Film Forum

Subterms

    More stories

    • 100 Shares99 Views

      in Movies

      New York’s Movie Theaters, From Art-House to Dine-In

      by

      New York is the nation’s moviegoing capital, especially for cinephiles who treasure archival prints, experimental cinema and concession stands that go far beyond the standard offerings. Below is a guide to the city’s art houses.Alamo DrafthouseFinancial District, 28 Liberty Street, Suite SC301, Manhattan. Downtown Brooklyn, 445 Albee Square West, Brooklyn. drafthouse.com.This dine-in chain, based in Austin, Texas, has a hip aesthetic and is noted for its brews, queso and screenings of cult classics, in addition to regular showings of new releases. A revived version of Kim’s Video has set up shop within the Manhattan location. A Staten Island theater is scheduled to open this summer.Angelika Film CenterAngelika Film Center, 18 West Houston Street, Manhattan. Cinema 123 by Angelika, 1001 Third Avenue, Manhattan. Village East by Angelika, 181-189 Second Avenue, Manhattan. angelikafilmcenter.com.The original Angelika Film Center is the downtown six-screen theater where you can catch art-house releases, like “Petite Maman” or “Anaïs in Love,” while the subway rattles underneath. The brand name has also been appended to the Village East, whose main auditorium is a gorgeous old Yiddish stage theater. In addition to showing new releases, it hosts “The Rocky Horror Picture Show” and periodic revival screenings, and like its uptown sibling, the Cinema 123, it is equipped to show 70-millimeter film.Anthology Film Archives32 Second Avenue, Manhattan; anthologyfilmarchives.org.New York’s polestar of avant-garde film (and the preservation of it) for more than 50 years, Anthology was started by some of experimental cinema’s most important promoters (Jonas Mekas, P. Adams Sitney) and practitioners (Stan Brakhage, Peter Kubelka). In addition to retrospectives, the theater hosts a rotating series, Essential Cinema, that is free with membership; programming includes seminal narrative works by Alexander Dovzhenko and F.W. Murnau and medium-expanding nonnarrative films from Ken Jacobs and Michael Snow.Brooklyn Academy of Music30 Lafayette Avenue, Brooklyn; bam.org.At any given time in the main BAM building in Fort Greene, three out of four screens show new releases, while one holds retrospectives, such as ones on films shot in New York City in the 1990s or others that place David Lynch’s work alongside movies he influenced. Occasional screenings take place at the BAM Harvey Theater a few blocks away.Film at Lincoln CenterElinor Bunin Munroe Film Center, 144 West 65th Street, and Walter Reade Theater, 165 West 65th Street, Manhattan; filmlinc.org.Lincoln Center’s film arm, the hosting organization of the New York Film Festival, runs a year-round theater with one of the largest screens in town: the Walter Reade. There you can catch adventurous revivals, such as programs on the Hungarian director Marta Meszaros or the Japanese actress-director Kinuyo Tanaka, and contemporary series, like the annual Rendez-Vous With French Cinema. Across the street is the Elinor Bunin Munroe Film Center, which houses two screens and a food-and-wine bar, Indie.Film Forum: Come for the popcorn; stay for the cinematic edification.Photo by Alexi Rosenfeld/Getty ImagesFilm Forum209 West Houston Street, Manhattan; filmforum.org.A New York institution for more than 50 years — it has been at its present location since 1990 and added a fourth screen in 2018 — Film Forum hosts some of the most extensive retrospectives in town, often showing dozens of films from a director or from stars like Toshiro Mifune and Sidney Poitier. Regular attendance constitutes a cinematic education in itself, and the popcorn, to which moviegoers apply sea salt themselves, is a delicacy.French Institute/Alliance FrançaiseFlorence Gould Hall, 55 East 59th Street, Manhattan; fiaf.org.This classy venue with excellent sightlines hosts screenings on Tuesdays. The programming consists of new and vintage films from France, with English subtitles, bien sûr. Series typically have a theme — it might be Wes Anderson selecting favorites by Ophüls and Truffaut or a program of recent French comedies.IFC Center323 Sixth Avenue, Manhattan; ifccenter.com.This Greenwich Village five-screen theater boasts four first-rate auditoriums (and one cubbyhole) and typically shows many more than five movies in a given week, usually with a short beforehand. Shows can start as early as 10 or 11 a.m. and, on the weekends, as late as midnight. The concession stand sells T-shirts that substitute directors’ names for those of heavy metal bands.Japan Society333 East 47th Street, Manhattan; japansociety.org.This theater’s annual Japan