The Official Blog of Laemmle Theatres.

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The official blog of Laemmle Theatres

PRETTY BROKEN Daily Q&A’s with Cast and Crew Following the 7:20 pm shows starting Friday, 3/1 at the Noho 7.

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PRETTY BROKEN On Opening night, star/producer Jillian Clare will be joined by director Brett Eichenberger, Writer/Producer Jill Eichenberger and Producer Susan Bernhardt. Saturday night she is joined by co-star Preston Bailey, Sunday night co-star Adam Chambers joins her and Monday night brings co-stars Todd Robinson and Craig Michaelson. Co-star Peter Holden is scheduled to join Jillian on Wednesday night. Additional special guests TBA. On both Tuesday evening and after the 4:30 pm show on Sunday, 3/3, Jillian will be joined by co-producer Susan Bernhardt.

 

https://youtu.be/8iDiTAsA0z0

THE IRON ORCHARD Q&A with Cast Opening Night at the NoHo 7.

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THE IRON ORCHARD Q&A with cast members following the 7:10 pm show on Friday, 3/1 and Saturday, 3/2.

 

https://youtu.be/s2roNX6pAyc

LAEMMLE LIVE presents CANTILENA TRIO March 17 in Santa Monica

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LAEMMLE LIVE presents Beverly Hills National Auditions Winner CANTILENA TRIO featuring Susan Greenberg, flute; Jon Lee Keenan, tenor; and Kenton Youngstrom, guitar. These three consummate ensemble artists and good friends are favorites among Southern California aficionados. Join us Sunday, March 17 at the Monica Film Center.

The program will include works by Wolfgang Mozart, John Dowland, Vincenzo Bellini, Isaac Albéniz, Gabriel Fauré, Astor Piazzolla, I Bordel 1900, Aaron Copland and Fred Ahlert.

Flutist Susan Greenberg enjoys a versatile career as soloist, chamber musician, symphony player, and recording artist. The Los Angeles Times has described her playing as “brilliant,” “elegant” and “supple,” and has lauded her “panache” and “musical projection.” During her 36 years with the LA Chamber Orchestra, she was a frequent soloist on both flute and piccolo, premiering a concerto for piccolo by Bruce Broughton and performing a concerto for flute, alto flute and piccolo written for her by Gernot Wolfgang. Presently she is the principal flutist with the Santa Monica Symphony and the Vicente Chamber Orchestra. She has performed with the Los Angeles Philharmonic, L.A. Opera, New York City Opera, American Ballet Theater, as well as at the Casals, Ojai and Martha’s Vineyard Music Festivals. he received both her B.A., cum laude, and her M.A. from UCLA.  She is the Co-Artistic Director of Chamber Music Palisades, now celebrating its twenty-first season. Ms. Greenberg has recorded for over 500 motion pictures and many TV television shows, including the Simpsons for 25 years.

Versatile tenor Jon Lee Keenan studied Classical Voice and Jazz Bass at UNLV. Jon relocated to Southern California to pursue a career in classical singing, and study vocal arts at the USC Thornton School of Music. Shortly after moving to LA, Jon was selected to join the LA Master Chorale and has been featured as a soloist at Walt Disney Concert Hall in each season since. Recent highlights with the Chorale include the role of “Evangelist” in Bach’s St. Matthew Passion, tenor soloist in Handel’s Messiah and Bach’s Magnificat. Jon recently recorded the role “Gniphos” in the LA Philharmonic’s production of Lou Harrison’s Young Caesar, released internationally in 2018 on The Industry Records. This season’s highlights include appearances with the Corona Del Mar Baroque Festival in Bach’s Magnificat; Various roles in John Cage’s Europeras I and II with the Los Angeles Philharmonic, and an international tour of Lagrime di San Pietro with music by Orlando di Lasso and staging by Peter Sellars.

Kenton Youngstrom, guitarist, composer, and educator is the first in a long line of prize-winning students of Jim Smith at the University of Southern California. While earning his Bachelor of Music and Master of Music degrees, he studied composition with Donald Crockett, arranging with Darniell Pershing, and film scoring with David Raksin.  Mr. Youngstrom has performed concerts and recitals with numerous jazz notables such as pianists Taylor Eigsti and Dave Brubeck, flutist Hubert Laws, bassist Scott Colley and guitarist Larry Koonse. Producing credits include the Falla Guitar Trio’s Concord Records LP, “Virtuoso Music for Three Guitars” which won a Record of the Year Award from Stereo Review magazine. Mr. Youngstrom teaches guitar at the Colburn Community School of Performing Arts.

Free Event!
RSVP via Eventbrite

Sunday, March 17, 2019
Monica Film Center
1332 Second Street
Santa Monica, CA
11am – 12pm

 

 

 

 

I’M NOT HERE Q&A with Star and Filmmaker at the Monica Film Center.

