Hangover Matinees: The Color of Space

 

 

RAISE A GLASS WITH CINEFAMILY SUNDAY AFTERNOONS! This month, our HANGOVER MATINEES dive deep into THE COLOR OF SPACE! From Jungian monsters of the mind and scientifically-infused psychedelia, to eerily verisimilitudinous depictions of unexplored planets, nonsensical pseudoscience, and eye-popping extraterrestrial set design, Technicolor Science Fiction provided a seemingly boundless landscape for filmmakers to explore everything from Cold War panic to an all-encompassing fear of alterity — with an irresistibly aloof sensibility, gift-wrapped in sumptuous 3-strip Technicolor glory!

 

BUY TICKETS ($12/free for members. Showtimes subject to change):
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Barbarella – Sunday, May 8th: 1:00pm
Robinson Crusoe on Mars – Sunday, May 15th: 1:00pm
Forbidden Planet – Sunday, May 22nd: 1:00pm
The Green Slime – Sunday, May 29th: 1:00pm
The War of the Worlds – Sunday, June 12th: 1:00pm

 

 

Watch the Cinefamily original trailer for “Hangover Matinees: The Color of Space”!

 

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ALL OF THEM WITCHES: Hangover Matinees - Bell, Book and Candle

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6/19/2016 - 1PM

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Based on a play inspired by Rene Clair’s I Married A Witch, Bell, Book and Candle is the too-oft forgotten showcase of the chemistry between Jimmy Stewart and Kim Novak (Vertigo was released the same year). An absolutely delightful romance of the highest order, with a healthy dose of creep seeping into the periphery, it’s a classic tale of a love spell gone wrong: Kim Novak plays a seductive art dealer who decides her neighbor’s fiancé just isn’t good enough for him, casts a spell to get what she wants, and accidentally falls in love.

Sumptuously lensed in a bewitching palette of blue, lavender, and red by none other than James Wong Howe (Indiscretion of an American Wife, Sweet Smell of Success) and capturing Greenwich Village streets at dawn and twilight, this sole Hangover Matinee entry in our ALL OF THEM WITCHES series presents a singular and uncannily practical representation of a cat’s point of view. With a lovably goofy performance from Jack Lemmon as a warlock, and Jean Louis’ inimitable costumes, Bell Book and Candle is the greatest Christmas witch film you didn’t even realize you were missing.

Dir. Richard Quine, 1958, DCP, 106 min.

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HANGOVER MATINEES: THE COLOR OF SPACE - The War of the Worlds (w/ Ann Robinson in person!)

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6/12/2016 - 1PM

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Byron Haskin’s 1953 The War of the Worlds (adapted from the story by H.G. Wells) lives and breathes Technicolor, determined to play out like a “realistic” alien invasion. Ricocheting between news reel narration highlighting the effects of the attack worldwide, and the still-fresh memories of WW2 and the atomic bomb — via shockingly violent battle sequences — Worlds is the quintessential marriage of Technicolor and sci-fi. A grab bag loaded with square dancing, instantaneous cremation, delightfully innovative special effects, and a handful of oddly chilling, one-eyed (three-lensed), anemic, seemingly merciless invaders, it’s a shockingly eerie and unsettling oddity of ‘50s sci-fi, equal parts intelligent and goofy. With heaping spoonfuls of scientific explanation delivered by a hunky leading man, we promise this gem’s eye-popping color will melt your puny humanoid brain.

Dir. Byron Haskin, 1953, 35mm, 85 min.

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HANGOVER MATINEES: THE COLOR OF SPACE - The Green Slime

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5/29/2016 - 1PM

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“Nothing ever happens here,” moans a grumpy space technician. Suddenly, right on cue, an asteroid teeming with extraterrestrial green goo is on a collision course with Earth! What follows is a delectable smorgasbord of charmingly constructed space station miniatures, non-sequiturs delivered with the stiffest of lips, and special effects so cheap they wouldn’t even sell off of a clearance rack. In simpler terms: It’s B-movie heaven. Watch as crew members of Gamma 3 get picked off one-by-one, with each death more bizarrely gory than the next. Defying logic at every turn (why is sentient, chiseled jaw Commander Jack Rankin’s first battle instinct always to throw things at the aliens, including his laser gun?), The Green Slime is a delirious, self-serious, silly alien creature feature of the highest order. Come for the aliens with bloodshot, perma-stoned eyes; stay for the flubbed line readings and psych-rock theme song.