Cuts series is probably the largest single showcase of recent Japanese cinema on the New York cinephile’s calendar. For the rest of the year, new movies share screen space with classics, often shown on 35 millimeter.Light Industry361 Stagg Street, Brooklyn; lightindustry.org.This microcinema, which specializes in experimental film and typically holds screenings on Tuesday nights, hosted its final program at its longtime Greenpoint location in April. It will reopen by June on Stagg Street. Past screenings have varied widely; they’ve included early work by William Castle, a four-hour Mexican serial from 1919, Hollis Frampton and Owen Land films on 16-millimeter and a marathon of “Police Squad!” episodes.Maysles Cinema343 Lenox Avenue, Manhattan; maysles.org.This small (about 60 seats) Harlem venue specializes in documentaries — it was founded by the director Albert Maysles, of “Grey Gardens” fame. The programming often places an emphasis on social issues and local artistry.Metrograph7 Ludlow Street, Manhattan; metrograph.com.An ever-changing (and expensive!) selection of international candies, a nook of a bookstore and a high-class restaurant, the Commissary, are among the features of this Lower East Side two-screen venue, which opened in 2016. (Many don’t notice, but it sits across the street from the neglected Loew’s Canal Theater.) The retrospectives, such as a recurring series of the programmers’ favorites, organized alphabetically, have a correspondingly artisanal feel.Museum of Modern Art11 West 53rd Street, Manhattan; moma.org.MoMA has been showing movies since the 1930s, when Iris Barry, the museum’s first film curator, helped advance the idea that films should be collected as art. Today the institution’s two main theaters screen films from its own collection and archives around the world (the annual series To Save and Project highlights recent preservation work). Admission to most screenings is free with membership.Museum of the Moving Image36-01 35th Avenue, Queens; movingimage.us.The high ceilings and blue wall padding give a faintly futuristic feel to the 267-seat Redstone Theater, the main auditorium in this museum in Astoria. That works well when a favorite like “2001: A Space Odyssey” is playing on 70 millimeter. More specialized fare sometimes is shown in the Bartos Screening Room down the hall.Nitehawk CinemaProspect Park, 188 Prospect Park West, Brooklyn. Williamsburg, 136 Metropolitan Avenue, Brooklyn. nitehawkcinema.com.These stylish dine-in theaters have several screens that show new releases and perennial favorites (“Carrie,” “Face/Off”) from brunch time to midnight-snack time. Both venues have bars.The Paris Theater, once a destination for French film, is now leased by Netflix.An Rong Xu for The New York TimesParis Theater4 West 58th Street, Manhattan; paristheaternyc.com.Once a go-to destination for French cinema and films with a literary pedigree, the Paris briefly closed in 2019, but then was leased by Netflix, which uses it for theatrical runs of its streaming titles (like Jane Campion’s “The Power of the Dog”) and older movies intended to complement them. It’s one of the few remaining New York theaters with a balcony.Quad Cinema34 West 13th Street, Manhattan; quadcinema.com.When this Greenwich Village theater opened in 1972, having four screens was unusual. (“A new way to go to the movies,” boasted a New York Times ad on the first day.) It reopened in 2017 after a renovation that gave it bigger, comfier seats for viewing new art-house releases, like “A Hero” or “We’re All Going to the World’s Fair.” Plus, there’s an adjoining bar.Roxy Cinema New York2 Sixth Avenue, Manhattan; roxycinematribeca.com.Located in the basement of the Roxy Hotel, this plush red screening room offers a mix of revivals (often on 35-millimeter film) and second-run programming — recent releases that have been in theaters awhile.Spectacle124 South Third Street, Brooklyn; spectacletheater.com.A grungy Williamsburg microcinema started in 2010, Spectacle has a calendar as eclectic as it is inscrutable. There’s horror and martial-arts fare that tends toward the obscure, along with a lot of international titles that never turn up in other New York venues.United Palace4140 Broadway, Manhattan; unitedpalace.org.One of the original Loew’s Wonder Theaters — movie palaces built in the late 1920s, with one in each borough except Staten Island (Jersey City got it instead) — this architectural marvel in Washington Heights is an attraction in itself. It’s now run by an organization that promotes interfaith artistic events, but the theater also hosts concerts and, generally once a month, movie screenings. Lin-Manuel Miranda, a neighborhood resident, chipped in for a new screen and projector. More

