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[size=4][color=red]The Landmark Loews Jersey â€" The Wonder Theatre Of New Jersey[/color][/size]
For the last weekend of March (25th and 26th), The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 10th consecutive year of classic films with three comedy classics to usher in the start of spring.
The theatre is located directly across from the PATH subway station connecting Manhattan with Jersey City, it is also easy to reach from most area highways. Secure discounted parking is located directly behind the theatre. Have your parking ticket validated at the theatreâ€™s boxoffice.
Unlike Some Other Classic Motion Picture Venues, All Our Show Are Presented Exclusively From High Resolution 35mm Motion Picture Film With Genuine Carbon Arc Projection, On Our Giant 50 Foot Wide Screen.
Friday March 25th at 8:00pm â€" The Lady Eve (1941)
Starring Barbara Stanwyck & Henry Fonda.
Directed by Preston Sturges. (93 minutes.)
Always the ironic satirist with a gift for terrific characters, improbably wild scenarios and perfectly tuned dialogue, the great writer/director Preston Sturges had what is, arguably, his most glittering success in The Lady Eve. Without doubt, the film is one of the most sparklingly funny screwball comedies ever made, replete with beguilingly ribald sexual innuendo and such overt overtones about the appeals of dishonesty and criminality itâ€™s a wonder that Sturges got away it all in the face of the puritanical Hollywood Production Code.
Saturday March 26th at 6:00pm â€" Beetlejuice (1988)
Starring Michael Keaton, Geena Davis, Alec Baldwin & Winona Ryder.
Directed by Tim Burton. (92 minutes.)
A deliciously off-the-wall, fast paced comedy-horror, Beetlejuice was Tim Burtonâ€™s second feature â€" and it not only defined his signature mix of wild imagination, sweetly fractured characters, surreal sensibility, gothic whimsy and dazzling special effects, but also firmly established him as one of the most original movie makers of our time. Geena Davis and Alec Baldwin are a young married couple who are killed in a car accident but are stuck haunting this world before they can move on to the next. When an obnoxious yuppie couple and their unhappy, Goth-obsessed daughter (played by Catherine Oâ€™Hara, Jeffrey Jones and Winona Ryder in her break-out role) move in to their old home, Davis and Baldwin try to frighten them away. But when their fledgling haunting skills prove less than effective, the two turn in desperation to a veteran spook: a yellow-haired, profane and thoroughly gonzo spirit played to over-the-top perfection by Michael Keaton. And thatâ€™s when the unique Burton blend of comedy and the macabre really takes off.
Saturday March 26th at 8:20pm â€" A Shot In The Dark (1964)
Starring Peter Sellers, Elke Sommer, Herbert Lom.
Directed by Blake Edwards. (101 minutes.)
A murder has been committed at the palatial Parisian residence of George Sanders. All the evidence points to sexy, wide-eyed housemaid (Elke Sommer). But then the gloriously, monumentally inept Inspector Clouseau (Peter Sellers) arrives on the scene and sets out to prove her innocence. What follows is an unbroken series of impeccable gags played out at a mad pace.
Visit The Landmark Loews Jersey web site for details.
And Twice Is The Only Way To Live…
Good lineup. I’m especially excited to see The Party, one of the all time funny Blake Edwards/Peter Sellers films.
This coming weekend of February 25th and 26th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 10th consecutive year of classic films with three films featuring one of the great couples of cinema, Humphrey Bogart and Lauren Bacall.
Friday February 25th at 8:00pm â€" To Have And Have Not (1944)
Starring Humphrey Bogart, Lauren Bacall, Walter Brennan
Directed by Howard Hawks. (100 Minutes)
This is the movie that brought Bogart and Bacall together â€" both on screen and off. Bogart is the owner of a charter boat in Vichy-controlled Martinique. Approached by Free French activists, Bogart doesnâ€™t want to stick his neck out for them â€" until he finds that doing so will help Bacall. While the screenplay by William Faulkner and Jules Furthman owes as much to Casablanca as to the Hemingway novel they were adapting, it nevertheless is a terrific blend of romance and action leavened with comedy, and Howard Hawksâ€™ direction is, as usual, masterful. But what makes the film truly electric is the unmistakable chemistry that was boiling over for real between Bogart and Bacall as the cameras rolled.
