Fort Worth, TX: MoMA series

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Fort Worth, TX: MoMA series

PostMon Aug 11, 2008 12:49 pm

http://www.themodern.org/moma_stillmoving.html

Still Moving: Classic Films from MoMA
August 14–17 and 21–24

Friday, August 15; 8 pm
The Big Trail (widescreen Grandeur version)
1930; USA; 122 minutes


Directed by Raoul Walsh. Screenplay by Jack Peabody, Marie Boyle, Florence Postal. With John Wayne, Marguerite Churchill, El Brendel, Tully Marshall. Restored with funding from the National Endowment for the Arts, the Celeste Bartos Film Preservation Fund, and The Film Foundation, from original materials in MoMA’s Fox Collection.


A 23-year-old John Wayne delivers his first starring performance as a wagon train scout leading pioneers through perilous territory to Oregon; but the real star of this early classic, all shot on location in Grandeur widescreen, is the stunning landscape of the American West.


Saturday, August 16; 5:30 pm
The Love Parade
1932; USA; 109 minutes


Directed by Ernst Lubitsch. Screenplay by Ernest Vajda and Guy Bolton. With Maurice Chevalier, Jeanette MacDonald, Lupino Lane, Lillian Roth. Preserved with funds from Celeste Bartos, from original materials acquired from Paramount Pictures.


Jeanette MacDonald made her screen debut in this charming and sophisticated musical comedy (Ernst Lubitsch’s first “talkie”) about the antics of a newly wedded royal couple.


Sunday, August 17; 2 pm
His Girl Friday
1940; USA; 92 minutes


Directed by Howard Hawks. Screenplay by Charles Lederer, based on The Front Page, the play by Ben Hecht and Charles MacArthur. With Cary Grant, Rosalind Russell, Ralph Bellamy. Restored by Sony Pictures Entertainment and donated to MoMA’s permanent film collection in honor of Mary Lea Bandy, Chief Curator Emerita of Film.


Based on the Broadway play, The Front Page, Cary Grant and Rosalind Russell star in Howard Hawk’s wacky satire about a newspaper editor who uses every trick in the book to keep his ace reporter ex-wife from remarrying.


Sunday, August 17; 4 pm
Brute Force
1947; USA; 98 minutes


Directed by Jules Dassin. Screenplay by Richard Brooks, based on a story by Robert Patterson. With Burt Lancaster, Hume Cronyn, Charles Bickford. Restored with funding from the National Endowment for the Arts, from original materials in MoMA’s Turner Collection.


Starring Burt Lancaster, this brutally violent prison movie was directed by Jules Dassin (Riffi) famous for his visually innovative “noirs”—black and white movies that reflected the cynicism of an idealistic America disillusioned by the cruel realities of World War II.


Thursday, August 21; 7 pm
The Boy with Green Hair
1948; USA; 82 minutes


Directed by Joseph Losey. Screenplay by Ben Barzman and Alfred Lewis Levitt, from the short story by Betsy Beaton. With Dean Stockwell, Pat O’Brien, Robert Ryan, Barbara Hale. Restored with funding from The Film Foundation/Hollywood Foreign Press Association, from original materials in MoMA’s Turner Collection.


When his parents die in the London Blitz, an orphaned boy’s hair suddenly turns green in this parable about bigotry, fascism and the innocent victims of war.


Friday, August 22; 6 pm
Alice in Wonderland
1948; Great Britain/France; 96 minutes


Directed by Lou Bunin and Dallas Bower. Screenplay by Henry Myers, Albert Lewin, Edward Eliscu. With Carol Marsh, Stephen Murray, Pamela Brown. Restored with funding from the Celeste Bartos Film Preservation Fund, from original materials donated to MoMA by Lou Bunin.


Friday, August 22; 8 pm
The Set-Up
1949; USA; 73 minutes


Directed by Robert Wise. Screenplay by Art Cohn. With Robert Ryan, Audrey Totter, George Tobias, Wallace Ford. Preserved with funds from the Celeste Bartos Film Preservation Fund, from original elements in MoMA’s Turner Collection.


Shot in what appears to be “real time,” director Robert Wise’s powerful film-noir exposes the corruption of the boxing underworld and vilifies the mobsters who control it.


Saturday, August 23; 2 pm
The Steel Helmet
1951; USA; 84 minutes


Written and directed by Samuel Fuller. With Gene Evans, Robert Hutton, Steve Brodie, James Edwards. Preserved with funds from Celeste Bartos.
Enjoying his first box-office success, writer and director Samuel Fuller drew from his own first hand experiences to create this gritty and powerful war film, the first film to focus on combat during the Korean War.


Saturday, August 23; 5 pm
On the Waterfront
1954; USA; 108 minutes


Directed by Elia Kazan. Screenplay by Budd Schulberg. With Marlon Brando, Eva Marie Saint, Rod Steiger, Lee J. Cobb, Karl Malden. Restored through the Sony Pictures Entertainment/Columbia Pictures preservation program.


Winning eight Oscars, including Best Picture, Best Actor, and Best Director this American classic film focuses on the corruption among the longshoremen and is a “contendah” for greatest American film of all time.


Sunday, August 24; 2 pm
Salt of the Earth
1954; USA; 92 minutes


Directed by Herbert J. Biberman. Screenplay by Michael Wilson. With Juan Chacon, Rosaura Revueltas, Will Geer. Restored with funding from the Celeste Bartos Film Preservation fund, from original materials donated to MoMA by the film’s producer, Paul Jarrico.


Based on an actual strike against the Empire Zinc Mine in New Mexico, this powerful film explores the prejudice against the Mexican-American workers, who struck to attain wage parity with Anglo workers. Salt of the Earth was written, directed and produced by members of the original “Hollywood Ten,” who were blacklisted for refusing to answer Congressional inquiries on First Amendment grounds.


