Only one small film festival this week, but it looks like a fun one: Ring-a-Ding-Ding: The Movies of Frank Sinatra.
A On the Town, Vogue, Saturday, 7:30
Three sailors arrive in New York for a 24-hour leave. That’s precious little time to see the sights, drink in the atmosphere, and fall in love. What makes On the Town so special–beyond the great songs, terrific choreography, and witty script–is the prevailing sense of friendship and camaraderie. These three sailors and the women who fall for them all seem to genuinely like each other. The movie also treats sexuality in a surprisingly upbeat and positive way for a 1949 Hollywood feature. The women in the story (Vera-Ellen, Ann Miller, and the infinitely funny Betty Garrett) are as motivated by lust as the men (Gene Kelly, Jules Munshin, and Frank Sinatra). It’s just too bad that screenwriters Adolph Green and Betty Comden updated their own wartime stage musical to the post-war period, losing the urgency that came from not knowing if the sailors would come back alive. Part of Ring-a-Ding-Ding: The Movies of Frank Sinatra.
B+ Sparrows, Niles Essanay Silent Film Museum, Saturday, 7:30
Sparrows‘ plot feels like the stereotype of a silent film melodrama. An evil miser keeps children imprisoned and enslaved on what’s basically an island in the middle of a swamp. When it becomes clear that he will kill them all, sweet and beautiful Molly (who else but Mary Pickford) must lead them to safety. The story is as silly as it sounds, but the photography and tints are so gorgeous, and Pickford is such a delight, that you forgive it all. I’m hoping that Niles screens the same gorgeous print I saw some years back at the San Francisco Silent Film Festival. With the shorts Slippery Slickers and Mum’s the Word. With Frederick Hodges on the piano.
B+ Forbidden Planet, Balboa, Thursday, 7:30; Stanford, Saturday through Tuesday
Nothing dates faster than futuristic fiction, and with its corny dialog and spaceship crewed entirely by white males, Forbidden Planet is very dated. But MGM’s 1956 sci-fi extravaganza still holds considerable pleasures. The Cinemascope and Eastmancolor art direction pleases the eye, Robby the Robot wins your heart, and the story—involving a long-dead mystery race of super-beings—still packs some genuine thrills. It’s also an interesting precursor to Star Trek. The Stanford will present Forbidden Planet on a double bill with the 1960 version of The Time Machine.
A The Manchurian Candidate (original, 1962 version), Vogue, Sunday, 6:30
Bad dreams keep bothering Korean War veterans Lawrence Harvey and Frank Sinatra. Were they brainwashed by Communists? And where do the rabid anti-Communists fit in? Easily the best political thriller to come out of the cold war, The Manchurian Candidate finds villains on both political extremes. As the nominal hero, Sinatra proves he really is an actor, but Angela Lansbury steals the film as cinema’s most evil mother–a woman of outsized beliefs and a burning hatred of anyone who disagrees with her. Read my Blu-ray review. Another part of Ring-a-Ding-Ding: The Movies of Frank Sinatra.
B The Fifth Element, New Parkway, Friday
This big, fun, special effects-laden science-fantasy adventure refuses to take itself seriously. It never manages to be particularly exciting, but it succeeds in being rousing and intentionally funny eye candy. It’s also one of the few futuristic movies that’s neither utopian nor dystopian, making it feel–for all the silliness of the plot–relatively realistic.
B+ 2001: A Space Odyssey, Castro, Saturday and Sunday
I used to worship Stanley Kubrick’s visualization of Arthur C. Clarke’s imagination, but it hasn’t aged all that well. We’ve seen the actual year, and know that Clarke and Kubrick got almost everything wrong in the prediction department. Although I’ve lost my love of Stanley Kubrick, there’s no denying the pull of 2001‘s unorthodox storytelling and visual splendor–if you can see it properly presented. 2001 was shot for 70mm projection on a giant, curved, Cinerama screen. The Castro’s screen is quite large, but not that large, and it’s flat. And Warner Brothers makes it available digitally only in 2K; 4k better simulates 70mm. On a double bill with Capricorn One on Saturday and Zardoz on Sunday.
B Fantastic Mr. Fox, Balboa, Saturday, 10:00am
There’s a cartoon-like quality to a lot of Wes Anderson’s work, so it isn’t surprising that he would eventually make a real cartoon. Based on a story by Roald Dahl, Fantastic follows the adventures of a very sophisticated but not altogether competent fox (voiced by George Clooney) as he tries to outwit a farmer and keep his marriage together. Children and adults will find different reasons to enjoy this frantically-paced comic adventure.
B- Pee-Wee’s Big Adventure, Castro, Friday, 9:10
Tim Burton’s first feature revels in its own silliness. Pee-Wee Herman, before children’s television and indecent exposure, is a strange, almost neurotically innocent creature. The movie is uneven, and most of the jokes are extremely dumb, but the oddball charm cannot be denied. Besides, the last sequence, reworking the plot as a Hollywood action flick, is alone worth the price of admission. On a double bill with The Goonies, which starts at 7:00.
B+ Mad Max: Fury Road, Castro, Wednesday; New Parkway throughout the week
You have to understand three things about this movie: 1) It’s basically one long motor vehicle chase broken up with dialog scenes. 2) It’s surprisingly feminist for this sort of movie; the plot involves a woman warrior rescuing a tyrant’s enslaved harem. 3) The title character is basically a sidekick. The movie is filled with crashes, weapons, hand-to-hand combat, acts of courage, close calls, and fatal errors. It’s fast, brutal, and for the most part very well-choreographed. The film makes effective use of 3D, and should be seen that way. Unfortunately, the Castro will screen it flat.
A- Best of Enemies, Albany Twin, opens Friday
In the tumultuous year of 1968, the ABC television network put the reactionary William F. Buckley Jr. and the progressive Gore Vidal on TV to debate the issues of the day. They were both erudite, east-coast intellectuals, and their world views were as different as they could get. This breezy and entertaining documentary offers a plausible argument that those debates changed American TV news, and thus changed America. If you’re at all interested in recent American history, see this film.
A The Hidden Fortress, Stanford, Friday
Akira Kurosawa showed astonishing range within the samurai genre (as well as outside the genre). Seven Samurai is an epic drama with fully-developed characters and realistically unpredictable violence; Yojimbo is a black comedy; Throne of Blood is stylized Shakespeare. But The Hidden Fortress is just plain fun–a rousing, suspenseful, and entertaining romp. It was also his first widescreen film, and contains two comic peasants (Minoru Chiaki and Kamatari Fujiwara) who were the inspiration for R2D2 and C3PO. See my Kurosawa Diary entry and my Blu-ray review.