Saturday February 26th at 6:00pm â€" The Big Sleep (1946)
Starring Humphrey Bogart & Lauren Bacall
Directed by Howard Hawks. (114 Minutes)
One of the most popular noir films and most influential detective movies ever made, The Big Sleep nevertheless has one of the most convoluted scripts of any movie made in classic Hollywood. Director Howard Hawks literally blew past red herrings and possible dead ends by letting dialogue and action spill out so fast that there is barely time to acknowledge, never mind contemplate, a new plot twist. But Hawks did slow down to let the audience fully appreciate the erotic innuendo in the repartee between Bogart’s Philip Marlowe and Bacall’s Mrs. Rutledge — performances that were made palpable by the couple’s real-life relationship. This was cutting edge stuff for a Hollywood still under the Production Code. It’s the combination of this razor sharp sexual edge with the disquieting murky mystery that gives the film its distinctly hot yet cold, dream/nightmare feeling.
Saturday February 26th at 8:30pm â€" Dark Passage (1947)
Starring Humphrey Bogart & Lauren Bacall.
Directed by Delmar Davis. (107 Minutes)
A well constructed Film Noir that is one of the most darkly seductive but seldom revived pairings of Bogart & Bacall. Bogart is a man wrongly accused of his wife’s murder who undergoes plastic surgery to conceal his identity. Bacall, more vulnerable here than in other roles, is a lonely heiress who shelters Bogie — and falls for him — while he tries to find his wife’s real killer. The film makes great use not only of its stars' real life chemistry but also of its San Francisco setting. The Bay Area’s hills and winding roads, world-famous bridges and even prison proximity are integral to the story, while the city’s mixture of affluence and squalor, misfits and money men give texture to the shadowy atmosphere. The supporting cast more than hold their own, and Director Delmar Davis makes great use of the tight, efficient script. The opening scenes filmed from Bogart’s perspective are especially effective, adding a distinct, perhaps even Hitchcock-ian feel. Don’t miss this rare chance to see this noir gem on the Big Screen.
[size=1]The Landmark Loews Jersey Theatre[/size]
The weekend of January 28th and 29th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, begins its 10th consecutive year of classic films with a look at those risquÃ© early 1930â€™s pre-code films.
Unlike Some Other Classic Film Venues, All Our Show Are Presented Exclusively From High Resolution 35mm Motion Picture Film, With Genuine Carbon Arc Projection, On Our Giant 50 Foot Wide Screen.
[b]Friday January 28th at 8:00pm Double Feature
Directed by Todd Browning. (65 minutes).
Originally banned in over 30 countries, Freaks used many actual circus freaks as actors. It is the story of love, betrayal, and retribution under the big top.
– She Done Him Wrong (1933)
Starring Mae West, Cary Grant & Noah Beery, Sr.
Directed by Lowell Sherman. (65 Minutes)
Mae West’s first and best film, since it was not watered down by the subsequently production code censors. It is the ultimate distillation of her charismatic persona of simmering seductiveness and innuendo-laced one liners.
Saturday January 29th at 6:30pm â€" Morocco (1930)
Starring Marlene Dietrich, Gary Cooper & Adolphe Menjou.
Directed by Joseph von Sternberg. (92 Minutes)
Dietrich’s iconic performance in top hat and tails and her scandalously — for the day — kissing another woman created her enduring screen persona of simmering, androgynous eroticism.
Saturday January 29th at 8:30pm â€" Baby Face (1933)
Starring Barbara Stanwyck, George Brent, John Wayne.
Directed by Alfred E. Green. (71 Minutes)
This amazingly frank drama about a woman sleeping her way to the top was one of the films that was most often decried by the advocates of movie censorship.
New movies were generally released on Wednesdays up through the early 1980’s, when the industry switched to Friday openings. Up until the 1970’s, many theatres outside of major cities ran split weeks, Wed->Sat, Sun->Tue or some variation of this.
The weekend of November 19th and 20th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 9th consecutive year of classic films with a tribute to a local boy who made it big, Frank Sinatra.
Unlike Some Other Classic Film Venues, All Our Show Are Presented Exclusively From High Resolution 35mm Motion Picture Film With Genuine Carbon Arc Projection On Our Giant 50 Foot Wide Screen.