    • 150 Shares99 Views

      in Movies

      How Film Forum Became the Best Little Movie House in New York

      by

      It’s just before 8 p.m. on a recent Friday night in Manhattan, and a crowd of moviegoers is lined up to see “Great Freedom” (2021), an Austrian film that tells the tender and terrible story of a concentration camp survivor in Germany who’s repeatedly imprisoned for his sexuality. Sebastian Meise, the film’s director, and its star, Franz Rogowski, will be giving a Q. and A. after the showing, so there’s a palpable sense that this is an event.Outside on West Houston Street, the glow of the marquee — “Film Forum” written in curving, blue neon letters — beckons like a spaceship. Upon seeing it, I feel the thrill of catching a movie in an actual cinema: It’s my first visit to Film Forum since it reopened in 2021 following a nearly 13-month closure on account of Covid-19.In the lobby, there’s anticipatory chatter: film students talking into their phones and older Greenwich Village and SoHo locals (like me) discussing the state of the world. The reserved seating system — a measure instigated during the pandemic — ended this month, and the first-come-first-served rule resumed, bringing back with it the kvetching about grabbing a preferred seat. The theater director, filmmaker and painter André Gregory, a devout Film Forum fan, once left sweaters on a pair of chairs while he and his wife, the filmmaker Cindy Kleine, went for chocolate egg creams in the lobby and returned to find people sitting in them. “The woman said, ‘I don’t care. We’re not moving,’ and [her companion] threw my sweater in my direction,” Gregory says with a laugh. In 2018, the theater underwent a renovation — prompted in part by a common refrain, “Love the movies, hate the seats,” from guests in an audience survey two years earlier — and upgraded its chairs, which are now softer, wider and infinitely more comfortable.The rest of the interior is also welcoming, with big red columns, and walls hung with movie posters, film schedules and original art. At the lobby concession stand, there’s good espresso and great snacks, both the requisite popcorn and baked goods, including a particularly delicious orange-chocolate Bundt cake. The theater’s director, Karen Cooper, who has been in charge of Film Forum for 50 of its 52 years, may be fiercely political in her choice of films — tonight’s movie was her discovery — but she’s all doting mother when it comes to the sweets, most of which come from Betty Bakery in Brooklyn.The view from inside theater 1, which, since Film Forum’s 2018 renovation, features wider seats.Blaine DavisA corkboard display case in the lobby shows current and future screenings and events.Blaine DavisThe story of movies as art, especially in Manhattan is, in part, a tale of the rise and fall of independent cinemas. When I was a child, there was the Art on 8th Street, the 8th Street Playhouse and the Bleecker Street Cinema, all within blocks of one another. By the end of the 1990s, though, these had all shut down. But Film Forum, which opened in 1970, has always been special and thrives to this day, playing as many as 400 or 500 films every year (a fourth screen was also added in the renovation).It has spawned and nurtured a real community of cinephiles, who come to laugh, cry and argue. Sometimes, the audience feels like a part of the show — I once heard a fight break out in Russian in the back row. And before a screening of “Amazing Grace,” the 2018 concert documentary of Aretha Franklin’s 1972 gospel performances in a Los Angeles church, I witnessed a lobby packed with middle-aged women of all races singing “Respect,” as if they were teenagers about to enter a rock concert.For many, Film Forum is also a place to get an education. Peter Nelson, a cinematographer and director, most recently of the acclaimed honeybee documentary “The Pollinators” (2019), says, “In the early ’80s, when I was at N.Y.U. film school, their incredibly diverse program of indies, foreign movies and classics provided access to films that were often not shown anywhere else in town.” Nelson adds, “From time to time, I would do a ‘cinema binge,’ where I would finish watching a film, leave the theater and line up for a different one, often with a delicious brownie to hold me over.” Gina Duncan, the president-elect of the Brooklyn Academy of Music, is also a fan. “Anyone who wants to run their own cinema imagines a place like Film Forum: a dedicated audience, good concessions and great programming,” she says. “It’s unpretentious, and I think that’s got a lot to do with Karen Cooper.”Karen Cooper, Film Forum’s longtime director, stands in a theater and against one of the space’s instantly recognizable red columns.Blaine DavisCooper was a newly minted Smith College graduate when she arrived back in her native New York City in 1970 and started looking for a job in the arts. In 1972, she became director of the nascent Film Forum, then located in a small loft space on West 88th Street with 50 folding chairs. “My annual budget was about $19,000,” she says. “And I made the coffee.” She’s held the same title ever since. In 1975, Cooper moved Film Forum downtown to the Vandam Theater; in 1980, she built a two-screen cinema on Watts Street. In 1990, Film Forum moved once more, this time to its current location between Varick Street and Sixth Avenue. Today, Cooper’s budget is around six million.At 73, Cooper, who lives in the far West Village and walks to work every day, is vividly articulate and fast moving, a dynamo who oversees a staff of 50 (give or take), the cinema’s fund-raising (Film Forum is a nonprofit with a board of 24) and much of programming. It’s Cooper who, along with the programmer Mike Maggiore and the deputy director Sonya Chung, looks after the new indie films and documentaries, while repertory director Bruce Goldstein handles revivals with the associate repertory programmer Elspeth Carroll. Cooper attends at least a couple of international festivals each year, and she’s rubbed elbows with everyone in the business from Werner Herzog to Robert Redford, but never name drops. “No one really knows celebrities,” says Cooper. “I wouldn’t pretend otherwise.”She believes the best documentaries can help change the world. “I grew up in the 1960s, during the civil rights movement, the war in Vietnam, the women’s movement, the gay rights movement — all essentially about human rights — and they move me deeply,” she says of the nonfiction narratives.The view of theater 1 from inside the projection booth.Blaine DavisCooper has brought in films like Spike Lee’s “4 Little Girls” (1997), about the children killed in the 1963 bombing of a Birmingham, Ala., church, and, in March, Christine Turner’s “Lynching Postcards: ‘Token of a Great Day’” (2021), a documentary short about 20th-century postcards depicting scenes of murdered Black Americans and bloodthirsty white onlookers — once souvenirs — and the way Black activists repurposed them to combat the horrors of lynching.Sergei Loznitsa’s “Babi Yar. Context,” the devastating 2021 documentary on the 1941 Nazi massacre of tens of thousands of Jews over two days at the Babi Yar ravine on the edge of Kyiv in Ukraine, is slotted for an April 1 showing, but was programmed months before the current Russian invasion. No doubt, Gregory, who was born in France and fled Europe with his Russian Jewish parents just before the Nazi invasion, will catch it. “I have a similar interest in films about fascism,” he says. Cooper confirms this: “André has seen every one of my Nazi movies,” she says, “and that’s saying a lot.”10 Movies to Watch This Oscar SeasonCard 1 of 10“Belfast.” More

