<<< May 11 & 24, 2006 >>>

Discuss this series with other film fans on:
http://www.myspace.com/americancinematheque

Post-war European cinema in the 1950s and early 1960s - especially movies hailing from England, France and Italy - had some universal things in common contrary to their obviously different stylistic and cultural approaches. Much like the impact of WWII on American cinema (seen most dramatically in downbeat film noir, the Method Acting revolution and later in 1960’s New Hollywood), there was a fresh quest for emotional truth, social relevance, realistic human behavior and down-to-earth stories about individualistic, working class people. Italy really got there first in the late 1940’s by way of the neo-realist movement, with both the UK and France erupting simultaneously in the late 1950’s with their own respective New Waves. In England, "Angry Young Cinema," "Kitchen Sink Cinema," "Free Cinema" were some of the descriptive titles for this startling explosion of tell-it-like-it-is movies, virtually all filmed in high contrast, ashen black-and-white and often adapted from theatrical (John Osborne, Harold Pinter, et.al.) or literary (Alan Silitoe, David Storey, et.al) source material. Three monumental filmmakers – Tony Richardson, Karel Reisz and Lindsay Anderson - took the lead, first when they co-founded together the groundbreaking film journal, Sequence, and subsequently when their directing careers in film shorts and plays mushroomed into full-blown dramatic features. Tony Richardson launched the notable initial foray in 1958 with LOOK BACK IN ANGER with Reisz following in 1960 with SATURDAY NIGHT AND SUNDAY MORNING and Anderson in 1963 with THIS SPORTING LIFE. There were also directors like Jack Clayton, originally known for more traditional fare, who took advantage of the new climate of freedom with trailblazers like ROOM AT THE TOP (1959). And we haven’t even mentioned yet other great directors like John Schlesinger (BILLY LIAR, DARLING). The films became famous for their acting, too, with thespians like Richard Burton, Richard Harris, Julie Christie, Tom Courtenay, Rita Tushingham, Anne Bancroft, Peter Finch, Laurence Harvey, Dirk Bogarde, Mary Ure turning out what remain, to this day, arguably their most accomplished, mesmerizing performances. Please join us for this look back at some of the best films from the era, as well as the final double feature (Lindsay Anderson’s IF… and Michael Winner’s I’LL NEVER FORGET WHAT’S ‘IS NAME) representing Angry Young Cinema transformed into an even more revolutionary, stream-of-consciousness organism.

Thursday, May 11 - 7:30 PM

Julie Christie/John Schlesinger Double Feature:
DARLING, 1965, Avco-Embassy & Stuart Lisell Films, 128 min. Dir. John Schlesinger. Julie Christie sets off fireworks in her Academy Award-winning performance as a common girl in swinging London who achieves supermodel stardom while breaking the hearts of intellectual writer, Dirk Bogarde and decadent cad, Laurence Harvey. Finally, Christie seems destined for a fairy tale ending when she weds Italian nobility - but sometimes fairy tales aren’t all they’re cracked up to be. The costume design and Frederic Raphael’s incisive script also won Oscars. "…a slashing social satire and also a devastating spoof of the synthetic, stomach-turning output of the television-advertising age-it is loaded with startling expositions and lacerating wit."-- Bosley Crowther, New York Times

BILLY LIAR, 1963, Rialto Pictures, 98 min. John Schlesinger (MIDNIGHT COWBOY) had already directed two other films, but this biting comedy-drama raised his visibility as a force to be reckoned with. Tom Courtenay is wonderful as the frustrated, imaginative young man prone to flights of fancy. Which also leads him to lie about nearly everything, whether he feels he needs to or not, something that gets him in hot water with his stern father and his two very different girlfriends, not to mention his undertaker bosses. His fast wit make his ambitions as scriptwriter for a TV host seem almost plausible. But when finally confronted with an opportunity to leave home and go to London with free-spirit friend, Julie Christie (in her stunning feature film debut), we’re left to wonder whether Billy’s Walter-Mitty-ish dreams are models for the future or an escape from reality.

>>Also showing at the Egyptian, May 20.

Wednesday, May 24 - 7:30 PM

Albert Finney/Karel Reisz Double Feature:
SATURDAY NIGHT & SUNDAY MORNING, 1960, Sony Repertory, 90 min. Karel Reisz had already directed the acclaimed documentary WE ARE THE LAMBETH BOYS, when this smoldering tale of a smart-mouthed rake in a Northern England factory town became his breakthrough debut feature. It likewise put a spotlight on Albert Finney in his first leading role as Arthur, a human fireball burning a swath through the female population, including married Brenda (Rachel Roberts) and easy-going Doreen (Shirley Anne Field). Whether his career of seduction proves his downfall or ultimate salvation, the audience must decide. Like many other "kitchen sink" dramas, this is an unflinchingly honest depiction of the plight of women in the working class world. >>Also showing at the Egyptian, May 27.

THIS SPORTING LIFE, 1963, Sony Repertory, 129 min. Director Lindsay Anderson’s astonishing debut feature remains one of the most perfectly realized examples of the then-hitting-it’s-peak Angry Young Cinema. Richard Harris gives his greatest performance as a defiant, uncomplicated rugby star on his way to the pinnacle of the game. However, the sport’s brutality, the behind-the-scenes politics as well as Harris’uncompromising honesty slowly sour things. Even worse, his tragically-mismatched love affair with embittered widow, Rachel Roberts, seems headed for an even harsher end. The film’s desolate climax is guaranteed to coax moist eyes from even the most hardened viewer. Harris won Best Actor at Cannes, and he and Roberts were both nominated for Oscars. Produced by Karel Reisz. "…lucid, realistic stuff as tough and genuine as the rough rugby star on whom it is centered."- A.H. Weiler, New York Times.   >>Also showing at the Egyptian, May 19.