Dir. Kinji Fukasaku, 1968, 35mm (Courtesy of BFI), 90 min.

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HANGOVER MATINEES: THE COLOR OF SPACE - Forbidden Planet

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5/22/2016 - 1PM

Co-presented by warnerarchive_300_90

Live Set from DJ Mean Mr. Mustard!
Join us at noon for libations on the patio!

In an era when Eisenhower campaigned the terrestrial western front, a certain Starship C-57D made its way into our intergalactic hearts in Forbidden Planet, the mid-century harbinger of countless cinematic science fictions yet to come. Prepare to reverse polarity and set sail to the interstellar skies of planet Altair IV with Commander John J. Adams — a fresh-faced Leslie Nielsen! — as he and his crew navigate some seriously vivacious production design, the wonders of the great Krell machine, and the sentient consciousness of Robby the Robot, the first cognitive android in filmic history. Open your ear-holes to the electronic tonalities of Louis and Bebe Barron, whose lush soundscape marks the advent of the entirely electronic soundtrack. Leave Earth behind and join us for the perfect blend of cosmic cocktails and the definitive Technicolor sci-fi experience.

Dir. Fred M. Wilcox, 1956, 35mm, 98 min.

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HANGOVER MATINEES: THE COLOR OF SPACE - Robinson Crusoe on Mars

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5/15/2016 - 1PM

Live Set from DJ Mean Mr. Mustard!
Join us at noon for cocktails on the patio!

Deep in space, astronaut Christopher “Kit” Draper has found himself marooned on that intergalactic inferno: Mars. Demoralized by its hellish desolation, Kit dictates what he fears may be his final words onto his space-age 8-track, the hissing and popping of fireballs and flame pits roaring in the background. But primate pal Mona won’t let Kit give up so quickly, and so kickstarts his space race for survival! Shot in gorgeous widescreen technicolor, Robinson Crusoe on Mars is hard sci-fi, equal parts mood piece and extraterrestrial thriller. It’s got the bleeps, bloops, and blinking radars you’d expect, but you won’t be ready for the beautifully composed cinematography and staggeringly gorgeous sets of this galactic story of perseverance. If anything, this premium chunk of asteroidal gold proves that hell isn’t other people — it’s a place in space!

Dir. Byron Haskin, 1964, HDCAM, 110 min.

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HANGOVER MATINEES: THE COLOR OF SPACE - Barbarella

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5/8/2016 - 1PM

Live Set from DJ Mean Mr. Mustard!

With its elaborate set pieces and otherworldly costumes, Roger Vadim’s 1968 camp classic practically pulses with the vibrancy of peak sci-fi psychedelia. A pre-Hanoi Jane Fonda is magnetic as the titular astronautical aviatrix who carries this bit of wacky, futuristic erotica to next-level adventuretime on a quest to rid the world of the Positronic Ray (it was the Cold War, people!) and spread pure love throughout the universe. Crossing intergalactic paths with a blind angel, silver-fanged babydolls and a certain sadomasochistic invention dubbed “the Excessive Machine,” our heroine moves from her entirely (yes, even the ceiling) shag-carpeted spaceship to the core of the 16th planet of Tau Ceti in no less than eight fab-u-lous costume changes. With perhaps the most seductive spacesuit strip this side of Alien, Barbarella’s charm will float you out of the theater on the wings of Pygar; its psych-lounge tunes will follow you home.

Dir. Roger Vadim, 1968, 35mm, 98 min.

