WHO’S AFRAID OF VIRGINIA WOOLF?
1966, Warner Bros., 131 min, USA, Dir: Mike Nichols

Winner of five Oscars, including Elizabeth Taylor for Best Actress and Sandy Dennis for Best Supporting Actress, director Mike Nichols and screenwriter Ernest Lehman adapt Edward Albee’s scorching play about a bitter, middle-aged alcoholic couple’s war of words. Taylor and real-life spouse Richard Burton play two people chained to their own mediocrity in the halls of academia. When they invite unwitting new professor George Segal and his naïve wife (Dennis) over for cocktails, the sordid game of verbal invective and elaborate emotional contortions begins, not abating until similar buried resentments are unleashed in their seemingly normal houseguests.


SUMMER CHILDREN
1965, 90 min, USA, Dir: James Bruner

Neo-realism meets Cassavettes meets Fellini meets '60s youth angst film in this early American New Wave work in this truly unique - and previously considered lost - film by director James Bruner. West (Stuart Anderson) borrows his father's yacht and takes a group of his friends to Catalina Island for a weekend of fun. Yet over the course of one night, the merriment sours as West and another young man begin to vie competitively for the affections of Diana (Valora Noland). Shot in elegant black-and-white by cinematographer Vilmos Zsigmond and tonally akin to European arthouse films of the 1960s, SUMMER CHILDREN goes beyond the beach party genre of the era and explores the nuanced feelings and emotions of young people on the verge of adulthood. This film became a lost film, an orphan, during the 1960s. It wasn't until the early 2000s after an exhaustive search and research that reconnected the cast and crew, that the original negatives resurfaced in a New York vault and prints and sound elements were found in other locations over time. For the first time, Vilmos Zsigmond, ASC was able to density balance his work to his artistic taste. A full restoration project then got underway bringing the film to a new luster while maintaining the patina of european art films of the 1960s. Don't miss this opportunity to see a long-lost-and-found gem on the big screen!


MOMMIE DEAREST
1981, Paramount, 129 min, USA, Dir: Frank Perry

“Don’t fuck with me, fellas. This ain’t my first time at the rodeo!” Faye Dunaway scorches as Joan Crawford in this blistering exposé of the icon’s troubled and abusive relationship with her adopted daughter, Christina Crawford (who penned the memoir on which the film is based). As told from the perspective of grown-up Christina (Diana Scarwid) remembering her traumatic upbringing, “Mommie” Joan crumples under the pressures of alcohol, men and show business, and turns into an emotionally manipulative domestic monster. Though a critical disaster on its initial release, earning an abundance of Razzie Award wins and nominations, the film has since become a cult touchstone, thanks to a ferocious performance by Dunaway and no-holds-barred direction by Frank Perry (THE SWIMMER, PLAY IT AS IT LAYS). With Mara Hobel as young Christina, Steve Forrest as Joan’s Hollywood lawyer boyfriend, hopelessly loyal to MGM, and Howard Da Silva as the screaming studio titan himself, Louis B. Mayer.


Syndicate content