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ART IN THE ARTHOUSE presents: GERARD BURKHART: NoHo & Shimmering Sky

July 15, 2019 by Lamb L.

Art in the Arthouse presents a fascinating exploration of local cityscapes and nearby landscapes in our latest art show in North Hollywood. Don’t miss photographer Gerard Burkhart’s exhibit NOHO & SHIMMERING SKY, now extended through 2020. All of the art is for sale and a portion of the proceeds benefits the Laemmle Foundation and its support of humanitarian and environmental causes in Los Angeles.

About the Exhibit
As a NoHo resident from 1999 to 2001, Photographer Gerard Burkhart viewed his neighborhood as his own personal Cuba – an island in the vast sea of Los Angeles untouched by a larger outside world, waiting to be opened. Years later, Burkhart produced Shimmering Sky as an artist-in-residence for the Mojave National Preserve Foundation, living in a canvas bell tent at Hole in the Wall Campground. Despite a government shutdown and the 2018 drought, Burkhart explored the soul nurturing inventiveness that desert isolation encourages.

States the artist, “Arguably, visual art is an indulgence of perception. We can use our interior landscape of experience to filter and decode the world we inhabit. As a photojournalist, it is a prism that sees the outside world with a critical eye for accurate and fair storytelling images. As an artist, it is a fertile realm rich with the possibilities of creation. The NoHo and Shimmering Sky projects represent a 20-year development crossing back and forth through both those territories.  The North Hollywood Neighborhood Project was made with a keen eye toward community engagement with a pure photojournalistic ethic. Shimmering Sky was a near-transcendent journey struggling with the constraints and celebrations of photography’s realism. Spiritually, they both contain the same DNA.”

Burkhart’s photos have been published in Newsweek, U.S. News and World Report, USA Today, the Washington Post, the New York Times and internationally through the Associated Press. He worked at the Los Angeles Times for six years where his photos were included in three collaborative Pulitzer Prize winning editions.

– Sheryl Myerson, curator

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Filed Under: Art in the Arthouse, Glendale, NoHo 7, Playhouse 7

Ang Lee’s EAT DRINK MAN WOMAN 25th Anniversary Screenings on July 24 in West LA, Pasadena, and Glendale.

July 11, 2019 by Lamb L.

Laemmle Theatres and the Anniversary Classics Series present this month’s installment in our popular Anniversary Classics Abroad program, Ang Lee’s delectable 1994 comedy, EAT DRINK MAN WOMAN. Lee had directed two previous films that earned acclaim, but this 1994 film was nominated for the Best Foreign Language Film Oscar and propelled his career to a new level of esteem and success.

Made in Taipei, the film centers on a widowed master chef, Mr. Chu (played by Sihung Lung), who has weekly feasts for his three unmarried daughters (Kuei-Mei Yang, Chien-Lien Wu, Yu-Wen Wang), during which he tries to oversee their personal lives along with their eating habits. An ensemble piece in the spirit of movies like Love, Actually and The Joy Luck Club, the film interweaves the personal and professional stories of the three daughters, along with the issues facing their father, who also embarks on a new romantic adventure during the course of the movie. Winston Chao (who starred in Lee’s earlier film, The Wedding Banquet) and Sylvia Chang co-star.

The script by Lee, James Schamus, and Hui-Ling Wang etches all the characters with wit and finesse. Equally important to the film’s success are the lovingly photographed scenes of an abundance of Chinese delicacies, which led the movie to be compared to other memorable movies about food, including the Oscar-winning Babette’s Feast, Tampopo, and Like Water for Chocolate. Time magazine’s Richard Schickel wrote, “Like the cuisine it celebrates, this movie is tart, sweet, generous and subtle.” The New York Times’ Janet Maslin called the film “wonderfully seductive, and nicely knowing about all of its characters’ appetites.”

Variety’s Leonard Klady summed up the film’s achievement: “The overall result is a cinematic feast that will have audiences returning for Lee’s next movie meal.” Those words proved to be prophetic. Lee’s next film, Sense and Sensibility, released in 1995, was nominated for Best Picture, and over the next several years, he produced an extraordinary body of work, including the international blockbusters Crouching Tiger, Hidden Dragon and Life of Pi. Lee won two Oscars for Best Director — for Brokeback Mountain as well as Life of Pi — and is now universally regarded as one of the leading auteurs of our time. His remarkable journey was prefigured by his early achievement with Eat Drink Man Woman.

EAT DRINK MAN WOMAN screens Wednesday, July 24, at 7 PM in Glendale, Pasadena, and West L.A. Click here for tickets.

Format: Blu-ray.