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HANGOVER MATINEES: Hollywood Gothic - The Italian Edition - I Knew Her Well

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4/10/2016 - 2PM

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Join us as we toast Hollywood Gothic with one last take on the mythic industry, Italian style. Antonio Pietrangeli’s 1965 criminally underseen character study focuses on a young and insouciant wannabe actress (The Conformist and Divorce, Italian Style’s Stefania Sandrelli) who unceremoniously leaves her provincial home for the big city, determined to break into the male-dominated film business. Episodic in execution, I Knew Her Well indulges alternately in luxuriant froth—an irresistible 60s Italian pop soundtrack, over-the-top hairstyles and wardrobe changes for nearly each scene!—and a darkly comic and sharp critique of the twin evils of celebrity culture and gender roles. A tragicomic romp around Rome, complete with sumptuous and sybaritic cinematography from Armando Nannuzzi (Mafioso, Boccaccio ’70), I Knew Her Well is an undiscovered nonpareil, finally given its due.

Dir. Antonio Pietrangeli, 1965, DCP Restoration, 99 min.

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HANGOVER MATINEES: Hollywood Gothic - What Ever Happened to Baby Jane?

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4/3/2016 - 1PM

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Few images depict the grotesque pathos of expired Hollywood glamor better than the pancake-powdered face of an elderly Baby Jane Hudson warbling “I’ve Written a Letter to Daddy” in Robert Aldrich’s elegant Gothic masterpiece. The horrifying psychodrama that plays out between physically-handicapped former ingénue Blanche Hudson and her morally-handicapped former child-star sister was famously eclipsed by reports of the vicious, elaborate mind games taking place behind-the-scenes between the film’s volatile superstars, Bette Davis and Joan Crawford. Barely glimpsing the sparkling universe just outside the cloistered, decaying mansion the sisters share, Aldrich’s nightmarish, tense treatment of Lukas Heller’s (The Dirty Dozen, Flight of the Phoenix) script is unequaled in its evisceration of the tenuous dreams Los Angeles fosters—with a strange sense of pride—more completely than any place on earth.

Dir. Robert Aldrich, 1962, 35mm, 134 min.

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HANGOVER MATINEES: Hollywood Gothic - The Bad and the Beautiful

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3/27/2016 - 2PM

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Vincent Minnelli (Meet Me in St. Louis, Gigi, An American in Paris)’s Hollywood backlot melodrama cleaned up at the 1953 Oscars (6 nominations, 5 wins), in what must have been an almost absurdly satirical celebration of Hollywood’s Hollywood. Unfolding via flashbacks from the perspectives of three wronged collaborators (Lana Turner, Barry Sullivan, Dick Powell), The Bad and the Beautiful pieces together the mythic and notorious reputation of a mercurial movie mogul, Jonathan Shields (Kirk Douglas), loosely based on real life producer and screenwriter Val Lewton (known for a string of low-budget horror films). Gaudy, theatrical, and sharply witty, The Bad and the Beautiful is a tale of a man destroyed, the film fully realized as its subject falls apart.

Dir. Vincente Minnelli, 1952, 35mm, 118 min.

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HANGOVER MATINEES: Hollywood Gothic - Mulholland Dr.

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3/20/2016 - 2PM

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Endlessly quoted and referenced, Mulholland Dr.’s pitch-black, reverent tabulation of the elements that make up LA’s macabre character remains as conspicuous as the Hollywood sign. Beginning as a seedy, comic mystery tautly wound around the burgeoning love affair between guileless starlet Naomi Watts and voluptuous amnesiac Laura Harring, its trajectories get gradually buried under a stockpile of Lynchian components—a coterie of bizarre menacing locals, jarring tonal and narrative shifts, and dreamlike sequences featuring anachronistic facades. Even the director’s surrogate, hilariously played by a hapless Justin Theroux, recalls the best moments of Twin Peaks—here, Lynch’s exacting visions once again perforate the crumbling veneer of the industry’s freakish determination.

Dir. David Lynch, 2001, 35mm, 147 min.