    • 63 Shares149 Views

      in Movies

      ‘Bronco Bullfrog’: Hello Young Lovers

      by

      Barney Platts-Mills’s 1969 feature about aimless East End teenagers in love comes to Film Forum after a cinematic rediscovery.An auspicious first feature, Barney Platts-Mills’s “Bronco Bullfrog” fell between the cracks — a belated example of British “kitchen sink” naturalism that arrived in 1969 before the wave of disaffected youth films by Mike Leigh and Alan Parker.Still, the writer-director Platts-Mills lived to see his movie restored and revived, if not to enjoy its American rediscovery, heralded by a weeklong run at Film Forum in New York.Platts-Mills intended “Bronco Bullfrog” as a British equivalent of Italian neo-realism: A cast of nonactors recruited from the streets of London’s depressed East End enact a story that might have been their own. Indeed, the movie grew out of a short documentary, “Everybody’s an Actor, Shakespeare Said,” that Platts-Mills made about an improvisatory workshop established by the radical theater artist Joan Littlewood in the neighborhood.The camera tilts down from smoky factories to a world of grimy alleys, dreary housing projects and aimless teenagers, who are introduced smashing into a cheap cafe to find nothing more than a few pence and some stale cakes — the first of many disappointments. A similarly barren establishment is where diffident Del (Del Walker), 17, an apprentice welder with a bad Beatles haircut, first courts discomfited Irene (Anne Gooding), a gawky 15-year-old schoolgirl in a micro mini.The couple’s awkwardness is compelling. According to Platts-Mills — who at 25 wasn’t much older than his actors — the movie was largely improvised because the cast hadn’t bothered to read the script. Del and Irene are frequently at a loss for words but, in the Littlewood tradition, Platts-Mills gives their relationship a Shakespearean framework. Irene’s mother loathes Del as instinctively as Del’s father hates Irene. What brings the couple closer is precisely their inability to find a place to be together.The fantasy of escape is underlined by the movie’s title. Bronco Bullfrog (Sam Shepherd) is the neighborhood hero — newly escaped from reform school to embark on a dead-end career of petty larceny. Del and Irene suggest lumpen mods; Bronco is a suedehead with wide suspenders and polished work boots. He has style but no sense, happily hiding out amid cartons of stolen consumer goods he is unable to fence.Movies are part of the daydream. In a rare liberating moment, Del pays for a movie ticket then opens a theater’s side door for a small crowd of crashers that includes a jolly grandmother. A corresponding scene has Del and Irene venture into London’s West End to discover they don’t have enough money to see “Oliver!,” a candy-color musical treatment of criminalized youth.Platts-Mills’s film is unpretentiously atmospheric: The thick Cockney accents require subtitles, and Audience, an East End prog band, supplies a credible score. Its understatement impressed the New York Times critic Roger Greenspun who, appreciative, wrote that, “It takes a while, with ‘Bronco Bullfrog’ to realize that you are witnessing a love story, so free is it from the rhetoric of love, or love stories.”“Bronco Bullfrog” is essentially a study in frustration — economic, sexual, even cosmic. (Del matures at the very moment that his life unravels.) But its bleak ending is mitigated by the energy of the cast and the spirit of the filmmaking.Bronco BullfrogPlays Friday, March 25 through Thursday, March 31 at Film Forum, Manhattan; filmforum.org. More

    • 88 Shares119 Views

      in Movies

      Mifune’s Transcendent Films, With and Without Kurosawa

      by

      Yes, the Japanese team was one of cinema’s great collaborations. But Film Forum’s salute to Toshiro Mifune shows that he was a superb actor no matter who was in the director’s chair.Toshiro Mifune once wrote of his collaboration with the director Akira Kurosawa, “I have never as an actor done anything that I am proud of other than with him.”OK. Fine. Those were 16 pretty great movies the two of you made together. But you made roughly 170 movies! Never?We can judge whether Mifune, who died in 1997, was being a little too harsh on himself (and his many other directors) beginning this weekend at Film Forum, where a four-week festival will present 33 of the great Japanese actor’s films, as well as a documentary, “Mifune: The Last Samurai.”It includes all the movies Mifune and Kurosawa made together — certified masterpieces like “Seven Samurai” and “Rashomon,” as well as less well-known but excellent pictures like “High and Low” and “Red Beard.” The chance to see them on a theater screen shouldn’t be missed.But a lot has already been said about those films — I don’t have much new to offer on “Seven Samurai” — and it’s the other half of the Film Forum program where you’re more likely to find some surprises.As a contract player for the Toho studios, Mifune never stopped working — according to “The Last Samurai,” at the peak of his career he appeared in 27 movies in a four-year period. Some of them were filler, no doubt, but the 1950s and ’60s were a great era for Japanese film, and when he wasn’t with Kurosawa, Mifune got to work with other top-flight directors like Hiroshi Inagaki and Masaki Kobayashi.Here, in the order they were made, are some highlights from the series’s non-Kurosawa productions. Mifune might not have been working with his favorite director, but watching these, it’s clear that he still brought his expressive physicality, his quicksilver emotion and his unparalleled charisma to the set every day.Mifune making his film debut as a bank robber on the lam in “Snow Trail.”Janus Films‘Snow Trail’Mifune’s first feature, a tense and bittersweet 1947 thriller filmed in the snowy mountains of Hokkaido, feels as if it could be a Kurosawa film. That’s probably because Kurosawa wrote the screenplay for the director, Senkichi Taniguchi. The 27-year-old Mifune had been discovered in a Toho cattle call for actors, and he’s shockingly handsome, with a wild lock of hair hanging down over his face. He also knew how to command the camera from the very start. As the youngest and most ruthless of a group of bank robbers on the lam, he’s a tight bundle of angry, nervous energy — you spend the picture waiting for him to explode. (As an older and more conscience-stricken crook, Takashi Shimura makes the first of many appearances alongside Mifune.)‘Samurai Saga’Mifune’s Macbeth in “Throne of Blood” is widely celebrated, but fewer people know that he is also an excellent Cyrano in Inagaki’s 1959 adaptation of “Cyrano de Bergerac.” It’s a kick to see Mifune in a role in which his mastery of language is more important than his looks and just as important as his fighting ability (though swordplay is crucial to the story, of course). French 19th-century romance transfers well to the 17th-century Shogunate; Inagaki stages the famous first-act poetry duel on a Kabuki stage, with Mifune dealing sword blows between verses to an entire company of attackers. And Mifune’s ability to play the alpha male with notes of humor and abashment suits him perfectly when it comes to the ultimate rom-com hero.Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