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Filed Under: Abroad, Anniversary Classics, Featured Post, Glendale, Playhouse 7, Repertory Cinema, Royal

THE QUEEN, “the Mother of All Drag Documentaries,” Opens July 26 at the Laemmle Glendale.

July 9, 2019 by Lamb L.

More than 40 years before RuPaul’s Drag Race, The Queen, the groundbreaking documentary about the 1967 Miss All-America Camp Beauty Pageant, introduced audiences to the world of competitive drag. The film takes us backstage to kiki with the contestants as they rehearse, throw shade, and transform into their drag personas in the lead-up to the big event. Organized by LGBT icon and activist Flawless Sabrina, the competition boasted a star-studded panel of judges including Andy Warhol and his superstars Edie Sedgwick and Mario Montez. But perhaps most memorable is an epic diatribe calling out the pageant scene’s racial bias delivered by Crystal LaBeija, who would go on to form the influential House of LaBeija, heavily featured in Paris is Burning (1990). A vibrant piece of queer history, The Queen can now be seen in full resplendence thanks to a new restoration from the original camera negative.

https://www.youtube.com/watch?v=SeXrIZqMAfY

 

Producer’s Statement
HOW IT BEGAN by Si Litvinoff, Producer

After twelve years, I left my law practice at Barovick, Konecy and Litvinoff to concentrate on my hopes for film production. I had recently produced the Broadway play, Hail Scrawdyke, directed by Alan Arkin. Before that, while practicing law full time, I had co-produced several Off-Broadway plays such as Leonard Bernstein’s Theater Songs, Lonny Chapman’s Cry of the Raindrop, and David Belasco’s Girl of the Golden West, but I wanted to move on to film. I had already optioned novels like Anthony Burgess’ A Clockwork Orange, John Barth’s End of the Road, and Saul Bellow’s Henderson and the Rain King.

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

I had taken a suite of offices at 65 East 55th Street with one office designated for my friend and ex-law client, Terry Southern, who was now to be my partner in hopefully many film ventures. Terry had gotten hot as the screenwriter of Dr. Strangelove, The Cincinnati Kid, and The Loved One, amongst others.

One day, I received a phone call from the artist, Sven Lukin, and the cinematographer, Frank Simon, asking to see me ASAP. We met, and they described to me what was to be the 1967 Drag Queen Miss America contest at Town Hall in New York City, and would I be interested in producing a film documentary of the event? They showed me the formal printed announcement of the event. The event was sponsored by George Raft, Huntington Hartford, (the Woolworth heir,) and Edie Sedgwick, both of whom I knew. If that wasn’t enough, it stated “For the benefit of The Muscular Dystrophy Association of America; Mrs. Lyndon B. Johnson, Honorary Chairman.” It was described to me as “Ziegfeld’s psychedelic re-write of Helzapoppin’…a satirical happening.”

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

Obviously, I was hooked. It sounded outrageous and sensational. I asked Frank, who was to be the director and, Sven, who was to do sound, to arrange a meeting with the owners immediately, as the show was to be on very soon. I met Jack Doroshow. His Nationals Academy puts on these shows, and he also emcees in drag under the name of Flawless Sabrina. I liked Jack and we agreed on terms and I excitedly went back to my office and drafted a contract.

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

My first movie had come out of the blue and despite the fact that I knew people in Hollywood through my law practice, I was sure that Hollywood would not finance this project. Money was needed now for the Nationals, for raw stock, for equipment rentals, additional cinematographers, etc. I had another problem. I had never produced a film, let alone an independent film without the support of a Hollywood studio. I solved one problem by giving co-producer credit to a theater investor, who rented an office in my suite, in exchange for the front money I needed. Next, I phoned my friend, Lewis Allen who had produced an independent film of the play The Connection, (written by my former law client, Jack Gelber and directed by my former law client, Shirley Clarke,) to see if he would produce it with me. He excitedly agreed and provided his recent knowledge and more investors. Thanks to The Connection, he had gained relationships and credit all over town. Terry was excited and wanted to be an interviewer and judge. He got our friend, the artist Larry Rivers to also serve as both interviewer and judge. Another interviewer was Jay Presson Allen, Lew’s wife, the playwright and screenwriter of The Prime of Miss Jean Brodie, Hitchcock’s film, Marnie, Cabaret, Funny Lady, etc… We also got Bernard Giguel, the US head for Paris Match do interviews. I then set out to get the rest of the judges. I contacted former law clients. Artists, Andy Warhol, Jim Dine, rock legend Jerry Leiber, authors Bruce Jay Friedman and George Plimpton all agreed to be judges. Frank got a crew together.