Friday November 19th at 8:00pm â€" The Man With The Golden Arm (1955)
Starring Frank Sinatra, Kim Novak, Eleanor Parker, Darren McGavin
Directed by Otto Preminger (B&W, 119 Minutes)
Sinatra is riveting as a two-bit card shark and drug addict trying to go straight in this deep, very dark noir film that features razor sharp characters, great acting, a crisp jazz soundtrack by Elmer Bernstein and a stylish rendering of the post-war hipster milieu. Sinatra’s depiction of the agony of drug withdrawal remains one of the most chilling yet powerful scenes ever filmed. Director Otto Preminger released this groundbreaking drama without the sanction of a Production Code seal, and helped break the stranglehold the censorial Code held over American cinema. This rare big-screen presentation will be shown in a restoration print from the Film Archive of the Academy of Motion Picture Arts & Sciences.
Saturday November 20th at 6:00pm â€" On The Town (1949)
Starring Gene Kelly, Frank Sinatra, Betty Garret, Anne Miller, Vera-Ellen, Jumes Munshin.
Directed by Stanley Donen and Gene Kelly. (Color, 98 Minutes)
The kind of movie they don’t make anymore — great music, great dancing, fun, romantic, exhilarating. Three sailors go on a whirlwind, 24-hour leave in New York City. Sinatra is great as the one more interested in seeing the sites than chasing girls — but who winds up being chased by one. Dazzling on-location scenes of mid-century New York, including the now iconic “New York, New York” opening. Choreography by Kelly, music and story by Adolph Greene & Betty Comden, score co-written by Leonard Bernstein.
Saturday November 20th at 8:20pm â€" From Here To Eternity (1953)
Starring Burt Lancaster, Montgomery Clift, Deborah Kerr, Frank Sinatra, Donna Reed, Ernest Borgnine.
Directed by Fred Zinnemann. (B&W, 118 minutes).
Extraordinary cast playing complex, engrossing characters, including Sinatra in an Academy-Award wining role that proved his power as a dramatic actor and revitalized his career. The story broke American cinematic ground — and taboos — with its frank depiction of ambitions, frustrations, personal conflicts, deliberate cruelty, sexual desire and adultery on a Honolulu Army base in the languid months leading up to the Pearl Harbor attack. The scene of Lancaster and Kerr in erotic embrace on the beach is legendary.
Those historic photos are from early November 1929, about a month after the theatre opened.
I hope it’s movies projected from 35mm film? The consumer quality video that the UCAC was showing since the renovation looks terrible.
The weekend of September 24th and 25th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 9th consecutive year of classic films and kicks off its fall season with some of the best films Alfred Hitchcock never made. These are films that have a Hitchcock feel to them, but he had nothing to do with.
All Show Are Presented In 35mm With Genuine Carbon Arc Projection On Our Giant 50 Foot Wide Screen.
Friday September 24th at 8:00pm â€" Peeping Tom (1960)
Starring Carl Boehm, Moira Shearer. Directed by Michael Powell. (106 Minutes)
This British-made film premiered within a few months of “Psycho,” and the two are often compared. Indeed, “Peeping Tom,” about a psychologically damaged young man driven to kill women, is every bit the dark story of madness and murder that “Psycho” is. It also shares themes of voyeurism and repressed desire with “Rear Window” and “Vertigo.” But if those three films ultimately cemented Hitchcock’s reputation as “The Master” of psychological thriller and horror films, “Peeping Tom” all but destroyed the career of Michael Powell, who had been one of Britain’s top directors. It was denounced and banned as prurient exploitation, and all but forgotten until Martin Scorsese lauded it as groundbreaking and personally arranged for its re-release. It is both more frank and yet more subtle in its exploration of its themes than any of Hitchcock’s works. And it is also a provoking meditation on the appeal of cinema, which is inherently voyeuristic. A half century later, it retains its considerable psychological impact. Don’t miss this 35mm rare screening.
Saturday September 25th at 6:00pm â€" The Stranger (1946)
Starring Orson Welles, Edward G. Robinson, Loretta Young. Directed by Orson Welles. (95 Minutes)
This film is a cat-and-mouse hunt to unmask a Nazi war criminal hiding in a sleepy Connecticut town still brims with Welles’s flair, such as his extraordinary use of lighting and shadow, long focus and dramatic camera angles. It’s also a first-rate thriller thanks to a great performance by Welles, and also by Robinson. The theme is a familiar one to Hitchcock fans, evil amid the ordinary.