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HANGOVER MATINEES: Hollywood Gothic - The Big Knife

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3/13/2016 - 2PM

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“For many years now, capitalism at its extreme, and Hollywood in particular, has been as ghastly and murderous as anything Shakespeare and Webster wrote.”— Clifford Odets

Clifford Odets’ fall from Golden Boy of the leftist New York theatre scene to an underutilized studio contract writer (his last screen credit was for an Elvis movie) is one of the classic stories of squandered Hollywood talent. The Big Knife was his return to the stage, and a fantastic excoriation of the Hollywood rot and corruption. It’s the story of a failing actor stuck making wrestling movies, who just wants to retire in peace, but… they keep pulling him back in. Adapted for the screen by director Robert Aldrich, The Big Knife features some of Odets’ best trademark poetic dialogue this side of Sweet Smell of Success, and an unforgettable, overheated performance by Rod Steiger (in a hilarious parody of Columbia head Harry Cohn, known to manipulatively weep crocodile tears in negotiations) as the manipulative blowhard studio head who pulls all his strings. Written with a brilliant poison pen, and directed with a harsh full-frontal style that jabs the points home, there are few Hollywood Gothics as cutting as The Big Knife.

Dir. Robert Aldrich, 1955, 35mm, 111 min.

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HANGOVER MATINEES: Hollywood Gothic - In A Lonely Place

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3/6/2016 - 2PM

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“Nobody comes out of this one unscathed, nobody looks good in the end, thereby making it a perfect noir.” —Barry Gifford, Adventures in Film Noir

No Hollywood Gothic series would be complete without a noir entry—and In a Lonely Place is one of the best. When Humphrey Bogart’s contract at Warner Brothers expired, the first film he made with his own production company was this shadowy classic where Hollywood was not just a dark place, but an ugly one. Bogie plays a bitter, alcoholic screenwriter with a serious temper problem suffering from creative exhaustion, stuck doing assignments he hates for people he doesn’t respect. When a hatcheck girl he knows shows up murdered, he’s the prime suspect—and even he isn’t sure whether he did it or not. Wannabe actress Gloria Graham puts up his alibi, but the downward spiral starts to become too much for the burgeoning romance. Graham’s ongoing divorce with director Nicholas Ray permeates the film with a extra tension that, together with Ray’s own tumultuous relationship with Hollywood, make this a potent and wicked thriller that would send any has-been writer back to his cottage to lick his wounds.

Dir. Nicholas Ray, 1950, 35mm, 94 min.

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HANGOVER MATINEES: Hollywood Gothic - Sunset Boulevard

gloria swanson & william holden 1950 - sunset boulevard
2/21/2016 - 2PM

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Sunset Boulevard, a savage satire of Hollywood’s dream machine, is as revered today as it was despised by Hollywood bigwigs upon its release. Positively hemorrhaging the desperation and decaying glamor that permeates Hollywood’s underbelly and populated by a world of wannabes and has-beens, Sunset Boulevard is the definitive Hollywood Gothic. Featuring noir-ish plot points and ghoulish humor, the film’s rightly famous centerpiece is the exquisitely outsized and iconic performance of Gloria Swanson as delusional harpy Norma Desmond, a former silent star hell-bent on reclaiming her celluloid throne. Erich Von Stroheim is wittily cast as her Prussian butler, and a young William Holden co-stars as her plaything/whipping boy, a struggling screenwriter who can do nothing but wait for his uproarious fate. It’s Desmond’s home, though, that says it all, a rotting mansion of aging dreams with death at the door—a perfect staging ground for her mothballed flagellating delusions.

Dir. Billy Wilder, 1950, 35mm, 110 min.

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HANGOVER MATINEES: Valentine's Day Special - The Thin Man

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2/14/2016 - 1PM

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Come celebrate drinking and love with your special someone and a Hangover Matinees Valentine’s Day presentation of The Thin Man, W.S. Van Dyke’s screwball adaptation of Dashiell Hamett’s novel, a blend of noir and slapstick, “a drawing room comedy with dead bodies” (Roger Ebert). Featuring the electric rapport of William Powell and Myrna Loy as Nick and Nora Charles (with dialogue penned by real-life couple Albert Hackett and Frances Goodrich), The Thin Man is zany and unpredictable, like a great bender. Nick is brought out of retirement during the holidays to solve an elusive murder mystery, casually playing everyone around him with a beverage in hand, boasting a superhuman ability to imbibe unceasingly. Boasts the iconic Asta (aka Skippy), in one of the best canine performances ever put to celluloid, to boot!