    • 113 Shares149 Views

      in Movies

      What to Do for Halloween in New York City

      by

      The Village Halloween Parade is back. Haunted houses have reopened. And we’ve rounded up movies that are not-so scary or are downright horrifying.Recently, a friend told me she hated horror movies. Make that horror movie. Turns out she’d only seen one, and didn’t make it through: “The Texas Chainsaw Massacre.”Renouncing horror after watching one of its most notoriously grisly films through trembling fingers is like watching “The Sopranos” and swearing off New Jersey. Take it from a horror movie fan: Being scared doesn’t have to be that scary.In time for Halloween, here’s a selection of in-person experiences around New York City, as well as movies to view at home, to get the just right amount of fright, whether you’re a curious newbie or a seasoned aficionado.Creepy CuddlyFor families with kids.Through Oct. 31, the Metrograph Theater is offering digital streams of a 45-minute compilation of Halloween-themed cartoons from the collection of the archivist Tommy José Stathes, with live-action and animated shorts featuring Felix the Cat and Koko the Clown. (It’s recommended for ages 8 and up.) On Halloween, head to the Film Forum for an 11 a.m. screening of the original “Frankenstein” (1931).“Frankenstein,” from 1931, will be screened at Film Forum on Oct. 31.Universal Studios Home EntertainmentOn Saturday, costume contests for all ages are set at the Bronx Halloween Parade, where the entertainment lineup includes the Marching Cobras, a drum line; Mazarte, a Mexican dance company; and the comedian Sasha Merci, the parade’s host. The Halloween Kids Spooky Cruise (Oct. 23, 30 and 31) offers panoramic views of the Manhattan skyline and — you’ve been warned — unlimited Halloween-themed candies. BAMboo! at the Brooklyn Academy of Music (Oct. 31) is a free block party with goody bags that kids can grab from decorated car trunks.For families with little ones, steer clear of the movie “Pumpkinhead” and go for the real thing. Pumpkin Point transforms Nolan Park on Governors Island into a family-friendly pumpkin patch; for a donation, you can take home a pumpkin of your own. Decker Farm on Staten Island offers pumpkin carving and a corn maze. Bring your own bag and load up on pumpkins or explore the Amazing Maize Maze at the Queens County Farm, which will host trick or treating with farm animals on Halloween.Finish your day with “It’s the Great Pumpkin, Charlie Brown,” streaming on AppleTV+.Easily EerieFor horror beginners.After being canceled last year because of the coronavirus, New York City’s Village Halloween Parade is back on Oct. 31. Now in its 48th year, the parade runs up Sixth Avenue from Spring Street to 16th Street, starting at 7 p.m. and finishing around 11 p.m. The grand marshal is the comedian and YouTube star Randy Rainbow. If you can’t participate in person, the parade will be telecast live on NY1 starting at 8 p.m.“Universal Horror,” a new eight-film collection on the Criterion Channel, spotlights some of the legendary movie monsters, like Frankenstein and the Mummy, that originated at Universal Pictures in the 1930s. Highlights include the longer and racier Spanish-language version of the original “Dracula” (1931), and Boris Karloff and Bela Lugosi in the grisly, Poe-inspired revenge tale “The Raven” (1935).Bela Lugosi in “Dracula,” from 1931. Universal PicturesGhost stories, true crime — and interior design? That’s “Dark House,” a new podcast from House Beautiful magazine and the first podcast in Hearst’s 125-year history. The five-episode series is free, and explores the architectural elements of spooky houses around the country. One episode is about a house in the Hollywood Hills — where Jean Harlow and Sharon Tate’s boyfriend Jay Sebring once lived — that may be cursed.The Brooklyn Brainery offers digital and in-person (and affordable!) classes for adults who want to learn about the scary side of history. Options include a “Murder at the Seaport” walking tour in Manhattan (Oct. 23 for $25) and a virtual class on witch hunts (Oct. 27 for $7)..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-9s9ecg{margin-bottom:15px;}.css-uf1ume{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;}.css-wxi1cx{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;-webkit-align-self:flex-end;-ms-flex-item-align:end;align-self:flex-end;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Moderately MacabreFor a scare that won’t keep you up at night.The guided NYC Ghosts tour stops at said-to-be haunted locations across New York, including the Jefferson Market Library, which once served as a women’s prison, and a Revivalist Greek brownstone in the West Village that’s known as the House of Death, where the ghost of Mark Twain, who lived there for a year, allegedly roams. For chilly nights, stay at home and read “Yours Cruelly, Elvira,” the dishy new memoir from Elvira (a.k.a. Cassandra Peterson), the longtime horror movie hostess and entrepreneur. In it, she details her rise from a Kansas childhood to Las Vegas showgirl to beloved horror personality. But she also spills the beans on her chance encounter with Elvis and her relationship with a woman. Stream the horror comedy “Elvira, Mistress of the Dark” (1998) on Amazon Prime.The Alamo Drafthouse Lower Manhattan opened this month beneath the landmark 28 Liberty Street building in the Financial District. “Lights of New York,” a series of movies set in and about the city, will include the religious paranoia thriller “God Told Me To” (1976) and the gritty vampire film “The Addiction” (1995), for a week starting Oct. 29. For horror fans on a budget, the new streaming service Kino Cult offers a free deep dive into cinematic weirdness. The collection includes bizarro films by the Oscar-winner Yorgos Lanthimos (“Dogtooth”) and the Italian master Mario Bava (“Black Sabbath”), as well as themed collections like ’70s and ’80s Flashback (“The Pit”) and Drive-In Favorites (“Beware! The Blob”).Truly TerrifyingFor those who like their horror pitch black.“The Dark House” in the Hudson Valley, inspired by W.W. Jacobs’s ghost story “The Toll House,” is an immersive theatrical experience that takes place entirely in the dark. Written and directed by Timothy Haskell, the story is told through a headset you wear as you navigate the darkened space, where sounds, tastes and smells emerge around you. The show continues through Oct. 31 at the Philipstown Depot Theater in Garrison, N.Y. The Dark House in the Hudson Valley is an immersive theatrical experience that takes place in the dark.Russ RowlandSpectacle Theater, the offbeat Brooklyn microcinema, has reopened its doors, and its Halloween offerings are as delightfully bizarre as ever. On Halloween night the theater is showing “Cemetery of Terror” (1985), a Mexican film about teenagers who bring a serial killer back from the dead.The creative team behind Blood Manor, the ultra-scary haunted house in Lower Manhattan (through Nov. 6), takes a culinary turn this year with Nightmare on Beech Street, a “haunted dining experience” in Long Beach on Long Island. Costumed actors will interact with diners, who will choose from a menu that includes Witches Hair Pasta, the Death Wish-key cocktail and the Brain Hemorrhage, a chocolate brain-shaped dessert. The venue is open until 2 a.m. through Oct. 31. More

