Thursday, March 13, 2014

Adam Hartzell on CAAM Fest and Accessibility

I've found a place to live! I expect I'll be updating this blog more often once I've actually completed the move, but I'm happy I'll be able to stay in my beloved hometown, even in this crazy rental market. I'll be moving to a spot not far from the Great Star Theatre in Chinatown, which is one of the only cinemas in town I've never actually been inside. It hasn't been used for movies much in years, but will be a venue CAAM Fest, the long-standing Asian American film festival that starts its 32nd annual edition tonight at the Castro. My move will preclude me from attending much, but I hope to catch at least one of the Shaw Brothers titles screening at my new neighborhood theatre this Saturday. More coverage of CAAM Fest comes from Michael Hawley and Tony An, but here at Hell On Frisco Bay I'm so pleased that my friend Adam Hartzell has offered an article on an (unfortunately) often-overlooked topic that every film festival and screening location, not just CAAM and its venues (also including the Kabuki & New People in SF'S Japantown, the Pacific Film Archive in Berkeley, and the New Parkway among other cinemas in Oakland), should consider seriously. Here's Adam:

Film Festivals make films accessible to us that would often otherwise not be. Those who are excited about seeing films earlier than their theater release, if they even get one, have their interests accommodated by film festivals. Films from other countries are shipped to local venues so one does not have to travel far to watch them. Through subtitles, films that would be partially accessible through images and music are made more accessible through translation of dialogue. Yes, some but not all films ultimately become available on the internet, but festivals provide a communal experience that film-goers savor and the buzz from a festival makes films more 'accessible' in that they are on the radar of folks who might stumble upon them on the internet. Film festivals make films accessible in tangible ways and through the word of mouth that spreads from audience responses that eventually land on the internet as tweets and likes.

Many don't think of these as accommodations. Words like 'accessibility' and 'accommodation' are reserved when talking about the disabled. Non-disabled privilege is not having to think about how your 'orthodox' body is accommodated daily in how buildings and transportation are engineered, in how your convenience is structured for you.

Through efforts such as the displaying of films in foreign languages, film festivals provide accommodations to some disabled groups unintentionally. Subtitling is not closed captioning, as the latter include notation of diegetic sound, but subtitled films provide greater film access for the Deaf and Hard of Hearing. By taking place in venues that meet ADA guidelines, many of the venues where film festivals take place are already accessible for wheelchair users and other individuals who require greater mobility assistance.

One of the Centerpiece Presentations at CAAMFest this year is on the work of director Grace Lee and includes her most recent documentary, American Revolutionary, about the amazing Civil Rights activist Grace Lee Boggs. In addition to her political work, Boggs is also a wheelchair user. Her presence at this year's CAAMFest had me wanting to explore something that should always be on the minds of filmmakers and film festivals - accessibility.

Even though the internet has increased our access to media, many of us still enjoy, if not prefer, watching films communally, watching with others. So how does a film festival like CAAMFest make their festival accessible to all who might appreciate what the Center for Asian American Media provides the San Francisco Bay Area every March? In addition, what makes film sets accessible? To find out, I spoke to three individuals about aspects of film accessibility, primarily focusing on wheelchair accessibility.  I spoke with Festival & Exhibitions Director Masashi Niwano about making CAAMFest accessible, with wheelchair-using actress Jennifer Kumiyama about film/stage/TV accessibility, and with local disability activist Alice Wong about her experience attending local San Francisco Bay Area film festivals as a wheelchair user.

Niwano pointed out you don't want to rely on assumptions of venues meeting ADA (American Disability Act) guidelines, because it's not just about securing , say, hotel accommodations that meet attendees' needs. "It's not only for attendees, but also for our staff, volunteers, filmmakers and industry guests who come to our festival. Our Operations team works very closely with the venues to make sure all goes well."  Older venues provide particular challenges "With the addition of the Great Star Theater, we reserved a lot of time making sure that it could accommodate people with disabilities, including people who are wheelchair-enabled. Since the theater recently re-opened and is close to 100 years old, there was much to be done. Their restrooms are located down stairs which aren't wheelchair accessible, so we work with wonderful neighborhood businesses who lend their restrooms."
Part of CAAMFest's efforts to make their venues accessible is to listen to their patrons/attendees.  "...At the Great Star we also spent a good amount of funds to steam clean all the furniture (including 600 seats). We learned from the senior citizen community that dust can negatively effect their film viewing. Of course, it effects everyone and we'll be pre-cleaning all of our theaters before showtime." If you're someone who pays attention to the sponsors of film festivals, you might have noticed that CAAMFest acquired the AARP (American Association of Retired Persons) as one of their sponsors this year. The AARP's sponsorship was mainly motivated by the Memories to Light program, a program encouraging Asian-Americans to digitize their home movies for greater archival access. By having a sponsor like the AARP on board, CAAMFest now has more opportunities to hear what the needs of that segment of the population, which includes things like mobility issues, would need to make the festival truly accessible.