Saturday June 25th at 8:20pm â€" Charade (1963)
Starring Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn. Directed by Stanley Donen. (113 Minutes)
Audrey Hepburn is an innocent woman caught in a web of intrigue and deceit when her husband is murdered and she discovers she knew very little about him that was true. As she is pursued by three men who were apparently her husband’s accomplices in the theft of a large sum of money, she looks to Cary Grant for help — but it turns out he has layers of secrets too, including multiple aliases. Soon, neither the increasingly desperate Hepburn nor the audience knows what to believe or whom to trust. Stanley Donen, better known for making musicals, borrowed some of Hitchcock’s favorite plot devices to craft this stylish thriller that also mixes in romance and comedy. Includes beautiful location cinematography of early ‘60s Paris, and a great score by Johnny Mercer and Henry Mancini.
3rd Season? We have been running classic films every fall/winter/spring since December of 2001.
Dumont Theatre Circa 1928
> and rebuilt seats by the new operator
Those were “balcony” seats, they were designed to be mounted on a level floor. Unfortunately, this theatre had a sloped floor, so the seat backs tilted slightly forward, making them rather uncomfortable. The rows were rather close together for a total seating of around 400. In the summer 1980, those seats were replaced with better seating purchased used from the closing little Willowbrook Mall Cinemas. At that time the seating was reduced to 296, giving more leg room with wider rows. There is no basement.
Riverdale never had a theatre. The closest theatre to Riverdale was The Colonial in Pompton Lakes. The next closest was the Butler Theatre on Arch street in Butler that closed in the 1950’s, followed by the Meadtown Cinema in Kinnelon which was built in the 1970’s and is still there.
This coming weekend of June 4th and 5th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, concludes its 80th Birthday Jubilee and 10th consecutive year of classic films. All this season, we have been saluting the decades that the Landmark Loews Jersey has been entertaining us. For June, we will be presenting some great classic films from the 1980â€™s.
Located directly across from the PATH subway station connecting Manhattan with Jersey City, it is also easy to reach from most area highways. Secure discounted parking is located directly behind the theatre. Have your parking ticket validated at the theatreâ€™s boxoffice.
Friday June 4th at 8:00pm â€" Raging Bull (1980)
Starring Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colasanto. Directed by Martin Scorsese. (128mins., Rated: R)
Martin Scorsese’s brutal character study incisively portrays the rise, fall and redemption of real-life middleweight boxer Jake La Motta, a violent man in and out of the ring who seemed to thrive on his ability and willingness to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York when Jake’s career is on the rise. But Scorsese and De Niro eschew uplifting, “Rocky”-like, boxing movie conventions to make an unflinching portrait of an unlikable man and his ruthless profession. Their Jake is relentlessly cruel and self-destructive, a person whose inner demons cannot be exorcised even by acclaim and success. The physical brutality that makes Jake a champion in the boxing ring cripples his relationships with his wives, his business associates, and his brother.
Saturday June 5th at 6:00pm â€" Pee-Weeâ€™s Big Adventure (1985)
Starring Paul Reubens, Elizabeth Daily, Mark Holton, Diane Salinger. Directed by Tim Burton.
(90mins, Rated: PG)
Tim Burton made his feature-length directorial debut with this film, and immediately established what would become his trademark quirky style. The film has a look reminiscent of German expressionist movies of the 1920s, filtered through a pop-art sensibility of cartoons, horror serials and Gothic fairy tales. The result is a surreal, mystical world, yet one very close to our own â€" that perfectly fits the absurdist humor. And the score by Danny Elfman is terrific. In all, Pee wee’s Big Adventure is a delightful film, enjoyable for children as well as adults.
Saturday June 5th at 8:15pm â€" The Blues Brothers (1980)
Starring John Belushi, Dan Aykroyd, James Brown, Ray Charles, Cab Calloway, Aretha Franklin, Carrie Fisher, John Candy, Henry Gibson. Directed by John Landis.
(133mins., Rated: R.)
This movie is also an unapologetic homage to rhythm-and-blues in all its popular derivatives, from Cab Calloway to James Brown to Aretha Franklin, all of whom appear in lovingly realized musical scenes. And there is great fun in spotting the other members of the filmâ€™s legion of guest stars, including John Candy, Carrie Fisher, Steve Lawrence, Twiggy, Paul Reubens (aka Pee-Wee Herman), Frank Oz and Steven Spielberg. And topping it all off, the streets, highways and police department of Chicago are laid to waste in what is, if not the most spectacular, then without doubt the funniest and coolest car chase scenes ever filmed. The Blues Brothers is filled with great fun and great music from beginning to end, and is the essence of entertainment.
