottall clock tower—the scene of thehair-raising climax. Welles’ directorialreturn after his firing from RKOproduced his only “very profitable”film.
Directed by Orson Welles; writtenby Anthony Veiller; produced bySam Spiegel. US, 1946, b&w,95 min.
New 35mm Print!F FOR FAKETuesday, July 6, 7:00; Thursday, July 8, 7:00A skilled magician in real life, Wellesthe filmmaker keeps the rabbitscoming in this documentary extollingfraud and fakery, starting withfootage by François Reichenbach ofart forger Elmyr de Hory (who effort-lessly tosses off a Picasso drawing onscreen) and Howard Hughes’s“memoirs” hoaxer Clifford Irving,with Welles adding his own visualand verbal sleight-of-hand. “One ofthe most dazzling, equivocal andpersonal films ever made”—Jack Kroll,Newsweek.
Directed/written by Orson Welles;produced by François Reichenbach.France/Iran/West Germany, 1973,color, 85 min.
MR ARKADIN [CONFIDENTIAL REPORT]Monday, July 12, 6:45; Tuesday, July 13, 6:45CITIZEN KANE in reverse, as drifterRobert Arden is recruited by myste-rious zillionaire Orson Welles toresearch his past. The witnessesprovide a memorable procession ofgrotesques, from Mischa Auer’s flea
circus magnate and MichaelRedgrave’s swish antique dealer toKatina Paxinou’s retired crime boss.The only trouble is, they all wind updead!
Directed /written by Orson Welles,produced by Louis Dolivet.France/Spain/Switzerland, 1955,b&w, 99 min.
THE TRIAL [LE PROCES]Thursday, July 8, 8:55; Sunday, July 11, 1:00;Tuesday, July 13, 8:45Anthony Perkins as Joseph K enters anondescript door and an immensecrowd rises to its feet. Two detectivesbeat a third in a tiny room lit by asingle, swinging bulb. In a giganticoffice the desks stretch on and on...Welles’s idiosyncratic view of theclassic Kafka tale of meaninglesspersecution (“I consider him guilty”—Welles) unfolds against locations inZagreb and in the vast, desertedParisian Gare d’Orsay.
Directed/written by Orson Welles,produced by Alexander andMichael Salkind. France/Italy/Germany, 1962, b&w, 120 min.
CITIZEN KANEFriday, July 9, 8:50; Saturday July 10, 6:45;Sunday, July 11, 8:45; Monday, July 12. 8:45From its Gothic opening at loomingXanadu to its legendary final line, thisis the most electrifying directorialdebut in screen history, named by AFIas the greatest movie of the 20thCentury (number 1 on AFI’s 100Years… 100 Movies list) and anacknowledged inspiration to a varietyof filmmakers. As brilliant and star-tling today as in 1941, it remainedboth Orson Welles’s masterpiece andhis nemesis. “More fun than any greatmovie I can think of”—Pauline Kael.
Directed/produced/written byOrson Welles; co-written byHerman J. Mankiewicz. US, 1941,b&w, 119 min.
JOURNEY INTO FEARSaturday, July 10, 5:00; Sunday July 11, 5:00In between looking for an overcoatand complaining about being unableto phone his wife, Joseph Cotten’sarmaments expert is saved frommurder by his disappearance during amagic act, trapped on a blacked-outship with his nemesis (Welles’smanager, who accepted the part oncondition of remaining mute), thenheld at gunpoint on a window ledgein a driving rain. This sometimesbizarre semi-spoof of vintage EricAmbler intrigue was partiallydirected by Welles to conclude hisRKO contract.
Directed by Norman Foster (anduncredited, Orson Welles); writtenby Joseph Cotten. US, 1942, b&w,71 min.
CITIZEN KANE
TOUCH OF EVIL
MR ARKADIN
New 35mm Print!FANNY AND ALEXANDER[Fanny och Alexander]AFI Silver: Opens Wednesday, July 14, withdaily shows through Sunday, July 18Kennedy Center: Opens Monday, July 19, withdaily shows through Thursday, July 22It’s Christmas at the pleasure-lovingEkdahls, circa 1907. The brother andsister of the title spectate as their clangathers for one of the cinema’sgreatest-ever holiday celebrations. Butafter their theater-manager father diesand their actress mother Ewa Frölingmarries bishop Jan Malmsö, theirworld constricts to stern familyterrors. A tale of two families: onetheatrical, warm, loving, hedonistic;the other clerical, mean-spirited, cold,self-righteous and vain. But there’s asecret friend to the rescue, ErlandJosephson’s Jewish antique dealer,bringing with him a taste of the super-natural. A dazzling period recreationhighlighted by Sven Nykvist’s sump-tuous photography. A gigantic world-wide success and one of Bergman’swarmest and most autobiographicalworks. Oscars for Best Foreign Film,Cinematography, Art Direction,
Costumes, and nominations for direc-tion and screenplay. “If, as announced,this is the master’s last film, he leavesus in a blaze of glory”—DavidShipman, The Story of the Cinema.
Directed/written by Ingmar Bergman.Sweden, 1983, color, 188 min.
THROUGH A GLASS DARKLY[Såsom I En Spegel]AFI Silver: Monday, July 19, 7:00; Wednesday, July 21, 9:10Kennedy Center: Sunday, July 25, 2:00;Tuesday, July 27, 8:15During a family’s island summer holiday,schizophrenic daughter HarrietAndersson (in arguably the greatestperformance in Bergman’s entire oeuvre)
inexorably descends into outrightmadness. Even so, father GunnarBjörnstrand tells his son, “God is love;love is God.” With a four-person castthat includes Max von Sydow, this isthe first of Bergman’s “chamber” filmsand the first of his “God and Man”trilogy. Oscar for Best Foreign Film,plus a nomination for screenplay.