    • 100 Shares149 Views

      in Movies

      ‘Illustrious Corpses’: A Mafia Thriller Heavy With Metaphors

      by

      Francesco Rosi’s film, released in 1974 when Italy feared a coup d’état, remains astute analysis of corruption. A new restoration is at Film Forum.An absorbing, resonant, at times near majestic whodunit, “Illustrious Corpses” is the Italian analog to Watergate-era conspiracy thrillers like “The Parallax View” and “The Conversation.” The movie, first seen here at the 1976 New York Film Festival, is at Film Forum in a new 4K restoration through Oct. 21.As directed by Francesco Rosi, one of the most political of Italian filmmakers, “Illustrious Corpses” aspires to the metaphysical. The opening sequence, partially set to Chopin’s Funeral March, has an elderly gentleman pay a visit to the sacred mummies in a dank church catacomb and, reaching for a flower, fall from an assassin’s bullet — the first of many judges to be shot. “The mafia killed him,” one orator later announces at the judge’s funeral. “He was the mafia,” shout the youthful demonstrators in the street, thus laying out the movie’s particular logic.“Illustrious Corpses” is based on the novel, “Equal Danger,” by Leonardo Sciascia, a Sicilian author who wrote often about the mafia, ultimately as metaphor. His afterword to “Equal Danger,” Sciascia calls it “a fable about power anywhere in the world.” Still, although Italy is never mentioned, the locations — recognizably Palermo, Naples and Rome — are scarcely allegorical.By contrast, Rosi’s protagonist is something of an abstraction or a useful cliché. Tough, honest Inspector Rogas (the veteran roughneck Lino Ventura) is tasked with solving the first murder and those that follow. As he theorizes a culprit, an existential policier plays out against a background of strikes and demonstrations, under constant state surveillance. There are strong hints of unseen forces. Playing a judge, Max Von Sydow materializes as a version of Dostoyevsky’s Grand Inquisitor advancing a theology of judicial infallibility.In his 1976 review, the New York Times critic Vincent Canby called “Illustrious Corpses” “a dazzling example of fashionably radical Italian filmmaking — elegantly composed, breathlessly paced, photographed in the beautiful, drained colors of a landscape in mourning for the sun.” He also found the movie drained in another way, so broad in its “indictment of government” as to lack any real force.In fact, made during a time when Italy had ample reason to fear a coup d’état, “Illustrious Corpses” is not only topical but quite specific in addressing a bombing campaign waged by the right-wing extremists to destabilize the country as well as the “historic” compromise by which the Italian Communist Party joined the Christian Democratic government. More explicit than the novel, the movie ends with a communist official inverting a quote associated with the Marxist philosopher Antonio Gramsci, “the truth isn’t always revolutionary.”Casting contributes to the film’s sardonic gravitas. Along with Von Sydow, the French war horses Charles Vanel and Alain Cuny appear as a pair of judges and Luis Buñuel’s frequent alter ego, the urbane Fernando Rey, plays a duplicitous minister of security. Despite the youthful radicals massed around the edges, “Illustrious Corpses” is, as the title suggests, an old man’s world. The corrupt gerontocracy is disrupted only when Tina Aumont (the daughter of camp icon Maria Montez) makes a scene-stealing appearance as a witness to murder.Illustrious CorpsesThrough Oct. 21 at Film Forum, Manhattan; filmforum.org. More