Sunday, August 24; 4 pm
It Should Happen to You
1954; USA; 87 minutes


Directed by George Cukor. Screenplay by Garson Kanin. With Judy Holliday, Jack Lemmon, Peter Lawford. Restored through the Sony Pictures Entertainment/Columbia Pictures preservation program.


Judy Holliday stars as a “girdle model” who dreams of fame and fortune and Jack Lemmon co-stars (in his first film role) as the documentary filmmaker who woos her.
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PostTue Aug 12, 2008 12:59 pm

http://www.fwbusinesspress.com/display.php?id=8177

Benchmark films arrayed for big screen at the Modern Art Museum

BY MICHAEL H. PRICE
August 11, 2008

Type the word iron into a title search at the Internet Movie Database, and the result will be a list beginning with Iron Man, the hit from Marvel Comics’ Hollywood outpost. Thirty-odd titles down, you will find a silent-screen picture called The Iron Mask — one of those films without whose influence the cinema of heroic adventure might have taken a drastically different form.

Without Allan Dwan’s The Iron Mask of 1929, there might be no Iron Man of 2008.

The Iron Mask is a key title in an exhibition of essential cinema called Still Moving, opening Aug. 14 at the Modern Art Museum of Fort Worth. The selections, drawn from the archives of the Museum of Modern Art in New York, range from the waning 1920s into the middle 1950s.

Marvel Comics honcho Stan Lee spoke during the 1980s on the influence of The Iron Mask: “When [artists] Jack Kirby and Donnie Heck and I were casting about for new characters to add to our growing ranks of Spider-Man and the Fantastic Four, … somebody mentioned [Alexandre] Dumas, and the Three Musketeers, and the tale of the man in the iron mask — what if one of our new heroes might be a man imprisoned in a mask of iron? Or a whole suit of iron, as our Iron Man yarns turned out.

“The Iron Mask — now, there was a movie! And there’s a lot of ol’ Doug Fairbanks in Iron Man’s civilian self, Tony Stark.”

Such deep-focus background would seem to lend The Iron Mask, in its revival at the Modern Art Museum, a singular appeal to anyone interested in the foundations of the popular culture. The series’ selections are essential overall, for that matter.

In 2006, the Modern’s Tina Gorski, in charge of auditorium programming and the weekend art-film slate, brought Tutto Fellini to Fort Worth. The retrospective of films by the great Italian film artist Federico Fellini commanded standing-room crowds throughout. Gorski followed through in 2007 with a similarly appealing series of foreign classics from the library of Janus Films. The 2008 exhibition concentrates upon Old Hollywood, with a British–French ringer, the 1948 Alice in Wonderland, of considerable rarity.

Still Moving: Classic Films from MoMA, Aug. 14–24 at Fort Worth’s Modern, draws upon the permanent collections of NYC’s Museum of Modern Art — a vital archive of more than 21,000 theatrical prints. MoMA established its film division in 1935 with a dedication to what MoMA founder Alfred Barr had called “the only great art form peculiar to the 20th century.”

In New York, MoMA’s Still Moving series is a weekly filmgoing attraction. The Fort Worth version will deploy 35-millimeter primary-source prints. The box-office tariff for each showing is $8.50 ($6.50 for members of the Modern).

The schedule follows:

• 7 p.m. Aug. 14: Frank Borzage’s Street Angel (1928) boasts an Oscar-winning performance from Janet Gaynor as a “good girl forced to go bad.?

• 6 p.m. Aug. 15: The Iron Mask, with Douglas Fairbanks, holds up stunningly well as an adaptation of Dumas? novel.

• 8 p.m. Aug. 15: John Wayne, at 23, stars in Raoul Walsh’s The Big Trail (1930), which will play in its original widescreen edition — a pioneering ancestor of Cinemascope, called the Grandeur process.

• 4 p.m. Aug. 16: Robert Flaherty’s Moana (1926) is a dramatized documentary filmed in Samoa.

• 5 p.m. Aug. 16: Ernst Lubitsch? The Love Parade (1932) provides a musical-screen début for Jeanette MacDonald.

• 2 p.m. Aug. 17: Howard Hawks’ His Girl Friday (1940) stars Cary Grant and Rosalind Russell star in a madcap satire of journalism and romance.

• 4 p.m. Aug. 17: Jules Dassin’s Brute Force (1947) is a definitive prison drama, starring Burt Lancaster.

• 7 p.m. Aug. 21: Joseph Losey’s The Boy with Green Hair (1948) is an antiwar fable of haunting resonance, with Dean Stockwell.

• 6 p.m. Aug. 22: Lou Bunin and Dallas Bower’s Alice in Wonderland (Alice au pays des merveilles; England-France, 1948-1949) is a far cry from the familiar Disney version of 1951 — and all the better for it.

• 8 p.m. Aug. 22: Robert Wise’s The Set-Up (1949), starring Robert Ryan, is a stirring exposé of the prizefighting racket.

• 2 p.m. Aug. 23: Samuel Fuller’s The Steel Helmet (1951) stars Gene Evans and Robert Hutton — the first film to deal with the Korean War.

• 5 p.m. Aug. 23: Elia Kazan’s eight-Oscar gem On the Waterfront (1954) stars Marlon Brando and Eva Marie Saint in a tale of corruption among longshoremen.

• 2 p.m. Aug. 24: Herbert J. Biberman’s Salt of the Earth (1954) explores social prejudices with unusual depth.

• 4 p.m. Aug. 24: George Cukor’s It Should Happen to You (1954) stars Judy Holliday as a dreamer and a new-to-cinema Jack Lemmon as her suitor.

Contact Price at mprice(at)bizpress(dot)net

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