Dir W.S. Van Dyke, 1934, 35mm, 91min

HANGOVER MATINEES: BOGIE & BACALL - Key Largo

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1/31/2016 - 2PM

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Join us on the patio at 1:00pm before the film for cocktails & Live Set from DJ Mean Mr. Mustard!

Join us for the last installment of Bogie & Bacall! Directed by John Huston (The Maltese Falcon, The African Queen) and co-written with Richard Brooks (Blackboard Jungle) based on the Maxwell Anderson (The Bad Seed, All Quiet on the Western Front) play, Key Largo stirs up trouble where it is most easily found—Florida. Rounding out the quartet of noir movies starring real life married couple Humphrey Bogart and Lauren Bacall, Key Largo lets nature take its course showing both literal and figurative destruction. Disillusioned postwar ex-Major Frank McCloud (Bogart) finds an old war buddies young widow Nora Temple (Bacall) at the pit stop Largo Hotel. Instead of the romance that usually follows in noirs, Bogart and Bacall find themselves held hostage along with James Temple (Lionel Barrymore) by 1940’s America’s worst nightmare, Cuban gangsters. What follows is in many ways a classic gangster shoot em up, but also a unique portrait of postwar America.

Dir. John Huston, 1948, 35mm, 100 min.

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HANGOVER MATINEES: BOGIE & BACALL - Dark Passage

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1/24/2016 - 2PM

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Vincent Parry (Bogie), imprisoned after accused of murdering his ex-wife, escapes and in an effort to disguise himself, gets reconstructive plastic surgery. This bandage-wrapped refuge sets the tone (and POV—for the first half hour of the film, we don’t even see Bogie) for Dark Passage, the least loved (undeservedly so!) of Bogie & Bacall’s four collaborations. Three of the four could be said to be markedly similar in their plot machinations and insistence in leaning upon the palpable tension between the stars, but Delmer Daves (3:10 To Yuma, Task Force) had a different approach with Dark Passage, which, more than any of its meddling noir fascinations, is truly concerned with a different, tender strain of Bogie & Bacall’s relationship, in this absurdist, esoteric, and stubbornly rewarding oddity.

Dir. Delmar Daves, 1947, 35mm, 106 min.

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HANGOVER MATINEES: BOGIE & BACALL - The Big Sleep

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1/17/2016 - 2PM

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Join us on the patio at 1:00pm before the film for cocktails & Live Set from DJ Mean Mr. Mustard!

Decidedly one of the greatest PI noir films of all time, Howard Hawks’ The Big Sleep begins with Philip Marlowe (Bogart), a private dick hired by a wealthy family to deal with a blackmailer. But before Marlow can do his job, the blackmailer is dead and gangsters, chauffeurs, femme fatales, and henchman twist this narrative into a decidedly labyrinthine tale far more concerned with tone than plot, devoting ample focus to the inimitable magnetism between Bogie and Bacall, and the pull of Los Angeles’ seedy underbelly.

Based on legendary pulp author Raymond Chandler’s novel of the same name, the film was adapted by none other than the powerhouse threesome of William Faulkner, Leigh Brackett and Jules Furthman. Famously, the filmmakers sent a wire to Chandler, asking for some clarity on whether or not a character was murdered or committed suicide, and his response was this: “They sent me a wire…asking me, and dammit, I didn’t know either.”

Dir. Howard Hawkes, 1946, 35mm, 114 min.

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HANGOVER MATINEES: BOGIE & BACALL - To Have and Have Not

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1/10/2016 - 1PM

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Join us on the patio at 12:00pm before the film for cocktails & Live Set from DJ Mean Mr. Mustard!