[size=3][color=red]The Landmark Loews Jersey â€" The Wonder Theatre Of New Jersey[/color][/size]
This coming weekend of May 21st and 22nd, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some great classic films from the 1970â€™s.
Friday May 21st at 8:00pm â€" Taxi Driver (1976)
Starring Robert De Niro, Cybill Shepherd, Jodie Foster, Peter Boyle, Albert Brooks, Harvey Keitel.
Directed by Martin Scorsese. (113mins, Rated R)
“I’m God’s lonely man,” says Travis Bickle, played by Robert De Niro in one of his finest and most memorable performances. He’s an insomniac, ex-Marine and chronic loner who, even when he tries, canâ€™t seem to relate to the world around him. He drives a cab at night in the decaying New York City of the mid-1970s, which director Martin Scorsese and screenwriter Paul Schrader depict as a grimly stylized hell on Earth, where noise, filth, directionless rage, and dirty sex (both morally and literally) surround him at all turns. Lost in this toxic milieu, chronically isolated and potentially volatile, Bickle is a bomb waiting to explode, like the proverbial gun which, when produced in the first act, must go off in the third. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Bickle begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating a Presidential candidate to violently “saving” a teenage hooker (played by Jodie Foster) from her pimp. The film features Bernard Herrmann’s final score, reported to be finished the day he died.
Saturday May 22nd at 6:15pm â€" Blazing Saddles (1974)
Starring Cleavon Little, Gene Wilder, Madeline Kahn, Slim Pickens, Harvey Korman, Mel Brooks.
Written & Directed by Mel Brooks. (93mins, Rated R)
Blazing Saddles is vulgar, crude and sometimes scandalous â€" and is one of the funniest and most successful film spoofs of all time. It is also writer-director Mel Brooks at his ribald best, with further outrageous hilarity added by co-writer Richard Pryor. Cleavon Little plays the first African-American sheriff of a stunned Western town scheduled for demolition by an encroaching railroad. If that plot sounds, at least in part, like a throw-back to the movies of an earlier time, itâ€™s because Brooks was, in his own manic way, a central figure in revising classic film genres to reflect the 70s' values and attitudes â€" an effort more often associated with such directors as Robert Altman and Peter Bogdanovich. Blazing Saddles is a work that truly could have only been made in the ‘70s â€" the idiom of the classic American western hijacked into an over-the-top comedy that purposely and relentlessly shredded the popular conception of â€œgood tasteâ€ while making merciless fun of everyone, regardless of skin color or religious persuasion. If blacks came off as stereotypical, whites were shown as just plain stupid and ignorant. The result was one of the funniest films of all time â€" which, ironically, could probably not be made today in our more politically correct time. Beyond its over-the-top humor, Blazing Saddles boasts some great performances: Little and Gene Wilder have great chemistry; Madeline Kahn is wonderful as a chanteuse modeled on Marlene Dietrich; and Slim Pickens, Harvey Korman and even Brooks himself turn in great supporting roles.
Saturday May 22nd at 8:40pm â€" Saturday Night Fever (1977)
Starring John Travolta, Karen Gorney, Barry Miller, Joseph Cali, Paul Pope.
Directed by John Badham. (119mins, Rated R)
From the moment John Travolta sauntered down a Brooklyn street to the Bee Gees' “Stayin' Alive” at the beginning of Saturday Night Fever, music, movies and all of pop culture were irrevocably changed, and the 1970s gained what is perhaps the decade’s single most recognizable celluloid imagery. Travolta plays Tony Manero, a Brooklyn paint-store clerk who’s trapped in a dead-end existence â€" except at night on the disco dance floor, where, when he struts his stuff amid the flashing lights and sweaty, undulating bodies, heâ€™s a king. Part of the filmâ€™s success owes to how astutely it balanced a gritty sense of the 70s' economic and social malaise with galvanizing dance numbers. But of course, the hallmark of the film is Travolataâ€™s star-making performance â€" especially the scenes in his iconic white suit â€" and the Bee Gees soundtrack. During the first half of 1978, the movie’s disco songs saturated the singles charts, occupying up to four positions at a time, prompting more and more people to see the movie â€" just as, in turn, the movie’s vast popularity prompted more and more record sales. This powerful marketing synergy between movies and music set a new standard, with the film eventually grossing over $100 million and the soundtrack becoming one of the best-selling albums of all time. For many young people at the time, the movie marked their generation’s coming of age and was an indelible movie-going experience. By any measure, Saturday Night Fever is the definitive evocation of the Disco Era, and affirmation of Disco’s dominance of the pop culture scene at the time.