Alice Wong, who when chosen as the Angry Asian Man's 'Angry Reader of the Week' partially described herself as "A wheelchair-using, hell-raising disabled Asian-American woman", is also a film fan. I was particularly curious to ask her about how lines at screenings or the scrums after screenings impact her.. Lines snaking around the corner causing consternation for local businesses or non-festival-going pedestrians on the sidewalk can be even more problematic for wheelchair users. (This is something that isn't the fault of the venues or festivals. This is mainly caused by our culture's insistence on providing heavily, publically subsidized space for private car storage along our streets which keeps our sidewalks narrow, but that's a whole other tangent I'll leave in this parenthetical.) The San Francisco Film Society gets high marks from Wong in regards to this specific area of access. "I really appreciate the SF Film Society--they have signage marking a priority line (in the front) for ADA and Festival Pass holders." But as for other festivals, "It would be great if there was language somewhere in a festival's website saying that there is priority seating/wait lines for people w/ disabilities, especially for first-time attendees."

Sometimes there are problems once you get past the line. During one gala screening at a film festival, Wong found the only wheelchair-accessible seats were taken up by sound/video equipment. "The only way I could watch was to sit near the center of the aisle close to the door. It really annoyed me. When I'm in areas like that, I usually get called a 'fire hazard' which isn't always my fault!" I would say it's never her fault, but poor design that puts wheelchair-users into positions where non-disabled people falsely see them, not the design, as the problem.

Wong has two tactics she uses to avoid the post-screening bottlenecking that often occurs at festivals. "After a film ends, my strategy is either to leave quickly before the credits, (I try to avoid doing that because I think that's part of the experience), or to wait until most of the people exit. For some people with disabilities, exiting while the theater is still dark with lots of people crowding around can be disorienting and possibly dangerous. I usually wait until the lights are up and most of the audience has left."

An area of access many don't think about is how festivals present films that feature the disabled. "When it comes to movies about people with disabilities, there's always a bit of a cringe-factor/trepidation when I read the synopsis. If I see the word 'inspiration' I will slightly vomit in my mouth and probably not buy tickets to see it. I understand that in general people love seeing people with disabilities 'overcome their disability' and inspire others through their suffering. Just ick. I find most of these films gloss over the disability experience and are really geared for the self-satisfaction of non-disabled people, (there's usually a charitable non-disabled character)."

As a result of, to use Wong's response, this 'ick'-factor, just like a dearth of Asian-American roles of depth and dignity led to the creation of a film festival like CAAMFest, Wong pointed out that the SF Bay Area Disabled community also has its own film festival, Superfest, which highlights the highs and lows of portrayals of disability in cinema. Put on by the cultural center/think tank the Paul K. Longmore Institute on Disability at San Francisco State University, even they can occasionally miss an accessibility need, having recently posted their Superfest promo online without captioning. (That was quickly changed when brought to their attention.)
As the experience of even the Longmore Institute notes, seeing accessibility needs and listening for them from your constituencies are key. Wheelchair-using singer/actress Jennifer Kumiyama told me speaking up to those in charge helps as well. When the folks on the film set of The Sessions (Ben Lewin, 2012) told her 'Whatever you need, just ask for it', Kumiyama never hesitated to voice accommodations she would require. A big problem she's found is "I wish there were more accessible trailers". Due to this lack, while on the set of The Sessions, besides being provided her own portable toilet, Kumiyama was given one of the master bedrooms of one of the houses utilized in the film. She said that even though she shouldn't, she kind of felt bad that her digs were even better than Helen Hunt's trailer, leading Kumiyama to offer Hunt her master bedroom in order for Hunt to perform her morning yoga exercises.

Like the situation Niwano mentions at the Great Star Theater, accommodations often have to be provided by surrounding businesses. Kumiyama said she's never had an experience like that portrayed in one episode of the web series My Gimpy Life where the main character's dressing room is the wheelchair accessible restroom, but at one shoot she did have to use the restroom at the nearest Starbucks.

