In August 2012, something unexpected happened at the Walker Art Center in Minneapolis: a crowd of ten thousand people gathered in the parking lot, lawn, and sidewalks surrounding the building. Was it a flash mob? The opening day of a revelatory exhibit? A one-time-only performance piece by a famous artist? No, no, and no. the masses had gathered to enjoy a different kind of art: The Internet Cat Video Film Festival. And it was very, very funny.
Whether a clever attempt at bridging high culture with social media, a way for pet lovers to get together, or just an opportunity to laugh at cats waging war on vacuum cleaners, the ICVFF is a phenomenon, and we’re very excited to bring both the inaugural program and its 2013 sequel to the Dryden with the help of our friends at Lollypop Farm (who will be bringing some special friends of their own to our screenings). The Internet Cat Video Film Festival: 75 minutes of Lolcat clips, edited for maximum laughter. Need we say more?
And, because we love our canine pals, too, we give them equal play with screenings of two classic dog flicks: Christopher Guest’s hilarious Best in Show and Nick Park’s beloved stop-motion creation Wallace and Gromit: Curse of the Were-Rabbit.
Friday, November 8, 8 p.m.
Sunday, November 10, 2 p.m.
Best in Show
(Christopher Guest, US 2000, 90 min., 35mm)
Friday, November 15, 8 p.m.
Sunday, November 17, 2 p.m.
Wallace and Gromit: The Curse of the Were-Rabbit
(Steve Box and Nick Park, UK/US 2005, 85 min., 35mm)
Friday, November 22, 8 p.m.
Sunday, November 24, 2 p.m.
The 2012 Internet Cat Video Film Festival
Friday, November 29, 8 p.m.
Sunday, December 1, 2 p.m.
The 2013 Internet Cat Video Film Festival
Join us as the Dryden celebrates the sixtieth anniversary of the birth of widescreen cinema. As a direct reaction to the growth of the small-screen TV in the home, Twentieth Century-Fox’s CinemaScope process expanded the scale of cinema, increasing the size and width of the screen exponentially and adding new crisper multi-channel sound. Utilizing a mix of existing and new technologies, the larger, more immersive viewing experience gave filmmakers new opportunities to experiment. From Hollywood epics to intimate dramas, CinemaScope was used across all genres and types of films. Equally adept for western vistas, low-key comedies, and energetic dance choreography, the ’Scope frame soon found its place within the industry and is still in use today. This selection of four early works shot in CinemaScope are prime examples of the innovation and adaptation the process inspired.
Programmed in conjunction with Bigger Than Life: CinemaScope at 60, on view in the museum’s Annex Gallery from November 2, 2013, through January 12, 2014.
Wednesday, November 13, 8 p.m.
How to Marry a Millionaire
(Jean Negulesco, US 1953, 95 min., 35mm)
Wednesday, November 20, 8 p.m.
(Edward Dmytryk, US 1959, 122 min., 35mm)
Wednesday, November 27, 8 p.m.
Seven Brides for Seven Brothers
(Stanley Donen, US 1954, 102 min., 35mm)
Saturday, November 30, 8 p.m.
20,000 Leagues Under the Sea
(Richard Fleischer, US 1954, 127 min., 35mm)
When the 2011 smash hit Bridesmaids opened, much of the critical dialogue surrounding the film had to do with the current glaring lack of funny films by, for, and/or about women. Hollywood’s past, however, is a treasure trove of female ensemble comedies, and we’ll be screening five of them this September. First comes Stage Door, boasting an unbeatable cast (Ginger Rogers, Lucille Ball, Eve Arden, Ann Miller, and Katharine Hepburn!) and a funny, moving take on the lives of struggling actresses. A latter-day all-star team (Barbara Hershey, Carrie Fisher, Mia Farrow, and Dianne Wiest) stars in Woody Allen’s Hannah and Her Sisters, and a literal team features in Penny Marshall’s beloved baseball comedy A League of Their Own. Closer to Bridesmaids in its raunchy, celebratory spirit is I Wanna Hold Your Hand, while Beyond the Valley of the Dolls tops them all with its outrageous tale of the all-girl rock group the Carrie Nations and their adventures in Hollywood.