    • 100 Shares129 Views

      in Music

      5 Things to Do on Labor Day Weekend

      by

      Our critics and writers have selected noteworthy cultural events to experience virtually and in person in New York City.Art & MuseumsMoMA PS1’s Engaging CourtyardNiki de Saint Phalle’s “La femme et L’oiseau fontaine” (1967) will be on view in MoMA PS1’s courtyard until Monday.Niki Charitable Art Foundation/Artists Rights Society (ARS), New York/ADAGP, Paris; MoMA PS1; Marissa AlperIn 1997, the courtyard at MoMA PS1 became the main venue for “Warm Up,” a summer event that mingled art, music and design in order to draw new audiences. But things change. “Warm Up” certainly hasn’t gone away, but last fall, the institution began “PS1 Courtyard: an experiment in creative ecologies,” a program testing out ways to use the outdoor space that encourage community engagement.The initiative’s projects include a fountain from Niki de Saint Phalle, part of a larger exhibition at PS1 that closes on Monday, and Rashid Johnson’s “Stage.” Visitors are welcome to get up on his installation’s large yellow platform and freely use its five live microphones of varying heights. By showing a microphone as a dynamic social tool, Johnson’s piece, which will be on view through the fall, indicates the many things a stage can represent: a site of protest, music making, solidarity and, most important, amplification of your voice.MELISSA SMITHFilm SeriesScenes From Every SeasonA scene from “A Summer’s Tale,” one of four features in Eric Rohmer’s Tales of the Four Seasons, all of which Film Forum will screen through Sept. 9.Janus FilmsThe maximalist moviegoing event of Labor Day weekend is “Lawrence of Arabia,” screening on Saturday and Sunday on 70-millimeter film at the Museum of the Moving Image. But for a minimalist alternative, try Eric Rohmer’s Tales of the Four Seasons — four features, each set at a different time of year, that Rohmer, the most conversation-oriented French New Wave director, turned out from the late 1980s through the late 1990s. (Together, the running times total roughly two showings of “Lawrence of Arabia.”) With the changing of the seasons, Film Forum is showing all the titles separately from Friday through Sept. 9.Watching them in tandem illustrates how Rohmer — superficially so consistent and serene — subtly toys with structure and variation, recombining types of characters in friendships and romances that rarely develop as expected. The most summery is, naturally, “A Summer’s Tale.” Melvil Poupaud plays a commitment-phobe vacationing in Brittany who somehow winds up juggling a surfeit of commitments to women.BEN KENIGSBERGJazzCelebrating a Visionary Record LabelCharles Tolliver at the 50th anniversary of Another Earth in 2019. Through Saturday, he will be celebrating another 50th anniversary at Birdland — that of the record label he started with Stanley Cowell, Strata-East.Lev Radin/Pacific Press, via Getty ImagesIn 1971, seeking refuge from an exploitive, increasingly commercialized jazz industry, the trumpeter Charles Tolliver and the pianist Stanley Cowell founded Strata-East, a record label offering artists creative freedom and relative commercial control. Though short-lived, Strata-East inspired Black musicians in other cities to undertake similar efforts. And it captured a moment in time: Nearly every Strata-East album simmers with the heat and tension of the Black Power era, delivering terse, syncopated rhythms and pushing jazz linguistics into a more spare, confrontational zone.Cowell died last year after a prolific career, but Tolliver, 79, continues to perform. At Birdland through Saturday, he is celebrating the label’s 50th anniversary with an ensemble of all-stars, including some who recorded on Strata-East in the 1970s: the tenor saxophonist Billy Harper, the pianist George Cables, the bassist Buster Williams and the drummer Lenny White. Sets are at 7 and 9:30 p.m. The late show on Saturday, which will also be livestreamed at dreamstage.live, will feature a guest appearance by the storied bassist Cecil McBee and will be hosted by the actor Danny Glover.GIOVANNI RUSSONELLOComedyNo Labor for These LaughsErik Griffin in his Showtime special “AmeERIKan Warrior.” He is headlining at Carolines on Broadway through Saturday.ShowtimeEven workaholics know they should take it easy this weekend, and fans of “Workaholics” will recognize the headliner at Carolines on Broadway through Saturday: Erik Griffin, who played Montez Walker on that Comedy Central sitcom. Griffin also portrayed a stand-up in “I’m Dying Up Here,” a dramedy about comedy in the 1970s on Showtime, where you can find two of Griffin’s comedy specials. At Carolines, he will perform one set at 7 p.m. on Thursday and Friday, and two sets at 7 and 9:30 on Saturday. Tickets start at $31.25.On Sunday at 7 and 9:30, Carolines will welcome Rosebud Baker, who released her debut special, “Whiskey Fists,” in August on the Comedy Central Stand-Up YouTube channel. Tickets are $27.25 and up.There will be a two-drink minimum at each show.SEAN McCARTHYKIDSThis Is How They RollA child at an NYC Unicycle Festival event in 2019. The 12th edition of the annual celebration takes place throughout the boroughs this weekend.Kenneth SpringleIn New York, casual basketball games are about as common as strutting pigeons. But the contest scheduled on Saturday at 11 a.m. in the Bronx should result in a lot of head-turning, not to mention wheel-turning.That’s when the King Charles Unicycle Troupe will play — while riding its favorite vehicles — at the basketball court in Clinton Playground in Crotona Park. (Enter at Clinton Avenue and Crotona Park South.) A beloved local circus act, these guys can double-Dutch jump rope on one wheel, too.Their show is a highlight of the 12th annual NYC Unicycle Festival, a free outdoor celebration presented by the Bindlestiff Family Cirkus. The festivities also include long-distance group rides on Thursday, Friday and Saturday, which proficient young unicyclists can join if they’re accompanied by an adult. (Details are on the festival’s website.) Experienced riders can participate in a post-performance pickup game with the King Charles players on Saturday, too, along with a free-throw basketball contest and a unicycle obstacle course.Neophytes, however, can do more than watch. On Sunday from 1 to 5 p.m., at Grant’s tomb in Morningside Heights, the festival’s conclusion will offer instruction and youth-size equipment for children who want to give unicycling a whirl.LAUREL GRAEBER More