Kumiyama, who you will be able to find on stage this year again as part of the Aladdin musical production at Disney California Adventure Park, added that "In a perfect world, I have everything I need." But many folks on film sets aren't comfortable broaching the subject with disabled actresses and actors. "Disability is still taboo in a very weird way." She'd like every location scout in the business to know that it is totally ok to ask her what she needs. "It's comforting to me to deal with people who have a take-charge mentality."

And it's that quote that seems to resonate for all three individuals with whom I spoke. Kumiyama works at her best with proactive location scouts. Wong has a better film festival experience with proactive staff and volunteers. And Niwano finds that listening to the needs of CAAMFest patrons makes their experience at a renewed venue such as the Great Star Theater an even more pleasurable experience for all.

Monday, February 10, 2014

I Only Have Two Eyes 2013

Though we've been conditioned to expect the cinema to be a place to watch brand-new movies, and for our exposure to cinema history to come largely from our own personal screens at home (and, increasingly, on the go), I've often wondered why this state of affairs couldn't be reversed. So many of the modern movies filling communal screens feel as disposable as the planned-to-be-obsolete technologies that we surround ourselves with, while the cinema experience cries out for "content" (to reclaim a tech-world term I'v grown to hate) as timeless as the moviegoing experience has been over the century or so that dedicated movie theatres have been in existence.

Fortunately, the San Francisco Bay Area is still a place where we can watch a time-tested work of cinematic art in a movie palace or specialized screening space amidst other members of our community. Although the long-term future of the cinematic experience, and especially the experience of watching 35mm prints, has in recent years come into some doubt (a recent KQED blog does a very good job describing the stakes and the challenges), we're lucky here on Frisco Bay to still be able to experience a reasonably diverse array of moviegoing options other than the newest beneficiaries of hype.

This is now the seventh year I've conducted a survey of local movie lovers who make repertory and revival screenings a priority. As always, I've asked for up to ten choices of favorite screenings of (very to slightly) older films seen in Northern California cinemas in 2013. I'm always impressed with the thoughtfulness and breadth of selections made by participants, and would like to take a moment to publicly thank them all for their involvement. I'll be updating this page multiple times daily for the rest of the month with links to more participants' lists, so keep watching this space!

January 27: Michael Hawley, who blogs at film-415.
January 27: Terri Saul, cinephile, writer and visual artist.
January 28: Veronika Ferdman, who writes for Slant magazine and
January 28: Lincoln Spector, who runs Bayflicks.
January 29: Susan Hahn, who blogs at six martinis and the seventh art.
January 29: Lawrence Chadbourne, whom you can follow on twitter.
January 30: Jason Wiener, who blogs at Jason Watches Movies.
January 30: Ben Armington, Box Cubed manager & moviegoer.
January 31: Maureen Russell, film festival volunteer, member and aficionado.
January 31: David Robson, who blogs at House of Sparrows.
February 1: Carl Martin, who maintains the Bay Area Film Calendar.
February 1: James Brown, cinephile, musician and blogger.
February 10: Michael Guillén, who blogs at The Evening Class.
February 10: Brian Darr, your host.


Two Eyes: Brian Darr

Thanks to all the contributers in my "I Only Have Two Eyes" wrap-up of repertory and revival screenings that happened in the San Francisco Bay Area during 2013, and thanks to all readers who have been patient with my more-protracted-than-usual roll-out of selections. I blame myself, not the loyal contributers, for having lost focus a bit there while I turned to other pressing issues (such as finding a new apartment in this crazy market- please wish me luck as I continue to search!) 

I also blame the oh-so-slightly-lower response rate this year as compared to prior IOHTE editions on my own organizational difficulties, as I've usually been better at finding new contributers as prior ones move away, become busy, etc. I don't want anyone to take lesser participation as evidence of the shrinking of the revival screening scene here on Frisco Bay. If you want to make that case, you may be able to but I'd hope you'd find a more scientific data set. I do know that there are many venues and countless noteworthy screenings that went completely unmentioned by any of the participants this year, which to me says that the scene is still quite robust.

There was no Napoléon that drew votes from a majority of respondents this year. If you look through all the lists indexed here you'll see that most films get mentioned only by a single person, and that every participant picked at multiple screenings that nobody else mentioned. There are some recurring venues, festivals, filmmakers, and even films, however, and I find it noteworthy that the most-commonly cited favorite was Roy Ward Baker's Inferno, screened in digital 3D at the Castro during Noir City 2013. This is certainly the first time in seven years that the most-popular title was a digital rather than 35mm screening.