Directed/written by Ingmar Bergman.Sweden, 1961, b&w, 89 min.
WINTER LIGHT/THE COMMUNICANTS[Nattvardsgästerna]AFI Silver: Monday, July 19, 9:10; Tuesday, July 20, 7:00Kennedy Center: Wednesday, July 28, 6:30A day in the life of rural pastorGunnar Björnstrand battling with hisown loss of faith—from morningservices through his failure to comforta suicidal Max von Sydow, to hisanguished encounter with mistressIngrid Thulin (highlighted by hermonologue in tight closeup) and anevening high mass. Number two inthe “God and Man” trilogy. “Masterlyeven by Bergman’s own standards”—David Shipman.
Directed/written by Ingmar Bergman.Sweden, 1963, b&w, 80 min.
THE RITE [Riten]AFI Silver: Tuesday, July 20, 9:10; Sunday, July 25, 7:30Kennedy Center: Thursday, July 29, 6:30Powerfully intense (even by Bergman’sstandards) chamber play on the interac-tion of critics, the audience and theartist. When actors Ingrid Thulin,Gunnar Björnstrand and Anders Ek arebrought in for questioning on anobscenity charge, magistrate Erik Hellsubjects them to group and individualinterrogations. As a response, the troupeperforms their “act” for him, withmortal results. Bergman’s first originalwork for TV was released in theatersabroad. The priest in the confessional isnone other than Bergman himself.
Directed/written by Ingmar Bergman.Sweden, 1969, b&w, 72 min.
THE SILENCE [Tystnaden]AFI Silver: Wednesday, July 21, 7:00; Thursday, July 22, 9:25Kennedy Center: Wednesday, July 28, 8:00In a stiflingly hot foreign city seem-ingly on the brink of war, sistersIngrid Thulin and Gunnel Lindblom,haunted by the loss of their father, aretrapped in a hotel (deserted exceptfor a dwarf troupe), unable to speakthe language or bear each other’s pres-ence. The most overtly allegorical ofBergman’s works (Mind vs. Body?Father=God?) and a tour de force ofsound effects orchestration. The final
The Films Of Ingmar Bergman A City-Wide RetrospectiveJuly 14 through July 29 Perhaps the most pivotal event inthe life of Ingmar Bergman [born1918] occurred at age 10, when hetraded half his toy soldiers for a movieprojector. From his earliest youth, Bergman has been among the most hardenedof film buffs, and from his university days, an enfant terrible of the theater. Heachieved his ambitions early, having a screenplay produced by Sweden’s topdirector and heading a major European theater by 26 and making his first filmby 28. An overview of the progression of his brilliant career in cinema mightread: from an early focus on tormented, sensitive male protagonists, he movedto strong female leads, to a series of God-haunted works, to island-location“chamber” works, to powerfully scathing examinations of intimate relationships(with romantic comedies interspersed throughout), ending with the warmth andcharm of his later films, THE MAGIC FLUTE and FANNY AND ALEXANDER.Bergman’s work with his stock company made him arguably the greatest direc-tor of actors in the history of the medium. His overall technical mastery, brutalhonesty and relentless search for truth have earned him internationalacclaim as one of the greatest artists of the 20th century.
The Ingmar Bergman retrospective will be presented at fourWashington, DC-area locations: The AFI Silver Theatre(www.AFI.com/silver); the AFI National Film Theater at the KennedyCenter (same website); the National Gallery of Art (www.nga.gov/pro-grams/films.htm); and the National Museum of Women in the Arts(www.nmwa.org). Check websites and newspaper listings for filmschedules and ticket information.
All films in the retrospective are in Swedish with English subtitles.
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RETROSPECTIVEOPENS ON JULY 14TH,INGMAR BERGMAN’S
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statement of the “God and Man”trilogy: “God’s silence—the negativeimpression.” Despite (or because of)its censorship difficulties for overteroticism, a giant boxoffice success.
Directed/written by Ingmar Bergman.Sweden, 1963, b&w, 96 min.
PERSONAAFI Silver: Saturday, July 24, 7:00; Sunday, July 25, 9:10Kennedy Center: Tuesday, July 27, 6:30;Thursday, July 29, 8:00Nurse Bibi Andersson’s increasingfrustration with mute actress LivUllmann (in her Bergman debut),under her care after an on-stage break-down, leads to deeply personal confes-sions—including “one of the rare, trulyerotic sequences in movie history”(Pauline Kael) and to an identificationwith the patient, particularly in theshot where their faces fuse into one.This print from the Swedish negativeincludes the explicit opening titlesequence, cut on its first US release.“Bergman at his most brilliant… aninfinitely rewarding film.”—TomMilne, Time Out. National Society ofFilm Critics’ Awards—Best Film,Director and Actress (Andersson).
Directed/written by Ingmar Bergman.Sweden, 1966, b&w, 84 min.
HOUR OF THE WOLF[Vargtimmen]AFI Silver: Monday, July 26, 7:00; Tuesday, July 27, 9:10Kennedy Center: Sunday, July 25, 6:30“Four in the morning, the hour whenmost people die and most babies areborn.” High Gothic from Bergman:sandwiched between to-the-cameraexplanations by wife Liv Ullmann,vanished artist Max von Sydow’sdiary reveals that he has been hauntedby phantoms, including a spectraldinner party. But Ullmann notes shehas seen them too. “Dazzling flow ofsurrealism, expressionism, and full-
blooded Gothic horror”—Tom Milne.National Society of Film Critics’Award—Best Director.