Thursday, September 5, 8 p.m.
(Gregory La Cava, US 1937, 92 min., 35mm)
Thursday, September 12, 8 p.m.
Hannah and Her Sisters
(Woody Allen, US 1986, 103 min., 35mm)
Thursday, September 19, 8 p.m.
I Wanna Hold Your Hand
(Robert Zemeckis, US 1978, 104 min., 35mm)
Thursday, September 26, 8 p.m.
A League of Their Own
(Penny Marshall, US 1992, 128 min., 35mm)
Saturday, September 28, 8 p.m.
Beyond the Valley of the Dolls
(Russ Meyer, US 1970, 109 min., 35mm)
Austrian filmmaker Ulrich Seidl became known to US audiences with his award-winning Dog Days (2001), his first narrative feature after twenty years of documentaries and a true manifesto of his unique filmmaking style. The boundaries between fiction and non-fiction have little or no meaning in Seidl’s work: his films are by all means a “document” of reality; however, they depict a reality as seen from within the characters’ world, often to deeply disturbing ends. The Paradise trilogy (2012–2013) is an extreme case in point with its highly stylized and yet uncompromising view of three very different topics: sex tourism, religious proselytism, and a weight-loss camp—as experienced by a middle-aged widow, her sister, and her daughter, respectively. If you’re up for a triple rollercoaster ride in the realm of the grotesque, Seidl will give you an experience you won’t easily forget. Senior Curator of Motion Pictures Paolo Cherchi Usai will be present to introduce Paradise: Love on September 7.
Saturday, September 7, 8 p.m.
(Paradies: Liebe, Ulrich Seidl, Austria/France/Germany 2012, 120 min., German and Swahili w/ subtitles, DCP)
Saturday, September 14, 8 p.m.
(Paradies: Glaube, Ulrich Seidl, Austria/France/Germany 2012, 115 min., German and Arabic w/ subtitles, DCP)
Saturday, September 21, 8 p.m.
(Paradies: Hoffnung, Ulrich Seidl, Austria/France/Germany 2013, 100 min., German w/ subtitles, DCP)
This fall, the Dryden Theatre again shares one of the greatest of all art forms with the Rochester public: silent cinema. Join us each week as we present a fascinating series of silent films in collaboration with the University of Rochester, featuring the expressive talents of stars like John Barrymore, Gloria Swanson, and Ramon Novarro, and the artistic mastery of directors such as F. W. Murnau, Cecil B. DeMille (with a big “D”) and brother William C. de Mille (with a small “d”), and Rex Ingram. Come and thrill to acrobatics; the forensic skills of a wily “lady detective”; one of the wildest parties ever filmed; beauty and terror in the Alps; the horrors of men’s and women’s base desires unleashed; laughter, tears, and astonishment—all derived from some of the greatest treasures of the Eastman House motion picture collection, many of which have either not been seen since their first release or are now in sparkling new restorations from rare materials. Join us on Saturday, October 19 and Sunday, October 20, for a special Halloween presentation of The Cabinet of Dr. Caligari! Most screenings will feature live musical accompaniment by Philip C. Carli.
Tuesday, September 3, 8 p.m.
(Rex Ingram, US 1923, 124 min., 35mm)
Tuesday, September 10, 8 p.m.
(Allan Dwan, US 1925, 70 min., 35mm)
Tuesday, September 17, 8 p.m.
The Bedroom Window
(William C. de Mille, US 1924, 70 min., 35mm)
Tuesday, September 24, 8 p.m.
(F. W. Murnau, US 1930, 77 min., 35mm)
Tuesday, October 1, 8 p.m.