Without further ado, here are my own choices of favorite repertory screenings from last year.

Faust (F.W. Murnau, 1926)

Though I usually try to focus on "new-to-me" films in this annual exercise, I sometimes let a title I'd seen previously slip into a slot. I suspect partially thanks to a slightly constricted variety of "new-to-me" 35mm film-going options, and partially thanks to the enthusiasm generated by my own daily blogging project (in which I tried to balance films I'd seen before with films I hadn't when selecting what to write about each day), I found myself revisiting more films than usual on cinema screens in 2013. There were so many that revealed so much more of themselves to me than ever before thanks to unique cinema screenings last year, but among them (Gun Crazy, Vertigo, Blow Up, the Long Goodbye, Pursued, Femme Fatale, Report) one stands out as particularly transcendent. I'd seen Faust before on home video and had even done a fair bit of research on its director Murnau when writing program notes for a San Francisco Silent Film Festival presentation of Sunrise several years ago. But I'd never appreciated the film's dark and majestic strangeness to the degree I was able to when that festival presented it at its annual Winter Event last February.  As much as I found the experience of seeing a 35mm print thrilling at the time (here's my day-after tweet), in retrospect the screening becomes even more special because a) Christian Elliot's magnificent musical accompaniment was the only full-fledged silent movie organ score performed on the Castro's jeopardized Wurlizter last year (Günter Buchwald's performance for The Half-Breed in July was a duet between himself on organ and on violin) and, on a more personal note, b) it was the last film screening I attended along with one of one of my best friends who died, far too young, later in the year.

Murders in the Rue Morgue (Robert Florey, 1932)

Forget all the nominal re-makes of The Cabinet of Dr. Caligari. This Poe adaptation is the most expressively cinematic Hollywood film to have taken Robert Wiene's Weimar era classic as a model, though it goes in arguably even more bizarre directions than that landmark of silent horror. The teaming of French-born director Florey, German cinematographer Karl Freund with a cast including Bela Lugosi and Noble Johnson makes for a guignol experience at least as arresting, and certainly more outre than any of the other Universal monster or mad scientist movies of the era. As Dr. Mirakle says, "if you are looking for the usual hocus-pocus, just go to the box-office and get your money back." Here's my tweet following its screening at the Roxie Cinema back in March as part of a pre-code series I'm crossing my fingers will be reprised again this Spring.

Welcome, Mr. Marshall (Luis García Berlanga, 1953)

It's very hard to believe this film, made at the "secretly pro-communist UNINCI production company" according to Rob Stone, was able to be completed and released in the midst of a Spain tyrannically controlled by Franco. But there it was, its unspooling on 35mm in front of my eyes to kick off a Pacific Film Archive of films directed by Berlanga. Unfortunately I was unable to catch the rest of the series, but this political comedy mixing barbed satire of the political ties between Spain and the U.S., and of the fantasies exported by Hollywood, will stick in my memory for a long time. It was co-written by Juan Antonio Bardem, Berlanga's better-known contemporary who'd soon go on to direct Death of a Cyclist, but if that film evokes 1940s Hollywood noir this one puts it on a skewer and roasts it at a merry campfire, which may be why Edward G. Robinson (in a rare moment of narrow-mindedness) denounced Welcome, Mr. Marshall after it screened the 1953 Cannes Film Festival. Again, my tweet reaction. Try this analogy on for size: Death of a Cyclist : Detour :: Welcome, Mr. Marshall : Hail the Conquering Hero.

Some Came Running (Vincente Minnelli, 1958)

Of all the filmmakers that Andrew Sarris placed in "the Far Side of Paradise", Minnelli must be the one who appears most out of place in this position just shy of his Pantheon. The American Cinema's author accused the director of believing "more in beauty than in art" and though this is not the timeor place for semantic discussions, I can't help but think this assessment wouldn't have been made at any other time than the late 1960s, when Minnelli was still working but more than five years on from making Two Weeks In Another Town and a decade past the sublime 1958 Some Came Running
. I can't believe it's taken me as long as it has to catch up with this extraordinarily rich, vibrant, fundamentally sad film, but the wait has definitely been worth it! Thank you, 
Stanford Theatre, for giving me an opportunity to see this (as well as another Dean Martin masterpiece Artists & Models and more) in your wonderful spotlight on 1950s Hollywood this past Spring. Some Came Running is, of all these selections, the film I'd most want to revisit again tonight, to relive its joys and tears, its colors and movements, and its beautiful performances from Frank Sinatra and Shirley Maclaine especially.