Directed/written by Ingmar Bergman.Sweden, 1968, b&w, 89 min.
SHAME [Skammen]AFI Silver: Monday, July 26, 9:10Kennedy Center: Saturday, July 24, 4:30;Sunday, July 25, 8:15 Bergman’s scathing look at the disinte-gration of humanity in war. In the back-wash of a seemingly endless conflict,the marriage of musicians Max VonSydow and Liv Ullmann has alreadygrown rocky—then the enemy armyinvades! The only way out is to dealwith quisling Gunnar Björnstrand. “Itends with one of the cinema’s mostawesomely apocalyptic visions. Amasterpiece.”—Tom Milne. “One ofBergman’s greatest films”—Pauline Kael.National Society of Film Critics’ Awardsfor Best Film, Director, and Actress.
Directed/written by Ingmar Bergman.Sweden, 1968, b&w, 102 min.
THE PASSION OF ANNA/A PASSION [En Passion]AFI Silver: Tuesday, July 27, 7:00Kennedy Center: Saturday, July 24, 8:30;Sunday, July 25, 3:45On the island of Fårö, reclusive Maxvon Sydow finds himself involved withcynical couple Bibi Andersson andErland Josephson and high-strungwidow Liv Ullmann. Menacing innu-endos are exchanged at a dinner party,even as seemingly major happeningstranspire off-screen and a mysteriouspredator is killing the island livestock.Bergman intercuts this post-modernmeditation on identity with the actors’opining on their roles to the camera.Relatively unsung, one of Bergman’sgreatest works: “sublimely beau-tiful”—Joseph Morgenstern,Newsweek. National Society of FilmCritics’ Award for Best Director.
Directed/written by Ingmar Bergman.Sweden, 1969, color, 101 min.
New 35mm Print!CRIES AND WHISPERS[Viskningar och Rop]AFI Silver: Wednesday, July 28, 9:10Kennedy Center: Saturday, July 24, 6:30;Monday, July 26, 8:20Amidst the blood-red backgrounds of aturn-of-the-century mansion and theatmosphere of a dream, Liv Ullman andIngrid Thulin keep a death-watch overspinster sister Harriet Andersson.Flashbacks tell their story of disap-pointed lives, meaningless marriagesand sisterly conflicts—with a finalmoving image suggesting what has beenlost. “A self-portrait (in composite) ofthe great beloved of my childhood.”—
Ingmar Bergman. “Reduces almosteverything else you’re likely to see thisseason to the size of a small cinder”—Vincent Canby, New York Times.Awarded an Oscar for Cinematographyand nominated for Best Film, Director,Screenplay and Costumes.
Directed/written by IngmarBergman. Sweden, 1972, color, 91 min.
ORIGINAL, FULLLENGTH VERSION!SCENES FROM A MARRIAGE [Scener ur ett Äktenskap]AFI Silver OnlyPart 1: Friday, July 23, 7:30; Saturday, July 24, 1:00Part 2: Saturday, July 24, 4:30; Sunday, July 25, 1:00Bergman chronicles some ten years inthe relationship of Liv Ullmann andErland Josephson, beginning with theirseemingly perfect two-career, two-children marriage—contrasted withJan Malmsjö and Bibi Andersson’sbickering—progressing through anextramarital affair and blunted recon-ciliations and remarriages to a finalpeace. “Bergman has never before madesuch an exhilarating film aboutgrownup love, with all its twists,rituals, and benedictions”—PenelopeGilliatt, The New Yorker.
Directed/written by Ingmar Bergman.Sweden, 1973, color, video, 282 min.
New 35mm Print!THE MAGIC FLUTE[Trollflöjten]Kennedy Center Only: Friday, July 23, 8:20;Saturday, July 24, 2:00Prince Tamino must rescue the fairPrincess Pamela, daughter of theQueen of Night. To do so, he mustenter Sarastro’s Temple of Wisdom. Ina characteristic twist, Bergman madeSarastro and the Queen husband andwife. Shot on a replica of the 18th
century Drottningholm Court Theater,Bergman dispenses with theatricalillusion to show the working parts ofthis production, including a youthfulextra killing time with a comic book.A dream of Bergman’s since his child-hood marionette theater, making it“the best time of my life.” “Awonderful bit of sorcery—passionate,elegant and lighthearted... the mostbeguiling offering of the year”—JayCocks, TIME.
Directed by Ingmar Bergman, fromDie Zauberflöte by Mozart andSchikaneder. Sweden, 1975, color,135 min.
New 35mm Print!AUTUMN SONATA[Höstsonaten]Kennedy Center: Friday, July 23, 6:30; Monday,July 26, 6:30AFI Silver: Wednesday, July 28, 7:00In a long-planned collaboration,Ingrid Bergman (in an Oscar-nomi-nated performance) returned toSwedish cinema after forty years forher last feature role, a concert pianistreturning home to an anguishedreunion with neglected daughter LivUllman. “The best Bergman film inyears, filled with his liberatingmixture of violence and tendernessthat is the sign of emotional truth”—Jack Kroll, Newsweek.
Directed/written by Ingmar Bergman.Sweden, 1978, color, 93 min.