> I don’t think they’re actually imbedded, more like a visual link.
Exactly, they are visual links. None of the photos are embedded. None of the photos are loaded to cinematreasures servers. Chuck1231 is not a moderator here and he is not privy to any communications I have had with them. His concern posted above is not a valid concern, the photos have no effect on the cinematreasures servers.
Come Friday, I’ll be running Friday’s show.
This coming weekend of April 23rd and 24th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some great classic films from the 1960â€™s.
Friday April 23rd at 8:00pm â€" To Kill A Mockingbird (1962)
Starring Gregory Peck, Mary Badham, Philip Alford, Robert Duvall.
Directed by Robert Mulligan. Music by Elmer Bernstein.
A wonderful story of a precocious young tomboy and her brother being raised in rural Georgia of the 1930s by their widowed and highly principled father who, as an attorney, takes on the then-impossible mission of defending a black man accused of raping a white woman. Based on the semi-autobiographical novel by Harper Lee, the movie melds the routines, small triumphs and travails of children growing up with the harsh reality of segregation and prejudice. Lee’s work has become a rite of passage for generations of school children. The movie is among the most successfully realized film interpretations of a novel ever made, and one of the most quietly affecting works ever shown on the screen — comedic, dramatic, insightful, tragic, uplifting — and thoroughly engrossing. Gregory Peck won the Academy Award for Best Actor.
Saturday April 24th at 6:00pm â€" A Hard Days Night (1964)
Starring The Beatles, Wilfrid Brambell, Norman Rossington.
Directed by Richard Lester.
The wild, all-encompassing popularity of The Beatles that exploded across America in late 1963 and ‘64 changed virtually everything about music and pop culture. A Hard Day’s Night was a first attempt to channel some of The Beatles’ popularity toward movie theatre box offices. Remarkably, though the production was decidedly rushed, Director Lester and screenwriter Alun Owen created a musical-comedy-fantasy that managed to perfectly capture the good-naturedly sardonic personas of each of The Beatles while fairly accurately depicting the manic zaniness of the early Beatlemania. The Beatles themselves were very pleased with the results. Of course, the soundtrack rings with some of the Fab Four’s most popular early songs, including “Can’t Buy Me Love,” “And I Love Her,” “I Should Have Known Better,” and the title tune, which was reportedly written overnight by John Lennon and Paul McCartney in response to a plea from the director for a song to match the movie’s title.
Saturday April 24th at 8:15pm â€" The Graduate (1967)
Starring Anne Bancroft, Dustin Hoffman, Katharine Ross.
Directed by Mike Nichols.
(105mins., Color & Panavision)
This is one of a handful of films that managed to speak directly to the baby-boom generation as it was coming of age, and as such contributed several very notable references to our collective popular culture — including the line that summed up the future in one word — “plastic.” But more than forty years after it was made, the movie remains as poignant and funny as ever — greatly entertaining to audiences that came before and after the boomers. In his first major film role, Dustin Hoffman plays a very naive college graduate who is seduced by a middle-aged woman, and then falls in love with her daughter. Contributing immeasurably to the success of the film is the score, much of which was provided by the legendary folk-rock team of Simon and Garfunkel. Their song “Mrs. Robinson,” which refers to Anne Bancroft’s character, is one of the most familiar pieces of the decade, was first heard (in an abbreviated form) in this movie.
If you scroll up to November 15th, you can see a picture of the Vitaphone projector. The picture head is a Simplex Standard with a front of the lens shutter. The sound is a Western Electric optical sound gate (not a sound drum), still with it’s original white light exciter lamp. There is a switch to switch over to the disc sound. Vitaphone discs play at 33 1/3 from the center outward. The projector works, but at the moment is disconnected and moved out of the way to make room for the 70mm Norelco AA that is being installed. The Vitaphone projector was never used for regular screenings. For regular screenings, we use Kinoton FP-20’s.
It’s A Gift was far funnier than I remembered it, and it was a treat seeing a stunning newly restored print on the big Lafayette screen. As always, Pete put on a stupendous show. Looking forward to the remaining shows.
The Graduate will be playing in 2 weeks on Saturday April 24th at the Landmark Loews Jersey in Jersey City. The Lafayette and the Landmark Loews Jersey tries not to run the same film in the same season. While it does not always work out that way, that is the goal.