The Golden Bed
(Cecil B. DeMille, US 1925, 90 min., 35mm)
Tuesday, October 8, 8 p.m.
The White Hell of Pitz Palu
(Die weiße Hölle vom Piz Palü, Arnold Fanck and G. W. Pabst, Germany 1929, 75 min., 16mm)
Sunday, October 20, 8 p.m.
The Cabinet of Dr. Caligari
(Das Cabinet des Dr. Caligari, Robert Wiene, Germany 1920, 67 min., 35mm)
Tuesday, October 22, 8 p.m.
Double Feature: The Vampire and As in a Looking Glass
(Robert Vignola, US 1913, 38 min., 35mm)
(Stanner E. V. Taylor, US 1913, 41 min., 35mm)
Tuesday, October 29, 8 p.m.
Dr. Jekyll and Mr. Hyde
(John S. Robertson, US 1920, 85 min., 35mm)
This year marks the 100th anniversary of the birth of revered actor Burt Lancaster. From his early roles as brooding tough guys to the nuanced performances of his twilight years, Lancaster was one of Hollywood’s most versatile leading men. Made famous by his “all-American” good looks, Lancaster quickly grew into a performer always eager to challenge both himself and his audience.
A native of East Harlem, the former high school basketball star moved into motion pictures following a series of odd jobs, with stints as a circus acrobat, a department store salesman, a singing waiter, and a USO performer. After landing his first big screen role at the age of 33 in Robert Siodmak’s dark, claustrophobic noir The Killers, Lancaster entered a prolific period, largely acting in thrillers and military films.
In the late 1950s, Lancaster began taking on more unconventional characters, one of his most memorable being that of Elmer Gantry, a frenzied con man–turned–preacher that garnered Lancaster his only Academy Award® for Best Actor. Following that role, Lancaster starred as the emotionally unhinged Robert Stroud in John Frankenheimer’s Birdman of Alcatraz, a role that allowed him to balance the aggression and vulnerability that he had become known for.
As his career progressed, Lancaster became more selective and adventurous with his projects. In Frank Perry’s The Swimmer, he plays an aging ad agent whose journey from swimming pool to swimming pool develops into a remorseful, existential journey. Late into his career, Lancaster continued to produce acclaimed work, including one of his most heartbreaking performances in Louis Malle’s Atlantic City.
Join us in celebrating the distinguished career of Burt Lancaster, spanning nearly forty years of American cinema.
Wednesday, October 2, 8 p.m.
(Robert Siodmak, US 1946, 103 min., 35mm)
Sunday, October 6, 2 p.m.
Birdman of Alcatraz
(John Frankenheimer, US 1962, 147 min., 35mm)
Wednesday, October 9, 8 p.m.
(Richard Brooks, US 1960, 146 min., 35mm)
Wednesday, October 23, 8 p.m.
(Frank Perry, US 1968, 95 min., 35mm)
Wednesday, October 30, 8 p.m.
(Louis Malle, Canada/France 1980, 104 min., 35mm)
When he receives the George Eastman Award this November, Roger Corman will be honored for many things: his pioneering dedication to independent film production; his discovery of some of this century’s most remarkable cinematic talents; his status as the only American filmmaker to make a feature film about the civil rights movement during the civil rights movement; his distribution of foreign-language masterpieces in the 1970s; and his own esteemed career as a director of startling, groundbreaking, and always entertaining films. This September and October, we’ll celebrate the latter two aspects of Corman’s career, with special screenings of the foreign classics he released and the cult classics he created.
In September, we’ll focus on Corman’s ventures into foreign-language distribution in the 1970s, when his company New World “put Bergman in the drive-ins”—that is, carried on the legacy of the art house distributors of the 1950s and 1960s at a time when the majors had lost interest. From François Truffaut comes The Story of Adèle H., featuring Isabelle Adjani in her breakout role as Victor Hugo’s love-stricken daughter, and from Ingmar Bergman comes Autumn Sonata, one of the master’s most emotional works and the only time he worked with Ingrid Bergman. Finally, we’ll conclude with Best Foreign Language Film winner The Tin Drum, screening in a new extended cut prepared by director Volker Schlöndorff.