THE PASSION OF ANNA
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ABOUT AFI
10
AFI Silver TicketsTickets are $8.50 general admission/$7.50 for AFI Members, students andseniors (65 and over) unless otherwisenoted. Member passes and discountedtickets are valid for regular screeningsonly and are subject to seating avail-ability (passes excluded at SpecialEvents).
Tickets may be purchased online atwww.AFI.com/Silver, at the AFI Silverbox office, or at the new ticket kiosk inthe lobby. Tickets that are purchasedonline must be retrieved at the boxoffice. The same credit card used toreserve online must be presented tothe cashier for tickets. Both advancesale and day-of-show purchases areavailable online or in-person. THERE ISNO SERVICE FEE FOR ONLINE TICKETINGAT AFI SILVER. AFI accepts AmericanExpress, Visa, MasterCard and Discover.
InformationComplete program information, in-cluding updates and changes, is avail-able at www.AFI.com/Silver. Membersreceive AFI PREVIEW program guide bymail. For general information call301.495.6720. For pre-recorded pro-gram information, call 301.495.6700.
Box OfficeAFI Silver box office opens at 6:00p.m. on weekdays, 12:15 p.m. week-ends or 30 minutes before the firstshow.
Concession & CaféAFI Silver’s concession and café offer awide range of gourmet fare in addi-tion to the full range of traditionaltheatre treats. Enjoy candy and pop-corn (topped with real butter!), aswell as domestic and imported beer,delicious coffee drinks, a variety ofpizzas and gourmet stuffed pretzels.Please see daily menu.
Location and DirectionsAFI Silver is located at 8633 ColesvilleRoad—the intersection of ColesvilleRoad & Georgia Avenue—in the heartof the new downtown Silver Spring.
By Car: AFI Silver is less than twomiles south of Beltway exit 30(Colesville Road) and exit 31 (GeorgiaAvenue). The theatre is also conven-ient to Bethesda via East-West High-way, and a short drive from down-town Washington via 16th Street, NW.
By Metro: AFI Silver is located onColesville Road, just two blocks northof Metro’s Red Line station in SilverSpring.
By Ride-On Bus: The Silver SpringMetro station is served by Ride-Onroutes 1, 2, 3, 4, 5, 8, 9, 11, 12, 13, 14,15, 16, 17, 18, 19, 20, 22, 28.
By Metrobus: The Silver Spring stationis served by Metrobus routes 70, 71, J5,F4, F6, JH1, J2, J3, J4, Q2, S2, S4, Y8, Z5.
Parking Convenient parking is available to AFIpatrons behind the Lee Building at thecorner of Colesville Road and GeorgiaAvenue ($3 for the entire evening). Thelot can be entered from either GeorgiaAvenue or Fenton Street. Just open: thenew Wayne Avenue parking garage inthe New Downtown Silver Spring.Located directly behind the AFI SilverTheatre, and in the center of thevibrant new shopping and entertain-ment center, the Wayne Avenue Garageoffers FREE PARKING after 6:00pm onweekdays and all day on weekends.VALET PARKING is also availableevenings at Gateway Plaza (in front ofthe historic shopping center at thecorner of Georgia and Colesville).
Membership RSVP YES! I want to join as a Member and supportthe AFI Silver Theatre and Cultural Center.
❑ FRIEND $50 Four free screening passes ($32 value), $1 discount for two to allregular screenings, members-only screenings, AFI PREVIEW calendar mailings,American Film members magazine, access to the online AFI Catalog of Feature Films,voting for the annual AFI’s 100 Years series and much more.
❑ CONTRIBUTOR $100 All above benefits, plus: sneak preview screenings,priority ticketing for select screenings, $1 discount on up to four tickets, four morescreening passes for a total of eight ($64 value) and more.
NAME
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PAYMENT
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Mail to: Membership, AFI Silver Theatre and Cultural Center, 8633 Colesville Road,Silver Spring, MD 20910
Call 800.774.4AFI
T H A N K S T O O U R S P O N S O R S
AFI PREVIEWCONTRIBUTING Michael Jeck
WRITERS Gabriel WardellTodd HitchcockMurray HorwitzMary Kerr
EDITOR Joan KirbyCOPY EDITORS Michele Brown
Todd HitchcockDESIGNER Sharri Wolfgang,
AURAS Design
10
DINNER AND A MOVIE SPECIALS!Bring in your AFI SILVER ticket stub to MAYORGA’s Silver Spring
location and receive 20% off your check. Plus, AFI members receive a free cup of coffee
every day with membership card.
Bring your AFI SILVER ticket stub to AUSTIN GRILL’s new Silver Spring location and receive 10% off your check.
All offers good day of show only, unless noted otherwise. Does not include tax and tip. Not redeemable for cash.
Michael JeckJoan KirbyJohannah ManoharMichael MariniAlex PileMarc SchwadererLori SousaJohn SummersLisa TropeaGabe WardellClaire WeingartenPenny Yao
Patricia FinneranMary Kerr
Amy KingNina Seavey
IS NOW OPEN!FREE PARKING after
6:00pm on weekdaysand all day on weekends
VALET PARKING NOW AVAILABLE AT GATEWAY PLAZA!
Kennedy CenterBox OfficeThe AFI box office is located in theKennedy Center Hall of States and openone half-hour before screenings. Thebox office is not open on days when noscreening is scheduled. For programinformation call 202.785.4600.
TicketsAll tickets are $8.50/$7.50 for AFIMembers, students and seniors(65 and over). AFI accepts AmericanExpress, Visa and MasterCard. A cur-rent membership card is required forall member transactions. For generalinfo and ticket purchase call202.833.AFIT.
