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With 800 seats, Cinéma Impérial can allow up to 250 people with the prescribed sanitary measures in place including mandatory masks and social distancing. Tickets available soon be available on line at this site where you can also check out the entire fall series: http://www.cineclubfilmsociety.com/ VAMPYR with LIVE musicians on piano, cello and percussion. (Germany / France, 70 min. English subtitles) Carl Theodore Dreyer Carl Dreyer’s VAMPYR is a hauntingly atmospheric masterpiece of Scandinavian horror cinema. A trio of live musicians on piano, string and percussion will accompany a vintage film print projected onto a large screen in a beautiful movie temple built in 1913. Added will be a creepy surprise short. 1430 rue Bleury (metro logo) Place des Arts Stand by for details on where tickets can be purchased on line.
With 300 seats, Cinéma duMusée can allow up to 110 people with the prescribed sanitary measures in place. Tickets available on line at https://omniwebticketing3.com/musee/?schdate=2020-11-08&perfix=3452 and at the box office (but we recommend buying them in advance) Check out the entire fall series: http://www.cineclubfilmsociety.com/ HIGH NOON (1952, USA, 85 min., 16mm) Stanley Kramer When the train station bell sounds at noon, newlywed marshal Will Kane understands that criminal Frank Miller is back in town, having sworn vengeance on this village and its marshal. It looks like Kane will have to postpone his honeymoon and spend one more day on the job in order to stop Miller and save everyone's lives: his own, his new wife's and the town citizens' whose fear grows by the minute on the ticking clock. And sure enough, everyone deserts the marshal in his hour of need. Now abandoned and going solo, will Kane be able to fulfill his duty and confront Miller and his gang? A great Western classic shot in the midst of the American Golden Age, High Noon stands out on the margins of Western classicism. The movie displays a profound critique of government and society, and thus constitutes as debunking of the mythic West. Featuring main star Gary Cooper, one of the Western conventions' most defining leads, this movie plays with the symbol of the aging star to articulate self-referential and critical elements that will in turn become the "norms" in the Revisionist Western age subgenre, but a decade later. Worthy of note is John Wayne's comment that High Noon was "the most un-American thing he'd ever seen" while coming under fire by Rio Bravo's (1959) director Howard Hawks whose movie is a direct response to Zinnemann's work. Enjoy seeing the grit of genuine film grain on the big screen making this visually iconic opus even more unforgettable. + 1950s trailers, newsreel, cartoon and serial chapter for a vintage night at the movies!
With 300 seats, Cinéma duMusée can allow up to 110 people with the prescribed sanitary measures in place including social distancing and mask-wearing. Tickets available on line at https://omniwebticketing3.com/musee/?schdate=2020-11-22&perfix=3453 and at the box office (but we recommend buying them in advance) See the entire series program here: http://www.cineclubfilmsociety.com/ L’AVVENTURA (1960 Italy, 144 min., 16mm, Eng. subtitles) Michelangelo Antonioni Two well off couples are out for a day of pleasure boating along the coast of Sicily. The restless Anna, played by Lea Massari (MURMUR OF THE HEART by Louis Malle), is not like the others. She unexpectedly jumps into the water while the boat is still cruising, forcing the group of friends to anchor at a nearby deserted island. While swimming, she swears to having seen a shark but no one believes her as she is known to play pranks. The following morning, Anna begins roaming the island and disappears without a trace, taking with her any semblance of a standard narrative structure to the film. In attempts to find Anna, her friends and family wander aimlessly in the landscape, making way for one of the most existentialist experiences ever in a film. Just as elegant as it is brutal L’AVVENTURA de Michelangelo Antonioni (BLOW-UP, RED DESSERT) was a major influence on the new direction the art form was to take in the 1960s. Behind what appears to be a classical aesthetic we find a very unusual drama on the loss of meaning in which characters are confronted at once by nothingness and the absolute. The spectator is bewitched by the sublime and creepy ambiance of the small Italian villages explored by our main characters who continue to search for the missing Anna, all underscored by the ocean waves crashing violently against the rocks. Offering a completely hypnotic experience on the big screen, come see this veritable masterpiece and pillar of auteur cinema outside the confined solitude of home viewing.
With 300 seats, Cinéma duMusée can allow up to 110 people with the prescribed sanitary measures in place including social distancing and mask-wearing. Tickets available on line at https://omniwebticketing3.com/musee/?schdate=2020-12-06&perfix=3454 and at the box office (but we recommend buying them in advance) See the entire series program here: http://www.cineclubfilmsociety.com/ RAIDERS OF THE LOST ARK (1981, USA, 115 min., 35mm) Steven Spielberg Get ready for edge-of-your-seat thrills! Indy (Harrison Ford) and his feisty ex-flame Marion Ravenwood (Karen Allen) dodge booby-traps, fight Nazis and stare down snakes in their incredible worldwide quest for the mystical Ark of the Covenant. Experience one exciting cliff-hanger after another when you discover adventure with the one and only Indiana Jones. Archeology has never been so cool. This film revolutionized the action genre by proving that nonstop adventure could indeed thrive around a solid story – aided by superior helpings of smart dialogue, comic relief, a fitting romance, and significant villains. There are even bits of science-fiction and horror thrown into the mix. The James Bond films may have dreamed up the overarching concept first, but many of those episodes tend to dip into the territories of wildly unrealistic and predominantly goofy. Though Indy’s initial outing clearly utilizes a touch of the supernatural, it doesn’t toy with the suspension of disbelief, thanks to a thorough grounding amidst biblical lore. And for all of the project’s perfections, the additional rare feat of indescribably mesmerizing theme music is the icing on the cake. “Raiders of the Lost Ark” was merely meant to be a fun-filled B-movie, but ended up being a classic of striking proportions, receiving substantial critical and commercial success. From the opening scene, in which the courageous Dr. Jones steps out of the shadows to reveal his determined face, his skills with a bullwhip, and his love of hidden treasures, it is evident that this creation is an accomplishment well beyond the ingredients of an average action flick. When Indiana braves deadly booby-traps – including a colossal rolling boulder – some of the most memorable and parodied movie moments are born. Adding to the frequent, breathtaking stunts are the ingenious designs of Indy’s sidekicks, colleagues, damsels in distress, and singular nemeses, who all perfectly complement every smidgen of his daredevilry. Praise must also be given to composer John Williams, who scored most of Steven Spielberg and George Lucas’ prior projects. For “Raiders of the Lost Ark,” he once again creates theme music that simply cannot be forgotten. Williams’ exciting and stirring soundtrack garnishes every sequence, making each one more dramatic, suspenseful, or romantic; such potent use of resonant music in recent filmmaking has, sadly, become far too subtle. What started as Lucas and Spielberg’s historically-set, reality-based version of low-budget ‘30s and ‘40s matinee serials became an unequalled achievement beyond anything they could have imagined, boasting an influence that will likely never fade. Here is your very rare chance to experience the film as did audiences when the film was originally released. A near-pristine 35mm archival print projected on the big screen will dazzle itself into your memory for a very long time.