It's been wonderful organzing the CHARLES THEATRE WORKER'S UNION ART WALL but it's time to hand the honor over to another worthy chas employee. As the whole affair has been very, shall we say, organic, it will be up to the current employees to elect or volunteer the next art wall organizer. Don't let this amazing opportunity pass you by!!
Next week the current show will come down and what will come next will be up to you, Chas Employees! The lighting will remain up for the next two months and if nothing comes about it will come down as well.
Best of luck!
Friday, July 30, 2010
Saturday, July 10, 2010
Revival: Mickey One
REVIVAL: MICKEY ONE
Showtimes:
Saturday, July 10 at Noon
Monday, July 12 at 7 PM
Thursday, July 15 at 9PM
1965 Arthur Penn. Warren Beatty, Alexandra Stewart, Hurd Hatfield, Franchot Tone. 93 m. bw.
Hollywood's attempt at French New Wave, courtesy of director Penn and star Beatty, results in a curious brew - the plot, such as it is, may lose some viewers completely but the film itself is intriguing enough to warrant attention throughout. Beatty is the stand-up comic who finds himself the target of mobsters, heads for Chicago and changes his name to Mickey One. He attempts to start again, but can't help feeling that he is still being followed - a hunch confirmed by a subsequent physical attack. Quirky to say the least, audiences gave its jerky editing techniques and weird visuals a wide berth when the film was first released -indeed, these are aspects which some many find hard to take even now. On the plus side, Beatty is fine and Stan Getz's cool jazzy score adds to the atmosphere...(Channel 4)
Showtimes:
Saturday, July 10 at Noon
Monday, July 12 at 7 PM
Thursday, July 15 at 9PM
1965 Arthur Penn. Warren Beatty, Alexandra Stewart, Hurd Hatfield, Franchot Tone. 93 m. bw.
Hollywood's attempt at French New Wave, courtesy of director Penn and star Beatty, results in a curious brew - the plot, such as it is, may lose some viewers completely but the film itself is intriguing enough to warrant attention throughout. Beatty is the stand-up comic who finds himself the target of mobsters, heads for Chicago and changes his name to Mickey One. He attempts to start again, but can't help feeling that he is still being followed - a hunch confirmed by a subsequent physical attack. Quirky to say the least, audiences gave its jerky editing techniques and weird visuals a wide berth when the film was first released -indeed, these are aspects which some many find hard to take even now. On the plus side, Beatty is fine and Stan Getz's cool jazzy score adds to the atmosphere...(Channel 4)
Monday, July 5, 2010
Revival: Vertigo
Alfred Hitchcock's VERTIGO
Showtimes:
Monday, July 5 at 7PM
Thursday, July 8 at 9PM
1958 Dir. Alfred Hitchcock. James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore. 128m. Technicolor.
"One of the landmarks—not merely of the movies, but of 20th-century art. Alfred Hitchcock's 1958 film extends the theme of Rear Window—the relationship of creator and creation—into the realm of love and sexuality, focusing on an isolated, inspired romantic (James Stewart) who pursues the spirit of a woman (the powerfully carnal Kim Novak). The film's dynamics of chase, capture, and escape parallel the artist's struggle with his work; the enraptured gaze of the Stewart character before the phantom he has created parallels the spectator's position in front of the movie screen. The famous motif of the fall is presented in horizontal rather than vertical space, so that it becomes not a satanic fall from grace, but a modernist fall into the image, into the artwork—a total absorption of the creator by his creation, which in the end is shown as synonymous with death. But a thematic analysis can only scratch the surface of this extraordinarily dense and commanding film, perhaps the most intensely personal movie to emerge from the Hollywood cinema." (Dave Kehr)
Showtimes:
Monday, July 5 at 7PM
Thursday, July 8 at 9PM
1958 Dir. Alfred Hitchcock. James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore. 128m. Technicolor.
"One of the landmarks—not merely of the movies, but of 20th-century art. Alfred Hitchcock's 1958 film extends the theme of Rear Window—the relationship of creator and creation—into the realm of love and sexuality, focusing on an isolated, inspired romantic (James Stewart) who pursues the spirit of a woman (the powerfully carnal Kim Novak). The film's dynamics of chase, capture, and escape parallel the artist's struggle with his work; the enraptured gaze of the Stewart character before the phantom he has created parallels the spectator's position in front of the movie screen. The famous motif of the fall is presented in horizontal rather than vertical space, so that it becomes not a satanic fall from grace, but a modernist fall into the image, into the artwork—a total absorption of the creator by his creation, which in the end is shown as synonymous with death. But a thematic analysis can only scratch the surface of this extraordinarily dense and commanding film, perhaps the most intensely personal movie to emerge from the Hollywood cinema." (Dave Kehr)
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