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11
FILM SERIESFILM SERIESOn Your Marx…The First AFI SilverMarx Brothers RevueJune 23 to July 1Do we need an excuse? It’s summer-time, school’s out and you cancelebrate by seeing some of thefunniest movies ever made. Some 70years later, new audiences are stillrocking with laughter to the satire,slapstick, wit, wordplay and wisdomof the greatest film comedy team ofall time. If “swordfish,” “sanityclause,” “Why a duck?” and “Getyour Tootsie-Frootsie Ice Cream!”mean nothing to you, then here’syour chance to tap into the motherlode of American film comedy. And ifyou do know these films, well, sharethem again with someone you love—very much.
ANIMAL CRACKERSMonday, June 28, 7:15; Wednesday, June 30, 5:15; Thursday, July 1, 9:15“Hooray for Captain Spaulding!” singsociety revelers welcoming daringexplorer Groucho Marx toRittenhouse Manor—the estatepresided over by the ever-graciousMargaret Dumont. Soon it’s time toplay peek-a-boo with that stolenpainting, even as Lillian Roth pines,“Why Am I So Romantic?”
Directed by Victor Heerman;written by George S. Kaufman andMorrie Ryskind; songs by BertKalmar and Harry Ruby. US, 1930,b&w, 98 min.
DUCK SOUPWednesday, June 23, 5:15 & 8:45; Friday, June 25, 7:00; Saturday, June 26 1:00;Sunday, June 27, 1:00 & 7:00; Monday, June 28, 5:15When the Sylvanian ambassadorinsults Groucho’s Rufus T. Firefly(the President of Freedonia), thecountry goes to war—and so doesHarpo’s lemonade surfer, Chico’speanut-hawking “Chicolini,” Zeppo,and, of course, Margaret Dumont, in“the most perfect of Marxian master-pieces”(TimeOut)—and the mostsurrealistic—complete with the clas-sic mirror routine.
Directed by Leo McCarey; writtenby Bert Kalmar and Harry Ruby.US, 1933, b&w, 72 min.
MONKEY BUSINESSSunday, June 27, 4:55; Monday, June 28, 9:10;Wednesday, June 30, 9:10; Thursday, July 1, 5:15In pursuit of blonde Thelma Todd,Groucho and siblings stow away on aluxury liner, then attempt to get pastimmigration by each claiming (insuccession) to be Maurice Chevalier.And there’s a society party to crash:“You call this a party? The beer iswarm and the women are cold!”
Directed by Norman Z. McLeod;written by S.J. Perelman and Will B.Johnstone. US, 1931, b&w, 77 min.
ROOM SERVICEWednesday, June 23, 7:00; Friday, June 25, 5:15; Saturday, June 26, 2:35It’s a race against time as impecu-nious producer Groucho must getbacking for Frank Albertson’s playbefore irate hotel manager CliffDunstan can evict the cast: “Hello?Room Service. Bring up enough ice tocool a warm body.” Featuring a veryyoung Lucille Ball and Harpo chasinga turkey.
Directed William A Seiter; writtenby Morrie Ryskind, from the playby Allen Boretz and John Murray;produced by George Abbott. US,1938, b&w, 78 min.
THE COCOANUTSSunday, June 27, 2:55; Tuesday, June 29, 5:15;Thursday, July 1, 7:15“Why a duck?” Groucho’s MisterHammer auctions off Florida realestate (“Boy, can you get stucco”) andruns a Florida fleabag hotel. Timesare so tough that in search of a buckhe’ll even romance Margaret Dumont!The Brothers’ first film, from theirBroadway hit.
Directed by Robert Florey andJoseph Santley; written by MorrieRyskind; produced by Monta Bell.US, 1929, b&w, 96 min.
A NIGHT AT THE OPERAThursday, June 24, 7:30; Friday, June 25, 8:35;Saturday, June 26, 9:10Chaos ensues as the Brothers pro-mote Allan Jones’s musical career,setting new records for stateroomoccupancy. And as Chico sellspeanuts in the aisles and the orches-tra breaks into Take Me Out to the BallGame, the boys manage to wrecksplenetic impresario Sig Ruman’sproduction of Il Trovatore.
Directed by Sam Wood; written byGeorge S. Kaufman and MorrieRyskind. US, 1935, b&w, 92 mins.
A DAY AT THE RACESThursday, June 24, 5:15 & 9:30; Saturday, June 26, 4:45“Either this man is dead or my watchhas stopped.” Maureen O’Sullivan’ssanatorium is in desperate need of agrant from wealthy hypochondriacMargaret Dumont, but she demandsthe attentions of Groucho’s DoctorHugo Z. Hackenbush (who’s actuallya veterinarian!). Highlights includeChico’s race tip hawking and theincessantly interrupted “seduction”scene.
Directed/produced by Sam Wood;written by Robert Pirosh, GeorgeSeaton and George Oppenheimer.US, 1937, b&w, 111 min.
HORSE FEATHERSSunday, June 27, 9:00; Wednesday, June 30, 7:15“Whatever it is, I’m against it!”declares Groucho’s Professor QuincyAdams Wagstaff, the new presidentof Huxley College, as recruited-from-a-speakeasy football ringers Chicoand Harpo rewrite the rule book tohelp win the Big Game. “TheBrothers have never been so chaoticor so aggressively funny”—GeoffBrown, TimeOut.
Directed by Norman McLeod;written by Will B. Johnstone, BertKalmar, S.J. Perelman and HarryRuby. US, 1932, b&w, 68 min.