Atmospheric and irresistible, To Have and To Have Not kicks off our Bogey & Bacall Hangover Matinees! Humphrey Bogart (having just come off of the extreme success of Casablanca and The Maltese Falcon) couldn’t have been a bigger star at the time, and finding a co-star for him seemed an impossible task—that is, until 19 year-old Lauren Bacall arrived on the scene. Howard Hawkes was no stranger to sensual, tension-fueled on-screen relationships (His Girl Friday, Bringing Up Baby), but even he wasn’t prepared for the smoldering, tangible, visceral sexuality between the wildly seductive gaze of Bacall and the cool, calm, confidence of Bogart.

Bogart plays the captain of a fishing boat during WW2. Taking a break after a day of disappointments, he sees Bacall (who, much to her chagrin, is referred to as Slim throughout the film) crooning in a local lounge. After their eyes lock, what follows is one of the steamiest films ever committed to celluloid. Although the film snowballs into a geo-political romance of a decidedly Casablancian sort, Hawkes is only truly interested in the cat and mouse flirtation of Bogie and Bacall, building tension via blocking, perfectly placed close-ups, music, and some decidedly loaded dialogue from none other than William Faulkner.

Dir. Howard Hawks, 1944, 35mm, 100 min.

Watch the Cinefamily original trailer!

HANGOVER MATINEES: The Thin Man

http://cinefamily.ticketmob.com/event.cfm?id=109506&cart
the-thin-man 480x309
10/11/2015 - 2PM

Start your holiday drinking a few months early with The Thin Man, W.S. Van Dyke’s screwball adaptation of Dashiell Hamett’s novel, a blend of noir and slapstick, “a drawing room comedy with dead bodies” (Roger Ebert). Featuring the electric rapport of  William Powell and Myrna Loy as Nick and Nora Charles (with dialogue penned by real-life couple Albert Hackett and Frances Goodrich), The Thin Man is zany and unpredictable, like a great bender. Nick is brought out of retirement during the holidays to solve an elusive murder mystery, casually playing everyone around him with a beverage in hand, boasting a superhuman ability to imbibe unceasingly. Boasts the iconic Asta (aka Skippy), in one of the best canine performances ever put to celluloid, to boot!

Dir W.S. Van Dyke, 1934, 35mm, 91min

Watch the trailer! YouTube Preview Image

HANGOVER MATINEES: The Lost Weekend

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9/26/2015 - 2PM

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Dizzy, delirious, noir as hell—a horror story for disciples of Burroughs, Bukowski and Brautigan—The Lost Weekend is a literary hellscape seeping with shadows, inky like wet newsprint, directed by the one and only Billy Wilder! Upsetting the trope of the heroic poet tormented by vices, it feels more like an episode of Intervention, as we fall helplessly into the delusional mind of a brilliant man bent on his own destruction through booze. It’s an ironic, psychedelic trip, where deep pools of black and gray become haunting characters, reminders of all that Don Birnam, our lapsed-writer hero, has discarded in favor of rye. With a score to unsettle the soul, loveably tacky scare-gags, and a plot rife with chaos, and four oscars to its name, The Lost Weekend is a hangover movie not to miss. Come for the character who inspired Mad Men‘s Don Draper, stay because you brought some Advil: this one is a wonderful rotgut of its own.

Dir. Billy Wilder, 1945, 35mm, 101 min.

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HANGOVER MATINEES: The Bank Dick

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9/12/2015 - 4:30PM

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Next Saturday, spend your afternoon with W.C. Fields—comfort food for alcoholics—in the first of a collection of Hangover Matinees featuring our favorite drinkers hitting the bottle. The Bank Dick, starred in and penned by Fields, barrels along with a plot like a drunken night: surreal and spotty, with lots of pleasingly unresolved threads. Egbert Sousé, our valiant and boozy protagonist, prevents a bank robbery, through sheer luck and timing, and is rewarded with a position as a guard in the bank. From this point onwards the plot hardly matters – Sousé stumbles between his favorite bar—the Black Pussy Cat café—and the bank, always leaving a cartoonish wave of catastrophe in his wake. Counted by Stanley Kubrick as one of his top ten favorite films, and “probably Fields’ best film” (Roger Ebert), The Bank Dick is raucous pure cinema, complete with an unforgettable car chase.

Dir. Edward F. Cline, 1940, 35mm, 72 min

Watch the Cinefamily original trailer!

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