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I’M NOT HERE star J.K. Simmons and writer/director Michelle Schumacher will participate in a Q&A moderated by Carolyn J Carpenter, co-creator and producer of Hollywood Gatekeepers  following the 5:30 pm show on Sunday, 3/10.

 

https://youtu.be/dnvDA74Plqs

WHAT IS DEMOCRACY? Q&A’s with Filmmaker and Guests at the Music Hall and Playhouse Theaters.

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WHAT IS DEMOCRACY? director Astra Taylor and guests to participate in Q&A’s on select dates and times.

Music Hall

Saturday, 2/23

4:10 pm Astra Taylor and filmmaker James Ponsoldt

Sunday, 2/24

4:10 Astra Taylor and historian Robin Kelley

 

Playhouse

7:30 pm  Astra Taylor with writer Adrian Chen

https://youtu.be/OHxRj9JWQMs

A Tribute to Albert Finney: 45th Anniversary Screening of MURDER ON THE ORIENT EXPRESS on March 7 in West LA

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Laemmle Theatres and the Anniversary Classics Series present a tribute to Albert Finney with a 45th anniversary screening of MURDER ON THE ORIENT EXPRESS (1974) starring Finney in his Oscar-nominated role as Agatha Christie’s master detective, Hercule Poirot.

Finney heads a glittering all-star cast in Sidney Lumet’s lustrous film of Christie’s mystery novel, a smash box-office hit and recipient of six Academy Award nominations that year, with Ingrid Bergman taking home the Oscar as Best Supporting Actress.

Set in 1935, the story centers on Poirot’s attempt to solve the murder of a reviled American millionaire (Richard Widmark) while on the fabled train the Orient Express en route from Istanbul to Calais.

The bevy of suspects include Lauren Bacall as an obnoxious American, Ingrid Bergman as an anxious missionary, Michael York and Jacqueline Bisset as Hungarian royalty, Jean-Pierre Cassel as the conductor, Sean Connery as an English officer with Vanessa Redgrave as his companion, John Gielgud as Widmark’s valet, Anthony Perkins as Widmark’s secretary, Wendy Hiller as a Russian aristocrat, Rachel Roberts as her ladies’ maid, and Martin Balsam as the Italian director of the railroad. All of that talent is sumptuously photographed and costumed by Oscar nominees Geoffrey Unsworth and Tony Walton.

Lumet directs the cast and Oscar-nominated screenplay adaptation by Paul Dehn with a light touch, a tone reinforced by Richard Rodney Bennett’s masterful score and Anne V. Coates’ deft editing. The elegant entertainment impressed audiences and critics alike, with Judith Crist extolling in New York magazine, “Done from top to bottom with such affection and good humor that Dame Agatha’s marvelously intricate whodunit becomes a joyous experience even for non-mystery buffs.”

Albert Finney, who died on February 7 at age 82, first came to prominence in 1960’s Saturday Night and Sunday Morning as an “angry young man” rebelling against a stifling working-class existence in industrial England.

In 1963 he achieved international fame as the rowdy, randy title character Tom Jones, the first of four best actor Oscar nominations. Others include his turn as Poirot in MURDER ON THE ORIENT EXPRESS, an aging, embittered actor in The Dresser, and an alcoholic British consul in Under the Volcano. A fifth nomination came for his supporting role as a pugnacious lawyer in Erin Brockovich, His last role was in the James Bond thriller, Skyfall, in 2012.

Finney had made his film debut opposite Laurence Olivier in The Entertainer in 1960, and was hailed as Olivier’s acting successor. He spent long periods throughout his career on the stage, returning to movies and later television to fulfill his acting ambitions. He dismissed accolades that were his due, never attending an Oscar ceremony and turning down a knighthood, which he felt “perpetuated snobbery.”

In 1962 he speculated to the media about why he was an actor. “I think I’m always watching and balancing, and sort of tabulating my emotions,” he said. “And the only way I can lose myself is when I’m acting.”

In MURDER ON THE ORIENT EXPRESS he is virtually unrecognizable as Poirot, gaining weight for the role, with slicked-down hair, a French moustache, and beady eyes to aid in the transformation.

Roger Ebert found his performance “brilliant, and high comedy,” and offered an approving appraisal in his review. “It ends with a very long scene in which Poirot asks everyone to be silent, please, while he explains his various theories of the case. He does so in great detail, and it’s fun of a rather malicious sort watching a dozen high-priced stars keep their mouths shut and just listen while Finney masterfully dominates the scene.”

The 45th anniversary screening of MURDER ON THE ORIENT EXPRESS and tribute to Albert Finney take place at the Royal in West Los Angeles on Thursday, March 7 at 7:00 PM. Click here for tickets.