ANIMAL CRACKERS
A DAY AT THE RACES
DUCK SOUP
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Bloody Hell:British HorrorFilmsJuly 17 through August 22Led by Hammer Films, British horrorfilms have long set the standard fordelivering the right mix of fright andfun to audiences. Reworking endlessvariations on the Dracula andFrankenstein myths, typically starringworkhorses Christopher Lee and/orPeter Cushing, Hammer became the name most trusted for a gory good time. This series includes classic Hammer titles alongside several cult favorites from the fellow-traveler Tigon and Amicusstudios. Ranging from the late 1950sto the early 1970s (plus Ken Russell’s1980s throwback LAIR OF THE WHITEWORM, starring a young Hugh Grant),the films run the gamut fromstraight-ahead gothic thriller to psy-chotronic social allegory. When artfilm meets exploitation cinema, theresults are doubly scary!
Series originally programmedby BAM Cinematek. Special thanks toJake Perlin, BAM Cinematek. Originalfilm notes courtesy Jeff Cashvan/filmfancy.com & Chris Wood/britishhorrorfilms.co.uk.
More titles coming in August!CAPTAIN KRONOS: VAMPIRE HUNTERVAMPYRESTHE STRANGLERS OF BOMBAYTHE LEGEND OF THE SEVEN GOLDENVAMPIRESSCREAM OF FEAR [aka TASTE OF FEAR]CORRUPTIONTHE REVENGE OF FRANKENSTEINTHE CREEPING FLESH
LAIR OF THE WHITE WORMSaturday, July 17, 10:30; Sunday, July 18, 6:30An archaeological dig unearths a giantsnake skull amid rumors of bloodcults and worm-worship. MysteriousLord Hugh Grant must battle theforces of evil while resisting thecharms of snaky Amanda Donohue.Maverick director Ken Russell’sloving send-up of Hammer Filmsbalances camp with a fair amount ofnasty gore and genuine horror.
Directed/written/produced by KenRussell; from the novel by BramStoker. UK, 1988, color, 93 min.
HORROR OF DRACULASaturday, July 17, 4:30 ; Sunday, July 18, 4:30In “the one that started it all,”Christopher Lee’s Dracula and PeterCushing’s Van Helsing (the duo’s firstpairing, to be reprised dozens oftimes) battle it out Hammer style.Featuring sumptuous color, apounding score by James Bernard,free-flowing fake blood and a bevy ofvampire brides. Maybe not as extremeas it seemed in its day, but its stylish-ness remains undiminished.
Directed by Terence Fisher; writtenby Jimmy Sangster, from the novelby Bram Stoker; produced byAnthony Hinds. UK, 1958, color,82 min.
THE SORCERERSSaturday, July 24, 10:30; Sunday, July 25, 5:30The first great film by the lateMichael Reeves, who was well on hisway to a major career when he diedfrom a drug-induced suicide. A kindlyold scientist (Boris Karloff) and hiswife have developed a mind-controldevice—complete with psychedeliclight show—that allows them to“merge” with a swinging-London lad.They are soon vicariously experi-encing the tawdry thrills of the
younger, hedonistic generation.Things take a turn when the scientistdiscovers that his once-sweet wife hasdeveloped a taste for murder. “Thispsychedelic horror film deals with theapparatus of cinema, and still puts themind in a spin.” —TimeOut (London).
Directed/written/produced byMichael Reeves; co-written by TomBaker and John Burke; co-producedby Patrick Curtis and Tony Tenser.UK, 1967, color, 87 min.
WITCHFINDER GENERAL[aka THE CONQUERER WORM] Saturday, July 24, 8:45; Sunday, July 25, 3:30Evil spreads across the English coun-tryside as witch-hunter Vincent Priceliterally needles confessions out ofsuspected witches while collectingmoney from local magistrates.Burnings, drownings and hangings areall in a day’s work, as Price gives hismost brutal, scornful, and bullyingperformance, drained of camp. “Quitepossibly the greatest British horrorfilm ever made” —www.britishhorrorfilms.co.uk
Directed/written by MichaelReeves; co-written by Tom Bakerand Ronald Bassett, after the poemby Edgar Allan Poe; co-produced byLouis M. Heyward, Arnold L. Millerand Philip Waddilove. UK, 1968,color, 87 min.
LAIR OF THE WHITE WORM
FILM SERIES SPECIAL SPECIAL SCREENINGBEFORE SPIDER-MAN 2, DIRECTOR SAM RAIMIMADE
EVIL DEAD 2: DEAD BY DAWNFriday, July 2, 11:00;Saturday, July 3, 11:00;Sunday, July 4, 11:00Before he helmed summer block-busters like SPIDER-MAN andSPIDER-MAN 2, Sam Raimi madeschlocky splatter-fest movies likeEVIL DEAD 2. Not so much asequel to EVIL DEAD as it is abiggerbudgetremake,EVILDEAD 2:DEAD BYDAWNtakes thepremise ofRaimi’soriginalzombiefilm tosuch out-landishslapstickextremesthat it was branded with an Xrating for excessive violence andgore. Even toned down to an R,this hybrid film—equal partsThree Stooges, Herschell GordonLewis and George Romero—delivers a cinematic wallop wor-thy of its cult reputation.
Directed by Sam Raimi; writtenby Sam Raimi and Scott Spiegel;produced by Robert G. Tapertand Bruce Campbell. US, 1987,color, 85 min. Rated R
C O M I N G S O O N !