In addition, I don’t think Nelson is down on The Graduate. His issue, as is mine, is with the AFI which considers it a comedy. While it has comic moments, I would not consider The Graduate a comedy.
This coming weekend of March 26th and 27th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some classic films from the 1950â€™s.
Friday March 26th at 8:00pm â€" Night Of The Hunter (1955)
Starring Robert Mitchum, Shelley Winters, Lillian Gish. Directed by Charles Laughton
Robert Mitchum gives one of his greatest performances as a psychotic, misogynistic and phony preacher who insinuates himself into the family of an executed man with whom he had been imprisoned in order to find the hoard of cash the man had hidden away. All that stands between the brutal Mitchum and the money are the other manâ€™s two young children and the indomitable, scripture-quoting old woman, played magnificently by Lillian Gish, to whom the children turn for help. Gishâ€™s faith, courage and compassion are set in breathtakingly stark contrast against Mitchumâ€™s dark, venal perversity â€" creating one of the screenâ€™s most memorable and successful parables of good vs. evil.
Saturday March 27th at 6:15pm â€" King Creole (1958)
Starring Elvis Presley, Walter Matthau, Carolyn Jones, Dolores Hart. Directed by Michael Curtiz.
In King Creole Elvis Presley displays an acting ability that was only hinted at in many of his later films, giving an entertaining and compelling performance as a young man trying to find himself while finding his way between good and bad choices. Presley plays a high school drop-out working to help support his unemployed father when he falls in with a gang of teenage toughs. But since he can sing, and the owner of a struggling nightclub gives him a chance to go straight and perhaps even make it big. Yet he soon finds himself being pulled into the corrupt world of a local mob boss who runs a successful nightclub and wants Presley to work for him. Presley also has to make a choice between his true love and the good-girl-gone-wrong moll of the mob boss. The film is greatly aided by good performances from Walter Matthau, who plays a very effective heavy as the mob boss, and a pre-â€œAddams Familyâ€ Carolyn Jones as his reluctant moll.
Saturday March 27th at 8:30pm â€" On The Waterfront (1954)
Starring Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint, Martin Balsam.
Directed by Elia Kazan. Written by Bud Schulberg.
â€œOn the Waterfrontâ€ is one of the most powerful narratives ever filmed is due in no small part to the uncanny sense of truth it projects from first frame to last. And this, in turn, is largely due to the remarkable performances of its cast â€" from Marlon Brandoâ€™s extraordinary creation of Malloy, to the smallest nuances of the supporting players. That the movie was famously filmed on location on the real waterfront in Hoboken, N.J. greatly adds to this aura of truth by imparting an authenticity and immediacy that has never been equaled in any other major motion picture: the gritty, violent and strangely claustrophobic world it depicted was no set, but life itself. Leonard Bernstein’s score imparts a very subtle operatic quality to the otherwise hyper-realistic film. The film is an extraordinary mix of coarse and refined elements â€" harsh realism and elegant art fused into a coherent and compelling whole.
â€œOn the Waterfrontâ€ won Oscars for Best Picture, Best Director for Elia Kazan, Best Adapted Screenplay for Budd Schulberg, Best Actor for Brando, Best Supporting Actress for Saint, Best Cinematography, Best Art Direction, and Best Editing. Fifty-six years later, it remains an extraordinary cinematic accomplishment. Donâ€™t miss this chance to see it back on the big screen.
This weekend March 19th thru 21st, The Landmark Loews Jersey in Jersey City New Jersey is hosting a three days of horror-related guests, screenings, vendors.
Convention to include 35MM-film screenings of Night of the Living Dead and Creepshow.
Celebrity guests include George A. Romero, Ken Foree, Adrienne Barbeau, Tom Savini, David Emge, Kyra Schon & more!
The show is a rental, for more information visit the promoter’s web site Saturday Nightmares
This coming weekend of February 26th and 27th, The Landmark Loews Jersey Theatre located on Journal Square in Jersey City, New Jersey, continues its 80th Birthday Jubilee and 10th consecutive year of classic films. This season, we are saluting the decades that the Landmark Loews Jersey has been entertaining us. This month, we will be presenting some classic films from the 1940â€™s.
Friday February 26th at 8:00pm â€" White Heat (1949)
Starring James Cagney, Virginia Mayo, Edmond O'Brien.
