"The Blue Dahlia" in 35mm at Loew's Jersey

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"The Blue Dahlia" in 35mm at Loew's Jersey

Unread post by Loew'sJersey » Sat Apr 15, 2017 1:39 pm

Saturday, April 22 at 6:30PM
Starring Alan Ladd, Veronica Lake, William Bendix, Howard Da Silva. Directed by George Marshall. 1946 96mins B&W In 35mm.

$8 for adults; $6 for seniors & kids (12 & younger). Combo pricing for seeing more than one film in a weekend series.
Live entrance music on the Loew’s Wonder Pipe Organ before most screenings.

At the Landmark Loew's Jersey Theatre, 54 Journal Square, Jersey City, NJ (201) 798-6055 http://www.loewsjersey.org" target="_blank" target="_blank" target="_blank. Email: [email protected]" target="_blank" target="_blank" target="_blank http://www.facebook.com/landmarkloewsjersey/" target="_blank" target="_blank" target="_blank

Also part of this weekend series: "Murder, My Sweet" in 35mm April 21 at 8PM and "Body Heat" in 35mm April 22 at 8:30PM.

The Landmark Loew's Jersey is easily reached by car and mass transit from throughout the New York & New Jersey area. We are located directly across JFK Blvd from the JSQ PATH Station with trains to and from the World Trade Center and 33rd Street in Manhattan, as well as Newark’s Penn Station. The Theatre is close to the NJ Turnpike & Holland Tunnel. Discounted off street parking in Square Ramp Garage.

The Loew's is a place where the great movie going experience is still alive -- a classic movie palace, a 50 foot wide screen, and a real pipe organ for entrance music before most shows! And whenever possible, screenings are still in 35mm.

About "The Blue Dahlia":

This neat, fast-paced perfectly cast film noir is among the best of its genre – and unique in one very notable way: Though many of Raymond Chandler's books were turned into films (such as “Murder My Sweet” and “The Big Sleep”) and he himself adapted other writers' novels into screenplays (“Double Indemnity”, “Strangers on a Train”), “The Blue Dahlia” is the only work that he wrote directly for the screen. No surprise, then, that the film is laden with the fast-paced dialogue, grim wit, disillusioned attitude, hard-boiled men, and mysterious women that were Chandler's hallmarks.

Alan Ladd plays Johnny Morrison, who returns from the War to find his wife Helen having a party and in the arms of another man. Johnny and Helen have a terrible fight, and she is later found dead. Pursued by the cops, and never sure if he is being set-up, Johnny enlists the aid of a woman (Veronica Lake) who is the ex-wife of Helen's lover. Ladd and Lake were paired in seven successful films in the 1940s, and always played off of each other’s strengths well (not to mention, both were rather diminutive in height, and so were literally a perfect fit on screen) but they were never better together than here: he is at his steely, no-nonsense best, and she is, as always, the perfect femme-fatale – intoxicatingly seductive but with a sharp edge of mystery. Nicely directed by George Marshall, who remarkably was most known for comedies, the film moves with great pace to an exciting, satisfying conclusion. This was John Houseman's first success as a Hollywood producer; he was previously known for his stage productions, starting with his work with Orson Welles. And Chandler was nominated for a second Academy Award for best screenplay (his first was “Double Indemnity”).

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