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

Rehearsals and the show itself were marvelous and Frank captured it all. When I saw the rough cut, I decided that though it was not the convention, the film flowed better without seeing the interviewer asking the question but with just the answer. Lew and Jay agreed. We made a distribution deal with the publisher, Grove Press, which had established a film division and was enjoying a successful start with I Am Curious (Yellow).

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

The film opened at the Kips Bay Theater in New York City to unanimous rave reviews and broke box office records and did the same all over the country. It was invited to screen at the 1968 Cannes Film Festival. Roman Polanski, in his autobiography “Roman,” referred to it as “the toast of Cannes.” He and fellow jury member Truman Capote had intended to award it a special jury prize, but unfortunately, the festival ended after one week when the entire country of France went on strike.

A scene from THE QUEEN (1968) courtesy of Kino Lorber Films.

“[A] riveting chronicle of a 1967 drag competition.” – Melissa Anderson, The Village Voice

“A gutsy, funny… really very moving documentary.” – Roger Ebert, The Chicago Sun-Times

“Makes gender itself seem like an urgent performance.” – Richard Brody, The New Yorker

“Extraordinary.” – Renata Adler, The New York Times

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Filed Under: Featured Films, Featured Post, Films, Glendale, News

ART IN THE ARTHOUSE presents: Joyce Elias and Bea Husman in Glendale

June 24, 2019 by Lamb L.

ART IN THE ARTHOUSE  proudly presents COLOR, LANGUAGE, TEXTURE & TONE featuring works by Joyce Elias and Bea Husman in Glendale. The art is for sale and on display till October 2019. Sales benefit the Laemmle Foundation and its support of humanitarian and environmental causes in Los Angeles. Stop by our gallery –  no need to buy a movie ticket to view.

About the exhibit
JOYCE ELIAS: Living near Lake Michigan in an area known for sultry skies and dreary days, one might expect Joyce Elias to express her work in various shades of gray. Most mornings, Elias travels to the edge of that lake and photographs the waters and moody heavens that surround it.“The connection between art and nature intrigues me,” says Elias. In this series, “limiting the size and shapes in the works allows me more freedom to experiment with the unusual color combinations found in the natural world”.

Color bounds out of her evenly painted tempera works – flat, rounded forms gyrate as they intersect the plane. Influenced by Josef Albers and Sonia Delaunay, artists who deeply explored color from 1900 to the late 1970s, Elias’ nuanced shades dance between semi-circle shapes. Color is a funny thing; it grabs us in the darkest of times. The artist’s choice of language is born out of tone and vibration. A graduate of the San Francisco Art Institute, Elias later earned a teaching degree at the School of Art Institute in Chicago

BEA HUSMAN: Fellow Chicagoan, Bea Husman uses a language that stems from texture, tone and archaeology. An iconoclast inspired by her world travels, she created cultured works where color acts as a ploy and texture creates dimension, even within a silkscreen print. Husman remained productive until her last days at 96 years of age.

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Filed Under: Art in the Arthouse, Glendale, NoHo 7, Playhouse 7

PAPI CHULO Q&A with Cast Opening Weekend at the Glendale Theater.

June 12, 2019 by Lamb L.

PAPI CHULO stars Alejandro Patiño and Wendi McLendon-Covey will participate in a Q&A following the 4:40 pm show on Saturday, 6/15.

https://youtu.be/dmtfpB6MUi0

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Filed Under: Actor in Person, Films, Glendale, Q&A's

LA CAGE AUX FOLLES Anniversary Classics Screenings for Pride Month!

June 6, 2019 by Lamb L.

Laemmle Theatres and the Anniversary Classics Series present screenings of the milestone Oscar-nominated French comedy, LA CAGE AUX FOLLES, as part of the Anniversary Classics Abroad program. The screenings mark the 40th anniversary of the American release in 1979, as well as noting LGBTQ Pride Month, and the 50th anniversary of the Stonewall riots.

LA CAGE AUX FOLLES, based on a hit French stage farce by Jean Poiret, was adapted for the screen by Poiret, Francis Veber, Marcello Dano, and Edouard Molinaro, who also directed. The “birds of a feather” story concerns a gay couple in St. Tropez, Renato (played by the veteran Italian actor Ugo Tognazzi), the owner of a drag-performance nightclub, and his high-strung headliner partner Albin (French comic Michel Serrault). Their twenty-year relationship is turned upside down when Renato’s son, who had been raised jointly by Renato and Albin, announces he is about to marry the daughter of the ultra-conservative Minister of Moral Standards. Complications and hilarity ensue when Renato and his son attempt to mask the true nature of Renato and Albin’s partnership for the prospective in-laws.

