|MOVIES NOT AVAILABLE ON VIDEO
In our increasingly media-saturated, user-friendly age of
Movies on Instant Demand, its comforting to know that there are still some treasures
out there that cant be rented (yet) at the local video store or purchased on
Amazon.com. Yes, Virginia, to see these gems, you have to go the movie theatre!!
To put this series together, we went to the experts:
managers and employees at local video stores, who shared with us their customers
(and their own) personal want-lists of movies not legally, commercially available on video
or DVD. The program runs the gamut of hard-to-see treasures, from 1930s Howard Hawks
films, to 1940s film noir classics, to lost gems from the late 60s and early
Our enormous thanks to the following for
helping to program this series: Meg Johnson at Vidiots and Hadrian Belove at Cinefile
Video in Santa Monica; Jeff Miller at Rocket Video in Hollywood; Jerry Neeley at
Jerrys Video in Los Feliz.
Friday, March 26 7:00 PM
ACE IN THE HOLE, 1951,
Paramount, 111 min. One of director Billy Wilders bleakest masterpieces, and
the film that topped everyones Not On Video want-lists. Kirk Douglas is
withering as the embittered, alcoholic reporter looking for his piece of the pie
when the story of a man trapped in a cave-in falls into his lap, something he exploits to
the hilt. The supporting cast, including Jan Sterling, Ray Teal, Gene Evans and Bob
Arthur, are all superb.
Friday, March 26 9:30 PM
Howard Hawks Double Bill:
THE CROWD ROARS, 1932, Warners, 85
min. Director Howard Hawks fast-moving, exhilarating action yarn with
cantankerous James Cagney as bigger-than-life Joe Greer, a hard-drinking race-car
driver who doesnt want his younger brother (Eric Linden) entering the game and
isnt afraid of letting everyone within earshot know it. Joan Blondell, Ann Dvorak,
Frank McHugh and Roland Kibbee lend able support in one of Hawks earliest
TIGER SHARK, 1932, Warners, 77 min.
Dir. Howard Hawks. Edward G. Robinson is Mike, a tuna fisherman who lost his hand
to a shark saving his comrade, Pipes (Richard Arlen). When Mike falls hopelessly in love
with Quita (Zita Johann), whose father was lost at sea, she agrees to marry him, despite
her lukewarm feelings. Before long, sparks fly between her and younger stud Pipes, and
seeing-red Mike engineers a second meeting with a shark for Pipes on their next trip out.
A rousing over-the-top melodrama in the best early-Warners tradition is punctuated with
real, rugged tuna fishing footage, rare scenes where men grappled with the huge beasts
before the advent of "long lines."
Saturday, March 27 5:00 PM
1947, Fox (Criterion), 110 min. Dir. Edmund Goulding. Another film that scored high
on the Not On Video want-lists and one of the darkest and most audacious
"A" pictures ever to emerge from Hollywood. Handsome heartthrob Tyrone Power
is terrific as a carny roustabout who hits the big-time as a phony "mentalist,"
but gets caught between the longings of devilish Helen Walker and angelic Coleen Gray.
Based on William Lindsay Greshams novel.
Saturday, March 27 7:30 PM
Rare Preminger and Cassavetes:
BUNNY LAKE IS MISSING, 1967,
Columbia (Sony), 107 min. Director Otto Premingers haunting,
rarely-seen mystery thriller has become something of a cult legend since its initial
release. Carol Lynley is an American in London whose daughter is kidnapped on the
childs first day at school. The only trouble is: no one else there has ever seen the
girl, and before long some are wondering if she truly exists. Laurence Olivier is
excellent as the police inspector who investigates, with support from Keir Dullea
and Martita Hunt. Look for Noel Cowards perversely funny cameo, along with a
rare appearance by rock group The Zombies. Discussion
between films with Carol Lynley (BUNNY LAKE) and Stella Stevens (TOO LATE BLUES).
TOO LATE BLUES, 1961,
Paramount, 100 min. Director John Cassavetes follow-up to SHADOWS is a dark,
jazz-influenced character study of a self-destructive musician, played with note-perfect
authenticity by singer Bobby Darin. Stella Stevens turns in an especially
fine performance as Darins melancholy love interest. With a typically strong score
by the great David Raksin (LAURA).
Sunday, March 28 5:00 PM
Tuesday Weld/Anthony Perkins Double Bill:
PLAY IT AS IT LAYS, 1972,
Universal, 99 min. Director Frank Perry (THE SWIMMER) delivered many edgy
psychological classics, and none is more deserving of rediscovery than this long unseen
adaptation of Joan Didions bestseller, with a screenplay by Didion and her
late husband, John Gregory Dunne. Tuesday Weld is at her best as fiercely
intelligent Maria, an ex-model on the verge of a nervous breakdown. In-the-closet producer
Anthony Perkins is her only friend and Adam Roarke her estranged director husband
trying to jumpstart his career out of the biker-film ghetto. A scathing portrait of
Hollywood in the early 1970s.
PRETTY POISON, 1968, Fox
(Criterion), 89 min. Compulsive liar and former fire-bug Anthony Perkins is paroled
to a small town factory job where his secret-agent fantasy life fuels romance with budding
cheerleader (and closet sociopath) Tuesday Weld. Noel Black directs Lorenzo
Semple, Jr.s ferociously dark and funny script, a kind of thriller-cum-twisted love
story that anticipates more recent films like ELECTION and TO DIE FOR by about, oh, 30
years. With Beverly Garland as Welds hilariously-uptight mother. Discussion following films with PRETTY POISON director Noel Black