Directed by Raoul Walsh. (114 minutes, B&W)
James Cagney first became a star in the 1930s as a tough criminal in Warner Bros. Studioâ€™s classic gangster melodramas. He went on, of course, to play a great variety of other roles, ranging from George M. Cohan to the great silent star Lon Chaney, Sr., in dramas, musicals and comedies. But in 1949, Cagney returned one last time to the role of tough guy in â€œWhite Heatâ€ â€" a crime drama that takes the familiar elements of plot, character and theme from his old â€˜30s gangster pictures but transforms them into a kind of Film Noir tragedy. Cagney is Cody Jarrett, a deranged criminal prone to headaches and seizures. His molten temper, feral cunning and mercurial charm are finely calibrated extensions of the doomed gangsters Cagney played a decade before, this time coiled not around a Depression-era impetus of greed or class rivalry, but an Oedipal bond. Cody’s beloved, calculating “Ma” (Margaret Wycherly) is the compass for his every move, her iron will and long shadow acknowledged not only by Cody but by his gang, his restless wife (Virginia Mayo, radiating sensuality and guile), and the undercover cop (Edmond O'Brien) planted in Jarrett’s path. Cagneyâ€™s performance is nothing less than superb as he creates one of the most frighteningly psychotic characters ever seen on screen, a model for the stranger, more brutal outlaws who would dominate crime cinema in the 1960s and 1970s. The fiery, climactic scene has become part of pop culture.
Saturday February 27th at 6:15pm â€" Notorious (1946)
Starring Ingrid Bergman, Cary Grant, Claude Rains.
Directed by Alfred Hitchcock. (101 minutes, B&W)
â€œNotoriousâ€ is a tightly woven and brilliantly sustained mix of romance and suspense that takes remarkable risks with its main characters. Ingrid Bergman, never more radiant or vulnerable, is a flawed heroine: the beautiful daughter of a Nazi spy whoâ€™s garnered a notorious reputation for herself by turning to drink and casual affairs to help forget the shame of her fatherâ€™s infamy. Cary Grant, whose suave screen persona was rarely more hard-edged and even unlikable, is an American agent who uses Bergmanâ€™s affection for him to manipulate her into spying on her fatherâ€™s old Nazi cronies. And Claude Rains is an unlikely villain: a charming Nazi sympathizer who genuinely loves Bergman and seems far more likable than Grant. To this mix, Hitchcock adds some of his most stunning black and white camera work, including a famous tracking shot that begins across a crowded room and ends in a close-up of Bergman’s hand while she secretly holds a key. Several scenes are unusually but very effectively shown from Bergmanâ€™s point of view. Throughout the script, written by legendary screenwriter Ben Hecht, there is the troubling subtext of love and betrayal. Notorious is one of the most effective Noir, or at least Noir-ish films, and is often considered to be Hitchcockâ€™s finest film of the 1940s.
Saturday February 27th at 8:30pm â€" The Third Man (1949)
Starring Orson Welles, Joseph Cotten, Alida Valli, Trevor Howard.
Directed by Carl Reed. Written by Graham Green. (104 minutes, B&W)
One of the greatest Noir movies ever filmed, “The Third Man” sets loyalty, friendship and love against justice and common good in the fractured, cynical setting of defeated and occupied Vienna after World War II. Joseph Cotten is Holly Martins, an alcoholic pulp writer from America whoâ€™s traveled to Austria to visit his old friend Harry Lime (Orson Welles). But when Martins arrives, Lime’s funeral is under way. From Lime’s girlfriend and an occupying British officer Martins learns of allegations of Lime’s involvement in black market racketeering. The idealistic and perhaps naÃ¯ve Martins vows to clear his friend’s reputation. But as he is drawn deeper into postwar intrigue, Martins finds layer upon layer of deception which he desperately tries to sort out. One of the most remarkable aspects of The Third Man is that Welles is only in the last third of the film, yet seems to dominate it throughout. This is a tribute to how cleverly screenwriter Graham Greene builds anticipation through the contradictory information Martins gathers in his search for info about his old friend. Itâ€™s also a tribute to how powerful and widely known Wellesâ€™ screen persona is. Wellesâ€™ long-delayed entrance is one of the most memorable scenes in any film. The movie boasts some of the most evocative cinematography ever filmed, with long shadows, stark lighting, cocked camera angles and exaggerated close-ups that perfectly capture the surreal, off-kilter feel of postwar Europe as well as emphasize the shadowy nature of the story. The zither music that plays throughout is among the most recognized and haunting movie themes.