In October, we’ll turn to Corman’s directorial career, starting off with a double bill of the essential documentary Corman’s World and the hour-long satirical marvel A Bucket of Blood. Taken together, these films manage to summarize Corman’s career and style in less time than your average weekend blockbuster. X stars Ray Milland as a pioneering scientist whose experimentally aided vision keeps growing in a wildly original existential parable, and the following week’s double feature of The Wild Angels and The Trip confirms Corman’s status as a pioneer of his own accord. The Wild Angels remains a riveting look at a youth culture caught between freedom and self-destruction, while The Trip’s take on LSD is both a realistic look at acid use and a psychedelic example of pure cinema. Proving Corman’s mastery of all genres, The St. Valentine’s Day Massacre brings together an amazing cast (Jason Robards, George Segal, and Ralph Meeker) for a sobering gangster drama highlighted by stunning CinemaScope photography. We’ll dip into the acclaimed Poe cycle with the Karloff-Lorre-Price comic classic The Raven and a Halloween screening of House of Usher, and will conclude on November 1 with The Intruder, a lacerating civil rights drama shot on location in the deep south that remains not only one of Corman’s most remarkable achievements, but one of the bravest American films ever made.
Join us on November 2 to honor Roger Corman as the 2013 George Eastman Award recipient.
Roger Corman: Distributor
Wednesday, September 4, 8 p.m.
The Story of Adèle H.
(L’histoire d’Adèle H., François Truffaut, France 1975, 96 min., French and English w/ subtitles, 35mm)
Wednesday, September 11, 8 p.m.
(Höstsonaten, Ingmar Bergman, France/West Germany/Sweden 1978, 99 min., Swedish w/ subtitles, 35mm)
Wednesday, September 25, 8 p.m.
The Tin Drum
(Die Blechtrommel, Volker Schlöndorff, West Germany/France/Poland/Yugoslavia 1979, 163 min., Hebrew, Italian, German, Polish, and Russian w/ subtitles, DCP)
Roger Corman: Director
Thursday, October 3, 8 p.m.
Double Feature: Corman’s World: Exploits of a Hollywood Rebel and A Bucket of Blood
(Alex Stapleton, US 2011, 95 min., DCP)
(Roger Corman, US 1959, 66 min., 35mm)
Thursday, October 10, 8 p.m.
X: The Man with the X-Ray Eyes
(aka X, Roger Corman, US 1963, 79 min., 35mm)
Thursday, October 17, 8 p.m.
Double Feature: The Wild Angels and The Trip
(Roger Corman, US 1966, 93 min., 35mm)
(Roger Corman, US 1967, 85 min., 16mm)
Thursday, October 24, 8 p.m.
The St. Valentine’s Day Massacre
(Roger Corman, US 1967, 100 min., 35mm)
Saturday, October 26, 8 p.m.
(Roger Corman, US 1963, 86 min., 35mm)
Thursday, October 31, 8 p.m.
House of Usher
(Roger Corman, US 1960, 79 min., 35mm)
Friday, November 1, 8 p.m.
(Roger Corman, US 1962, 84 min., 35mm)
France: how many love affairs have you spawned, both real and fictional? If Paris is the most romantic city in the world, and French the language of love, it would only make sense that some of film’s finest romances have taken place in the City of Lights. This summer, a ticket to the Dryden is your passport to cross-continental romance. Hollywood royalty William Holden and Audrey Hepburn find love with a little help from the movies as a screenwriting duo in the rarely screened charmer Paris When It Sizzles. Greta Garbo is at her most alluring (and funny!) as a Russian agent in Ernst Lubitsch’s comic delight Ninotchka, and Juliette Binoche is a baker who casts a spell on Johnny Depp in the perennial foodie-film favorite Chocolat. Finally, our screen will be set aflame by Anouk Aimée and Jean-Louis Trintignant in the date movie of the 1960s, A Man and a Woman. Vive l’amour, and vive le cinéma!