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SCREENINGS & FEATURESM E M B E R S A D V A N C E S C R E E N I N G
THE BOURNE SUPREMACYThursday July 22,7:00 pmMatt Damonreturns as assassinJason Bourne (or isit David Webb?),joined by FrankaPotente and JuliaStiles in this sequelto the sleeper hitBOURNE IDENTI-TY, an espionagethriller par excel-lence, adaptedfrom the RobertLudlum novels.With a wealth of exotic worldwide locales, Damon navigates through CIA plots,turn-coat agents, and ever-shifting cover alliances in search of answers to his ownmysterious past.
Directed by Paul Greengrass; written by Tony Gilroy from the book by RobertLudlum; executive produced by Matt Jackson, Doug Limon and HenryMorrison; produced by Frank Marshall, Patrick Crowley, and Paul L.Sandberg; original music by John Powell; cinematography by Oliver Wood;starring Matt Damon, Franka Potente and Joan Allen. US/Germany, 2004,color, approximately 120 min.
Member tickets are $7.50 each. Seating is limited. No passes accepted. (Any tickets not sold by the day of per-formance may be made available to the general public at $8.50 per ticket.) Members may purchase tickets onlineor at the box office. Tickets reserved online must be retrieved at the box office. The same credit card used onlinemust be presented to the cashier. Member cards must be shown when picking up tickets to this event.
Back by popular demand! In 70mm!
LAWRENCE OF ARABIA Opening in JulyCheck www.AFI.com/Silver or newspaper listings for dates and times
WWI in the Middle East, and British Colonel T.E. Lawrence leads theArab revolt, Even so, sheik Anthony Quinn still grouses, “He is notperfect.” David Lean’s epic—still the standard by which others aremeasured—delivers both spectacular action and, in then-nearly-unknown Peter O’Toole’s title performance (the first of his sevennon-winning Best Actor Oscar nominations), one of the most complexand enigmatic character studies in the cinema, summed up in thehaunting, final shot. With stunning cinematography only experiencedfully on the big screen. “One of the peaks of narrative cinema—tradi-tional movie storytelling raised to its highest form”—Stephen Farber.Seven Oscars, including Best Picture, Director, Photography (the firstof Freddie Young’s three Oscar-winning collaborations with Lean), andScore (Maurice Jarre’s first-of-four collaborations with Lean). PlusRobert Bolt’s first-of-three screenplays for Lean and Omar Sharif’sEnglish language debut—coming out of a mirage.
Directed by David Lean. UK, 1962, color, 70mm, 226 min.
●M QUEIMADA[aka BURN]Opens This Summer!Directed by GilloPontecorvo and starring Marlon Brando.
&LA DOLCE VITAOpens This Summer!Directed by Federico Fellini and starring MarcelloMastroianni and Anita Ekberg.
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Slow Food OnFilm FestivalThursday, July 15, 9:15 pm; Saturday, July 17, 5:00 pm; Sunday, July 18, 5:00 pm
In partnership withthe Washingtonbranch of SlowFood USA, AFISilver showcases
selections from Italy’s CINEMA CORTOIN BRA International Festival of SlowFood on Film. The Slow Food on FilmFestival features short narrative anddocumentary films that promote thecultural element of food through thefreest, most daring and experimentalform of cinematic expression: shortfilms.
The first festival was shown in2002 at the International Short FilmFestival in Bra, Italy. This program,the first of its type to screen in theUS, features selections culled fromthe second festival, which un-spooledthis spring in Bra.
The three-day event featuresprograms of short narrative, animat-ed and documentary works aboutfood from all over the world. SlowFood’s Washington branch plans tohost many delectable food-relatedevents around the Festival. Visitwww.slowfood.com for moreinformation.
Thursday, July 15, 9:15 pm
SLOW FOOD PROGRAM 1 HETEROGENIC An animated filmabout a special corn made by a madscientist. Italy, 2003, Beta, 9 min.,dir, Raimondo Della Calce, PrimoDreossi.
IDOLE MIO An animated short abouta woman chasing ideal beauty.Germany, 1991, 16mm, 7 min, dir.Barbara Marheineke.
FISHTALE A boy catches his firstfish, but is not prepared to prepare it.Ireland, 2003, 16mm, 8 min,dir. Paul Glynn.
TUNANOODA An animated film abouta big fish tale. US, 2002, 16mm,10 min., dir. David Sackin.
OYSTER GUANACA A Salvadoreandishwasher in a DC restaurant pur-chases six dozen oysters for his wifeas a gift and is taunted and teased byhis coworkers. US, 1992, 16mm,11 min., dirs. Sarah Cohen andJennifer Bishop.
YUM YUM YUM Doc master LesBlank’s exploration of Cajun andCreole culture and cooking. US,1990, 16mm, 30 min., dir. Les Blank.
Saturday, July 17, 5:00 pm
SLOW FOOD PROGRAM 2 SAVING SEEDS Documentary abouta bean and tomato farmer fighting bigbusiness while farming the old fash-ioned way. US, 2003, DV, 20 min.,dirs. Joe York and Mat Bruder.
DE CHINESE MUUR [THE CHINESEWALL] Get to know Aagt as she sits ather usual table in a Chinese restau-rant. Holland, 2001, 35mm, 11 min.,dir. Sytskey Kok.
PORK CHOP No one in Hong Kongloves pork chops more than Miyuki!China, Hong Kong, 2002, 35mm,11 min., dir. Tim Barnes.