Format: DCP

SKID ROW MARATHON Q&A’s Opening Weekend with Filmmakers and Guests at the Playhouse.

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SKID ROW MARATHON filmmakers Gabriele and Mark Hayes with guests Judge Craig Mitchell, Rafael Cabrera, Ben Shirley, Rebecca Hayes and David Askew will participate in Q&A’s on Friday, March 22 following the 7:50 PM show and after the 3:15 PM show on Saturday, March 23.

 

https://vimeo.com/191530706

Fiftieth Anniversary Screenings of THE WILD BUNCH with Special Guests in Pasadena and Beverly Hills

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March 1, 2019: We regret to report that Bo Hopkins will not be able to attend the Fine Arts THE WILD BUNCH screening. L.Q. Jones’ attendance is tentative.

Laemmle Theatres and the Anniversary Classics Series celebrate the 50th anniversary of one of the iconic and groundbreaking movies of the ’60s, Sam Peckinpah’s THE WILD BUNCH.

This graphically violent and poetic film exploded the very concept of the traditional Western by focusing on a brutal group of outlaws trying to survive at the dawn of the 20th century. Featuring four Oscar-winning actors—William Holden, Ernest Borgnine, Ben Johnson, and Edmond O’Brien—along with a startling supporting cast, the film clearly established Peckinpah as one of the top directors of the era.

The director’s classic 1962 Western Ride the High Country had demonstrated his talent, but he ran into conflicts with producers on subsequent projects in the ’60s. The Wild Bunch marked his triumphant return to filmmaking. He wrote the Oscar-nominated screenplay with Walon Green, from a story by Green and Roy N. Sickner.

It is set in 1913, on the eve of World War I and in the midst of the Mexican Revolution. A botched robbery in the opening sequence leads the outlaws to seek refuge in Mexico, where they continue to be pursued by a group of bounty hunters hired by the railroad company they have robbed. Robert Ryan, cast as a former friend of Holden’s character, leads the pursuers.

The supporting cast includes Warren Oates, L.Q. Jones, Jaime Sanchez, Bo Hopkins, Strother Martin, Albert Decker, Emilio Fernandez, and Alfonso Arau. Lucien Ballard provided the rich cinematography, and Jerry Fielding wrote the Oscar-nominated score.

But perhaps the most crucial creative collaborator was editor Lou Lombardo, who worked closely with the director to perfect an innovative editing style that incorporated quick, almost subliminal cuts masterfully interspersed with slow motion shots.

The film’s violence was shocking to many viewers at the time, and some critics denounced the film. Others, however, saw the violence as reflecting the disruptions in American society, along with the chaos of the Vietnam War. Life magazine’s Richard Schickel called the film “one of the most important records of the mood of our times and one of the most important American films of the era.” The New York Times’ Vincent Canby hailed the film as “very beautiful and the first truly interesting American-made Westerns in years.”

When cuts that had been made shortly after the film’s release were finally restored for a 1995 reissue, critics were even more ecstatic. Writing in The Baltimore Sun, Michael Sragow declared, “What Citizen Kane was to movie lovers in 1941, The Wild Bunch was to cineastes in 1969.” The film was added to the National Film Registry of the Library of Congress in 1999.

At the screening on February 26 in Pasadena, W.K. Stratton, the author of a new book, The Wild Bunch: Sam Peckinpah, a Revolution in Hollywood, and the Making of a Legendary Film, will participate in a discussion before the screening. He will also sign copies of his book at the theater. Presented by our friends at Vroman’s Bookstore.

On March 2 in Beverly Hills, we will be joined by three of the creative participants in the film, in addition to author W.K. Stratton. Screenwriter Walon Green won an Academy Award in 1971 for directing the documentary, The Hellstrom Chronicle. He went on to write such films as Sorcerer and The Brinks Job for director William Friedkin and The Border for Tony Richardson. Later he became writer and producer on many popular television series, including Law and Order, ER, Hill Street Blues, and NYPD Blue.

Actor L.Q. Jones worked on several other Peckinpah movies, beginning with Ride the High Country, along with Major Dundee, The Ballad of Cable Hogue, and Pat Garrett and Billy the Kid. He co-starred in Hang ‘Em High, Hell Is For Heroes, and Martin Scorsese’s Casino.

Bo Hopkins co-starred in Peckinpah’s The Getaway and The Killer Elite, and he also appeared in such films as The Day of the Locust, American Graffiti, Midnight Express, and The Newton Boys. Both actors also have extensive credits in television.

Click here for tickets to the screening on Tuesday, February 26, at 7:00 PM at the Playhouse.

Click here for tickets to the screening on Saturday, March 2, at 7:30 PM at the Ahrya Fine Arts.

Format: Blu-ray