The Silent Film Festival Winter Event, Castro, Saturday. This is the big event of the week. Four features—one a huge epic—all with live accompaniment. The one I’m most excited about, because I’ve read about it but never seen it, is the French epic J’accuse, screening at 2:00 with famous (at least to silent film enthusiasts) composer Robert Israel on the Wurlitzer pipe organ. The
other films…I know their good. One is described below. See my previous write-up for more details.
B+ Sherlock Jr., Castro, Saturday, 7:00. There’s nothing new about special effects. Buster Keaton used them extensively, in part to comment on the nature of film itself, in this story of a projectionist who dreams he’s a great detective. The sequence where he enters the movie screen and finds the scenes changing around him would be impressive if it were made today; for 1924, when the effects had to be done in the camera, it’s mind-boggling. Since it’s Keaton, Sherlock Jr. is also filled with impressive stunts and very funny gags. This is an extremely short “feature,” running only about 45 minutes (depending on the projection speed). As part of the Silent Film Festival Winter Event, Sherlock Jr. will be screened with my favorite Keaton short, “The Goat.” Dennis James will accompany both on the Wurlitzer pipe organ, aided by special sound effects created live by foley artist Todd Manley.
A+ Double Bill: Rear Window & Shadow of a Doubt, Castro, Wednesday. Rear Window represents Alfred Hitchcock at his absolute best. James Stewart is riveting as a news photographer temporarily confined to his apartment and a wheelchair, amusing himself by watching his neighbors (none of whom he knows) and guessing at the details 
of their lives. Then he begins to suspect that one of them committed murder. As he and his girlfriend (Grace Kelly) begin to investigate, it slowly begins to dawn on us (but not them) that they’re getting into some pretty dangerous territory . Hitchcock uses this story to examine voyeurism, urban alienation, and the institution of marriage, and to treat his audience to a great entertainment. In Shadow of a Doubt, Hitchcock’s first great American film, a serial killer (Joseph Cotton) returns to his small-town roots. When his favorite niece (Teresa Wright) begins to suspect that all is not right with her beloved Uncle Charlie, her own life is
in danger. The locations were shot in Santa Rosa. Opening day of the Castro’s Hitch for the Holidays series.
B Who Killed the Electric Car, Cerrito, Saturday, 11:00. In the mid-90’s, General Motors released an electric car so wonderful that Chris Paine made this 
documentary about it. But GM leased these cars rather than selling them, and very few people got their hands on one. Then GM pulled the plug (so to speak) on the entire line, ceasing production and reclaiming all existing cars. Paine turns all of this into an informative, very partisan, yet breezy documentary. Interview subjects include a GM saleswoman turned activist, NIMH battery inventor Stanley Ovshinsky, and movie stars who were among the few people allowed to lease these cars (this may be the only progressive documentary with a positive image of Mel Gibson). Presented by the League of Women Voters of West Contra Costa County & the City of El Cerrito Environmental Quality Committee.
The Moon Is Blue, Pacific Film Archive, Friday, 8:20. I’ve never seen this 1953 romantic comedy. I’ve never read anything to make me believe it’s worth 
seeing. But it played a major role in destroying the Production Code and giving filmmakers considerable freedom. Although extremely prim and, judging from the descriptions I’ve read, positively anti-sex, its use of words like virgin and pregnant were shocking enough to deny it the censor’s seal of approval. United Artists released it anyway, removing a major brick in the wall towards greater freedom. Part of the PFA’s Otto Preminger: Anatomy of a Movie series.
A The Band Wagon, Stanford, Tuesday through Thursday. Singin’ in the Rain’s producer and writers teamed up with director Vincente Minnelli to make the one great post-Ginger Fred Astaire vehicle. Their trick? They blended a small dose of reality into the otherwise frivolous mix. For instance, Astaire’s character, an aging movie star nervously returning to the Broadway stage he abandoned years before, is clearly based on Astaire himself. The result is a sly satire of Broadway’s intellectual aspirations, lightened up with exceptional songs and dances including “That’s Entertainment” and “I Love Louisa.” On a double bill with Funny Face.
B+ The Wizard of Oz, Castro, Sunday; California Theater, San Jose, Thursday (and the 
following Friday), 7:30. I don’t really have to tell you about this one, do I? Well, perhaps I have to explain why I’m only giving it a B+. Despite its clever songs, lush Technicolor photography, and one great performance (Bert Lahr’s Cowardly Lion), The Wizard of Oz never struck me as the masterpiece that everyone else sees. It’s a good, fun movie, but not quite fun enough to earn an A.
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