    • 113 Shares149 Views

      in Movies

      A Steamy French Thriller Is a ‘Sleeper Smash Hit’

      by

      The 1969 film “La Piscine” was supposed to run for two weeks at New York’s Film Forum, but it’s been extended to the fall.For the past 14 weeks at Film Forum, a longstanding independent and repertory theater on West Houston Street in Manhattan, the 1969 French film “La Piscine” has been playing — a run that has extended its initial engagement by 12 weeks, and counting.“Rear Window,” “8 ½,” “La Strada” and a popular Humphrey Bogart series that included “Casablanca” have all come and gone, but “La Piscine” swims on.If there is a film of New York’s 2021 summer, this may be it.“La Piscine” (which means “The Swimming Pool”) revolves around Jean-Paul (played by Alain Delon) and Marianne (Romy Schneider), who have retreated to a house with a large pool outside St. Tropez. Sadly, he only gets one month of vacation. The lovers are unexpectedly joined by Harry (Maurice Ronet), Marianne’s former paramour and Jean-Paul’s former best friend, and his 18-year-old daughter, Penelope (Jane Birkin). Much decadence and extremely French crossover love ensues.Of course, life at the pool is not as it seems. (If you are a person with strong opinions about spoiler alerts for 50-year-old French films, skip the rest of this paragraph.) Tensions mount and in the final half-hour Jean-Paul coldly murders Harry by slow, brutal, drowning. After one of the chicer funeral scenes committed to film, Marianne covers for Jean-Paul to the police, despite the fact Jean-Paul had just declared his desire to leave her for Penelope.Sex, opulence, a dash of danger. Could anything better describe New York’s post-lockdown mood? And then there’s the epic style: Come for Alain’s open-to-the-navel denim shirt, stay for Romy’s Courrèges-designed bathing suits. It turns out, many New Yorkers have.“It’s a total sleeper smash hit,” said Bruce Goldstein, the director of repertory programming for Film Forum and the founder of Rialto Pictures, which distributes “La Piscine” in the United States. “The numbers have not dipped at all. We hit all the right nerves with this.”Ah, yes, those nerves. After more than year of pandemic restrictions, a lot of people, including me, were more than ready for a heavy dose of outrageous beauty. I have seen the two-hour film four times since it arrived in mid-May.“It’s vicarious,” Mr. Goldstein said, trying to explain why a 50-year-old French film starring actors who were largely unknown in America, has been such a hit. “It’s a vacation in the south of France that a lot of people can’t take. There’s also the incredible magnetism and chemistry of the two stars, who were real-life lovers.”The film is classified as a psychological thriller, but to first-time viewers, very little happens until the very end. “Can you believe there’s another hour of this?” I overhead one older woman marvel to her friend near the halfway mark.“A Bigger Splash,” the marvelous 2015 remake starring Ralph Fiennes and Tilda Swinton, which Americans may be more familiar with, maintains the broad strokes of the plot, but, as the title suggests, it is much splashier. In that version, the drowning is an accidental crime of passion, far from the cold, calculating murder of “La Piscine”; the dialogue is faster, the cuts sharper, the music louder.Watching it now, having done a deep dive (ahem) into the original, made me acutely aware it was the very absence of action, the unapologetic decadence, that kept pulling me back to the theater. This is not a film interested in passing judgment on la belle vie.Even as I became more sensitive to the subtleties of the film’s dialogue (“the first swim really takes it out of you,” says Marianne, when Penelope returns from the beach having lost her virginity to Jean-Paul), I remained more interested in simply watching beautiful people do very little. “Tomorrow I will take a long siesta,” Marianne declares, lying on a couch in her bathing suit after a day by the pool. Yes, please.That a film so grounded in the gratuitous has resonated in 2021 is perhaps not entirely surprising. After a year in which New York City suffered enormous loss and its residents lived heavily circumscribed lives, it’s understandable we are looking to take our clothes off and have a good time, onscreen and off.Perhaps, too, there is something unconsciously appealing about the pervading undercurrent of anxiety. Much like the “hot vax summer” that never was, it turns out there is not another hour of this.After returning from Harry’s funeral, Jean-Paul, Marianne and Penelope stand at the pool’s edge. “I will have the pool drained,” Jean-Paul says. “I will never swim in this pool again,” Marianne says.New York will, no doubt, swim in many pools again, but for the moment, as the darker days return, there is some comfort in still being able to do so for two hours at a time. More