DESALINDA A mixed salad and atrout meet in a restaurant cold store.Spain, 2001, 35mm, 20 min.,dir. Gustavo Salmerón.
DE LA TETE AUX PIEDS [FROM HEADTO TOE] A culinary competition dur-ing the Second World War. France,2002, 35mm, 18 min., dir. PascalLahmani.
EASY AS PIE Charlotte Baker’s sickand tired of finishing second to hersister in the All American Grand PrixBakeoff! US, 2003, 35mm, 17 min.,dir. Jon Berkowitz.
Sunday, July 18, 5:00 pm
SLOW FOOD PROGRAM 3 CRAPA PANSA To avoid ruining theannual Christmas feast, someone hasto keep a secret, but just until thepudding comes. Italy, 2003, DV,15 min., dirs. Francesco Barbieriand Andrea Canepari.
VOCI DELLA MONTANA [VOICES OFTHE MOUNTAIN] Cinematic anthropo-logical study of the lives of shepherdsFrancesco and Luigi Carta. Italy, 1998, Beta SP, 18 min.,dir. Antonello Carboni.
LA ZUPPA DI ZIO LIUGI E ALTRERICETE [UNCLE LUIGI’S SOUP ANDOTHER RECIPIES] Italy during WorldWar II, as described by those whofought as well as those who waited athome. “That’s what life was like. Itwas a hunt for food.” Italy, 2003, DV20 min., dir. Gruppo Mannamanna.
DIOCHLANDA The musical journey ofan ethno-rock band touringCalabrian restaurants in Germany.Italy, 2003, Betacam, 45 min.,dir. Giuseppe Gagliardi.
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SPECIAL EVENTS
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SPECIAL EVENTS
Mid-Atlantic Regional Showcase (MARS)AFI continues its ongoing monthly show-case of independent films. In July, AFISilver presents a special documentary byJamie Meltzer. MARS tickets are only $5.
OFF THE CHARTS: THE SONG-POEM STORYTuesday, July 13, 9:15A funny and moving look into the strange underworld ofthe song-poem industry, this documentary at times borderson A MIGHTY WIND-style absurdity, except the charac-ters in this film are real. In this little-known subculture,ordinary people respond to come-on ads in the back pagesof magazines, mailing in their heartfelt but often bizarrepoems to music industry companies that, for a fee, turn thepoems into recordings. A fascinating exploration of a trulyunique, never-before-seen slice of Americana through interviews with several song-poem writers, the jaded producers and musicians who set their words tomusic, and a few of the growing number of zealous song-poem connoisseurs.
Directed by Jamie Meltzer; produced by Jamie Meltzer and Henry S. Rosenthal, US, 2003, color, 63 min.
Joe’s Record Paradise will present a special tribute to Primitive Night (the “Woodstock of outsider music”)following the screening.
SCIENCE IN THE CINEMAAFI Silver continues tohost The NationalInstitutes of Health (NIH)Office of ScienceEducation (OSE)’s excitingpublic program—Science inthe Cinema, a FREE filmseries. The July programagain features a film with amedical science-relatedtheme, MISS EVERS’ BOYS.Following the screening, aguest speaker with expert-ise in the scientific aspectof the film will commentand participate in a Q & A
session with the audience. The film willbe shown with open captions, and anAmerican sign-language interpreter willbe available for the post-film discus-sions.
Science in the Cinema is open to the general public and is intended fora broad range of individuals who enjoy movies and have an interest inscience and medicine.
Those requiring other reasonable accommodations to participate inthis activity should contact OSE at least 5 days prior to the event at (E-mail: [email protected], Voice: 301-402-2470, or TTY: 301-496-9706.) For further information about Science in the Cinema, visit OSE’swebsite at http://science.education.nih.gov/cinema.
Tickets are free and are available on a first-come, first-served basisthrough the AFI Silver box office on day of show only.
FREESERIES! MISS EVERS’ BOYS
Tuesday, July 13, 7:00Based on the shocking true story, MISSEVERS’ BOYS exposes the 40-year USgovernment-backed medical humanresearch effort that led to tragic conse-quences. In 1932, devoted Nurse EuniceEvers (Alfre Woodard) accepts an invita-tion to work with Joe Dr. Brodus (JoeMorton) and Dr. Douglas (Craig Sheffer)on a federally funded Alabama program totreat syphilis patients. The program offersfree treatment to those who test positivefor the disease, including Caleb Humphries(Laurence Fishburne) and Willie Johnson(Obba Babatunde). But when the govern-ment withdraws its funding, money isoffered for what will become known as “The Tuskegee Experiment,” a study of theeffects of syphilis on patients who don’t receive treatment and are led to believe they arebeing “cared for” when they’re actually being denied medicine that could cure them.Miss Evers is faced with a terrible dilemma: inform her patients and abandon the experi-ment or remain silent and offer only comfort. Her life-or-death decision impacts thecourse of not only her life, but the lives of all of Miss Evers’ boys. The excellent cast alsoincludes Ossie Davis and E.G. Marchall.
Directed by Joseph Sargent; written by David Feldshuh and Walter Bernstein;produced by Derek Kavanagh and Kip Konwiser. US, 1997, color, video, 118 min.Rated PG
Guest Speaker: Vanessa Northington Gamble, M.D., Ph.D.,Deputy Director for Education and Training, Morgan-Hopkins Center for Health Disparities Solutions,Bloomberg School of Public Health, Johns HopkinsUniversity, Baltimore, Maryland (former Chair of theTuskegee Syphilis Study Legacy Committee)
