theater

Provincetown Film Festival

Ale Abreus' film "Boy and the World" shows in this year's Provincetown Intl. Film Festival

Ale Abreus’ film “Boy and the World” shows in this year’s Provincetown Intl. Film Festival

Well, here it is. The Provincetown International Film Festival kicked off last night with a number of really good films, several of which I was able to see in advance. I have to say, I have seen a lot of good work so far this year. If you missed Roman Polanski’s Venus in Fur or Brazilian filmmaker Ale Abreu’s Boy and the World, you can still catch them in the festival. These are two very different, but really wonderful films. The first (which screens again at 9:45 pm on Thursday, June 19) is another great Polanski film about a stage director casting for a play he’s written about the sado-masochistic book Venus in Furs. The film version is based on David Ives’s play, and it is primarily an ongoing dialogue between the director and the actress auditioning for the lead role. Embedded within that dialogue are provocative ideas about sex, gender, and power. The other film, Boy and the World, (showing again at 11:30 a.m. on Friday, June 20) is an animated featured with a nearly wordless script–almost the polar opposite of Polanski’s film. The visuals are imaginative and fluid and there is an attention to cinematic details in a similar vein to The Triplets of Belleville (2003), only with stronger emotional resonance as it explores a young boy’s journey to find the father he misses deeply.

For more about what not to miss, check out my preview in Provincetown Magazine.

For that issue of the magazine, I was also able to interview Canadian director David Cronenberg, who is receiving the Filmmaker on the Edge Award this year, and American director Jonathan Demme, who will be attending the North American premiere of his new film A Master Builder, right here in Provincetown this Sunday, June 22 at 7 p.m. That film is based on and adaptations of the Ibsen play The Master Builder by the brilliant Wallace Shawn, whom you might know from his numerous character acting roles in films such as The Princess Bride, or from TV’s Gossip Girl, or, if you’re a cinephile, from the 1983 Louis Malle film My Dinner with Andre, in which he starred with Andre Gregory. Both Shawn and Gregory are in A Master Builder, which Demme tells me was shot in one week. That might seem extraordinary, but Gregory (himself  a legendary avant garde theater director) had worked with Shawn and the cast for 10 years preparing the staged version, which was only slightly changed for the screen. You can read the full story on A Master Builder on the Provincetown Magazine website, as well as my interview with David Cronenberg.

Well I’m off to see some more movies today. I hope you are, too!

What’s Old is New at the Chatham Orpheum

Tony Curtis, Marilyn Monroe, and Jack Lemmon in Billy Wilder’s classic 1959 film “Some Like It Hot.”

I’ve seen Singin’ in the Rain (1952) numerous times; sometimes I watched pieces of the film on television on Sunday afternoons at my grandmother’s house, another time on video for a film course. It is one of just a handful of exceptions to my general anti-musical genre tastes. So when I saw that the Chatham Orpheum Theater was showing the film last week, I made sure I went. My only regret is that I didn’t bring my 10-year-old son to see it with me; what an introduction to film history it would have been.

The role of the repertory cinema is one that’s all but forgotten for most people. Once home video had saturated the American market, even urban cinephiles abandoned these noble institutions in favor of curating their own home libraries, complete with DVD sets including marvelous extras like behind-the-scenes documentaries and director’s commentaries. But as much as I value DVDs for their extra resources and as much as I understand the appeal of curling up on the couch to watch Billy Wilder’s The Apartment (1960) or Al Pacino in Dog Day Afternoon (1975), there is no way to really feel the magic of these movies without going to see them in a dark theater with no reminders of your real life at home and only the occasional interruption from the sound of a neighboring filmgoer coughing in the dark. And for young people, it is truly the best way to appreciate films from the pre-video era, as they were meant to be seen.

Gene Kelly in Singin’ in the Rain (1952)

Singin’ in the Rain is a great example because it’s a film made over 60 years ago about the conversion from silent to sound cinema, a time that is nearly 90 years ago now. I had always been drawn to this film and I always knew it was specifically because of Gene Kelly, but it was only looking up at the screen last week, focusing completely on the movie, that I truly understood Kelly’s choreography, the somewhat surreal “Gotta Dance”/”Broadway Melodies” section, and the way Kelly’s movements differ so strongly from those of his co-stars Donald O’Connor and Debbie Reynolds. Of course, all three can dance, but if you just watch the “Good Morning” dance scene, Kelly’s connection to the music and the rhythm of the piece runs so deep that it appears completely effortless, as though the music and his body are physically connected in a way that Reynolds and O’Connor are just not capable of. On the small screen, it appears as silly but entertaining, but larger than life on the big screen, the fluid beauty is marvelous.

This is why I am so thrilled that finally someone on Cape Cod gets it! The Chatham Orpheum will be showing old movies in special screenings throughout the year. Singin’ in the Rain was this past week, but coming up is another one of my favorites, Some Like It Hot (1959), in which Tony Curtis and Jack Lemmon play musicians who have to perform in drag in order to get a gig with an all-girl traveling band that includes Marilyn Monroe as a sexy ukulele player. I’ve seen this movie easily 25 times, but you can bet I will be there to see it on the big screen next week. (It’s showing on March 13 and 15).

On March 27 and 29, the Orpheum moves ahead to something more recent, Howard’s End (1992). Like most Merchant-Ivory films, this one is sure to benefit from the focused atmosphere of the movie theater, allowing the atmosphere of the period (it takes place in England at the turn of the 20th century) to seamlessly take over our suspended notion of time and place. Then, on April 10 and 12, the Orpheum brings another film from the classic era, George Cukor’s The Philadelphia Story (1940), which I also can’t wait to revisit. This Academy Award winning film features Katherine Hepburn and Cary Grant in a screwball comedy with fantastic, fast-paced dialogue and zany antics that made that genre so endearing.

Cary Grant in Hitchcock’s brilliant “North By Northwest” (1959)

The last revival on the schedule so far is Alfred Hitchcock’s brilliant Cary Grant starrer, North By Northwest (1959). What a great film to take my son to as an introduction to the brilliance of Hitchcock. This is a film whose very design demands the large screen and the experience of watching something with others who care about great movies and don’t mind leaving their email inboxes, Twitter feeds, and Facebook updating until long after the lights come up and we all return to our “senses.”

For complete details on these special screenings, visit the Chatham Orpheum Theater or give them a call at 508.945.0874.