The film received mixed reviews in the United States, ranging from Roger Ebert’s enthusiastic embrace (“the comic turns in the plot are achieved with such clockwork timing that sometimes we’re laughing at what’s funny and sometimes we’re just laughing at the movie’s sheer comic invention. This is a great time at the movies.”), to lesser notices from some critics who were out-of-sync with the film’s social satire, sight gags, one-liners, deadpan reactions, and “tawdry burlesque.” Director Molinaro deftly orchestrated the game cast in this range of comedic devices. The movie was named the year’s best foreign film by both the National Board of Review and the Hollywood Foreign Press (Golden Globe). The accolades were crowned by three Academy Award nominations, including Best Costume Design (Piero Tosi, Ambra Danon), Best Adapted Screenplay, and Best Director.

The film’s roaring success at the box office (it played at one New York theater for over a year, and broke out of the art houses to success in regular commercial theaters) has been attributed to its positive depiction of the central gay characters, the protagonists of the story, a rarity in the era. Although comparatively old-fashioned in its portrayals to contemporary standards, its importance in LGBTQ entertainment history is undisputed. The film spawned two sequels, a hit Broadway musical, and Hollywood remake, ‘The Birdcage’ (1996), that was also a box-office smash. Notably, the success of LA CAGE AUX FOLLES paved the way for a number of high profile, gay-themed, and gender-bending Hollywood studio films in the early ’80s, including ‘Making Love,’ ‘Victor/Victoria’ and ‘Tootsie.’

LA CAGE AUX FOLLES screens Wednesday, June 19th at 7pm in Glendale, Pasadena, and West LA. Click here for tickets.

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Filed Under: Abroad, Anniversary Classics, Glendale, Playhouse 7, Repertory Cinema, Royal

THE MEANEST MAN IN TEXAS Q&A with Filmmakers at the Glendale Theatre.

May 20, 2019 by Lamb L.

THE MEANEST MAN IN TEXAS Q&A with director Justin Ward and producer Brad Wilson after the 7:10 pm show on Thursday, 5/23.

https://www.youtube.com/watch?v=lPND-6vIElM

 

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Filed Under: Actor in Person, Filmmaker in Person, Films, Glendale, Q&A's

Sixtieth Anniversary Screenings of Ingmar Bergman’s WILD STRAWBERRIES on May 15 in Glendale, Pasadena, and West LA.

May 2, 2019 by Lamb L.

Laemmle Theatres and the Anniversary Classics Series present this month’s installment in our Anniversary Classics Abroad program: one of the most revered of all foreign films, Ingmar Bergman’s WILD STRAWBERRIES. Indeed, Leonard Maltin hailed the film as “Still a staple of any serious filmgoer’s education,” and he added, “Superb use of flashbacks and brilliant performance by (Victor) Sjostrom make this Bergman classic an emotional powerhouse.” It was nominated for the Oscar for Best Original Screenplay of 1959 and also earned the top prize, the Golden Bear, at the Berlin Film Festival.

Sjostrom, a revered Swedish actor and also an acclaimed director who helmed memorable silent films with American stars Lon Chaney and Lillian Gish during the 1920s, capped his career with his moving performance as Professor Isak Borg, a distinguished physician who re-evaluates his life while driving from Stockholm to Lund to receive an honorary degree. On his journey he is haunted by memories and dreams that illuminate his inner life with trenchant insight. Indeed Wild Strawberries was one of the seminal films that changed cinematic grammar by introducing non-linear storytelling to discriminating audiences during the late 1950s.

The supporting cast includes many of Bergman’s favorite actors, including Bibi Andersson (in a dual role as a hitchhiker and as Isak’s first love), Gunnel Lindblom, Gunnar Bjornstrand, and Max von Sydow in a cameo role. Reviews of the film were enthusiastic at the time, and critics continued to exalt Bergman’s achievement in later years. Variety raved, “It’s a personal and profound work.” Tom Dawson of the BBC said, “This is one of the truly outstanding works of post-war European cinema.” And Pauline Kael commented, “Few movies give us such memorable, emotion-charged images.”

This film also had a strong influence on other directors. In a 1963 interview with Cinema magazine, Stanley Kubrick listed Wild Strawberries as his second favorite film of all time. Woody Allen paid homage in several of his movies, including Stardust Memories and Crimes and Misdemeanors.

WILD STRAWBERRIES screens at 7 PM on Wednesday, May 15 at Laemmle theaters in Glendale, Pasadena, and West LA. Click here for tickets.

Format: DCP

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Filed Under: Abroad, Anniversary Classics, Featured Post, Glendale, Playhouse 7, Repertory Cinema, Royal

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