20/12/2018 19:45 at Health and Wellbeing Centre.
If you only looked through the prism of #Me Too and #Times Up movements, you might have only little sympathy for our screening The Apartment. But this story of workplace sexual misconduct is sublime comedy. After seeing Brief Encounter Wilder asked “what about the poor schnook who has to crawl into the still warm bed of the lovers”, which describes the role of Jack Lemmon as the hapless junior clerk, CC Baxter. Currying favour with his seniors, he allows his tiny apartment to be used for sexual trysts, but is dismayed as lift operator Fran Kubelik (Shirley MacLaine) enters a liaison with CEO JD Sheldrake (Fred MacMurray).
Dir: Billy Wilder 125mins USA 1960
10/01/2019 19:45 at Health and Wellbeing Centre.
Walter Forde’s film was the precursor of Hitchcock’s more famous The Lady Vanishes and is widely considered the grandaddy of all train thrillers. Following an art heist from a Paris gallery a chase begins on the Paris to Rome express. Conrad Veidt, whose lanky form some will recognise from The Cabinet of Dr Caligari (1920), plays Zurta, holding the viewer’s attention like a magnet. The train is replete with amusingly dubious characters, including spies, blackmailers and movie stars.
“A delightful comedy-thriller that showcases the cream of the British screen acting crop of 1932, with most roles played by major stars.” (Michael Brooke, screenonline.org.uk)
Dir: Walter Forde 90mins Britain 1932
17/01/2019 19:45 at Health and Wellbeing Centre.
Antonioni’s trilogy L’Avventura, La Notte and L’Eclisse are masterpieces of Italian cinema. La Notte charts 24 hours in the life of a socialite couple, whose stale marriage is in its final stages. Author Giovanni Pontano (Marcello Mastroianni) and his bored wife Lidia (Jeanne Moreau) are in an existential crisis. The first part of the film sets the scene, with architecture and interiors illustrating the wealth and lifestyles of the protagonists and their disaffection with life. A wealthy industrialist throws a party in Giovanni’s honour, where the guests also display dissatisfaction with their lot, and whose sexual appetites are a sign of a vacuum in their feelings. Lidia escapes from the party to return to the poor industrialised area of her childhood, to try and recapture the optimism of those early years.
” […] revolutionary in form, eloquent in content and can affect you deeply. Is he the Henry James of film-making?” (Derek Malcolm, theguardian.com)
Dir: Michelangelo Antonioni 122mins Italy 1961