Thursday, August 8, 8 p.m.
Paris When It Sizzles
(Richard Quine, US 1964, 110 min., 35mm)
Thursday, August 15, 8 p.m.
A Man and a Woman
(Un homme et une femme, Claude Lelouch, France 1966, 102 min., French w/ subtitles, 35mm)
Thursday, August 22, 8 p.m.
(Ernst Lubitsch, US 1940, 110 min., 35mm)
Thursday, August 29, 8 p.m.
(Lasse Hallström, US/UK 2000, 121 min., 35mm)
Ah, the drive-in: the once-futuristic concept of viewing movies from the comfort of your car has now become something nostalgic, honorably continued by a small number of theaters throughout the country (including Vintage Drive In in Avon, Silver Lake Twin Drive In Theatre in Perry, and Sunset Drive In in Middleport, which deserve your utmost support!). To celebrate the 80th anniversary of the drive-in and the films it spawned, we’ve picked four classics to perk up Friday nights in July, moving chronologically through the field’s biggest trends. First up is The Giant Claw, a classic example of 1950s teen exploitation fodder that most likely reduced the “passion pits” to fits of delirious laughter. Then, it’s Night of the Living Dead, George A. Romero’s groundbreaking horror masterpiece that took the genre to new disturbing and socially conscious levels. Bruce Lee represents the martial arts genre with the still-undefeated Enter the Dragon, and Burt Reynolds brings things full circle with Smokey and the Bandit, a car movie that brought more cars to the drive-in than almost any other.
Friday, July 5, 8 p.m.
The Giant Claw
(Fred F. Sears, US 1957, 75 min., 35mm)
Friday, July 12, 8 p.m.
Night of the Living Dead
(George A. Romero, US 1968, 96 min., 35mm)
Friday, July 19, 8 p.m.
Enter the Dragon
(Robert Clouse, China/US 1973, 98 min., 35mm)
Friday, July 26, 8 p.m.
Smokey and the Bandit
(Hal Needham, US 1977, 96 min., 35mm)
In conjunction with the exhibition The Gender Show (on view through October 13), the Dryden presents films that explore concepts of masculinity and femininity, with an emphasis on works that challenge, rather than uphold, traditional ideas of gender. The most recent film in the series, Alain Berliner’s Ma vie en rose, was a surprise art-house hit that explores a young boy’s homosexuality (and his parents’ difficulties accepting it) with charm, grace, and wit. Those last three terms can also be applied to I Was a Male War Bride, a classic Howard Hawks collaboration with Cary Grant that allows co-star Ann Sheridan to steadily break down Grant’s “manly” image to hilarious effect. On the flipside, Sam Fuller’s Forty Guns gives Barbara Stanwyck full command of the titular group of cowboys in a wild scenario that makes Johnny Guitar look like a kiddie serial. Finally, we’ll conclude with one of the most subversive cinematic looks at gender ever made: Edward D. Wood Jr.’s Glen or Glenda, a film in the form of a bargain-basement Z-movie that veers between unbelievable camp and deeply moving confession.
Tuesday, August 6, 8 p.m.
Ma vie en rose
(Alain Berliner, Belgium/UK/France 1997, 89 min., 35mm)
Tuesday, August 13, 8 p.m.
(Samuel Fuller, US 1957, 79 min., 35mm)
Tuesday, August 20, 8 p.m.
I Was a Male War Bride
(Howard Hawks, US 1949, 105 min., 35mm)
Tuesday, August 27, 8 p.m.
Glen or Glenda
(Ed Wood, US 1953, 65 min., 35mm)