The Ten Commandments (Cecil B. DeMille, 1956)

I grew up in a household of Unitarian-Universalists, which meant we made a ritual of avoiding most of the religious traditions observed in many other homes, like watching Biblical epics on television or otherwise. So I'd never seen this most famous of Old Testament interpretations before becoming interested in cinema history during my 20s. At some point early in that process I heard a voice saying "Thou shalt not watch Cecil B. DeMille's most ambitious cinematic undertaking for the first time on anything less than a 35mm print on a big cinema screen." I'm glad I listened, as making the trip to Palo Alto to see all umpteen reels of widescreen, Technicolor opulence from the fifth row of the Stanford Theatre was unforgettable. You don't have to believe in Moses's miracles as history to have faith in their cinematic splendor.

Objective, Burma! (Raoul Walsh, 1945)

I was able to attend nearly every screening in the small Raoul Walsh retrospective at the Pacific Film Archive last summer, vastly expanding my experience with this prolific and quintessential classic Hollywood director. There wasn't a dud among the selections of films culled from just about every genre and period of Walsh's career, but my favorite was this exemplary picture made and released in the waning months of World War II. The narrative structure subverts expectations of the typical war picture (especially one made during wartime) in several ways, notably through the character arcs of its key protagonists (Errol Flynn as the platoon captain, Henry Hull as the embedded reporter) and through the darkening tone of a film depicting a mission that at first appears to be a cakewalk. The film excels on practically every aesthetic level, most especially through James Wong Howe's tremendous, newsreel-come-to-life cinematography. My retinas still carry the afterimage of the white-hot explosions crackling off the screen in the climactic battle sequence. (Pictured at the top of this post).

Spacy (Takashi Ito, 1981)

2013 was a good year for catching up with older works by important experimental filmmakers at various venues, from Peter Hutton and Phil Solomon at the PFA (and the latter also at Yerba Buena Center for the Arts) to Scott Stark at the SF Art Institute, from Barbara Hammer at SFMOMA before it closed to Standish Lawder and Robert Nelson at the new Exploratorium after it opened. Three screenings of 16mm prints from Canyon Cinema at the Kadist pop-up gallery were also tremendous (and free!) opportunities to fill in canonical gaps; I took in the first and second and wish I could have made it to the third as well. But Oddball Films is an oft-overlooked home for experimental film showings, and a September program that merged ethnographic documentary with avant-garde work by Maya Deren, Pat O'Neill, etc. and featured the singlemost example of unexpected brilliance in a 16mm "short subject" I witnessed last year. I'd never heard of Spacy or its maker before, but this photographic animation feels like a headlong plunge into infinity, a peek into another universe in the shape of a single room that only filmmaker intervention could ever pull the viewer out of. Just amazing.

The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)

Another religious film I'd waited years to see on a big screen. As I tweeted at the time, it takes a completely different approach than a Cecil B. DeMille film in just about every way. Instead of elaborate studio artifice impressing the viewer into prostration, Pasolini has created out of the bounty of authentic-feeling locations, costumes and extras, and beautifully anachronistic music, a film that deeply probes our ideas about Jesus Christ and his place in the modern world. Pasolini's miracles rely not on matte paintings, miniatures and optical effects, but on the simple elegance of the edit. In his hands the mundane becomes the sublime, as if to ask whether each moment, cinematic or lived, is as holy and wondrous as a leper's cure. I caught up with or revisited quite a few of the Italian master's works in the early fall (and simultaneously read Pasolini Requiem), but this Pacific Film Archive 35mm showing was 

Mikey and Nicky (Elaine May, 1976)

I'm rather skeptical of cinema history narratives that privilege the 1970s as American cinema's Golden Age, as a time in which auteurs had unparalleled freedom to make anything their ambitious hearts desired without interference from corporate masters who hadn't yet determined to try to recreate the blockbuster successes of Spielberg and Lucas every time they released a movie. Although there's surely some truth in this frame, it doesn't explain a decade in which true artists like Orson Welles and Samuel Fuller had a harder time than ever getting opportunities behind a camera, in which good roles for female actors were nearly drowned in a sea of masculine energy, and in which there were still plenty of very bad movies. It makes me particularly pleased when I can add another unseen 1970s film to my personal canon of favorites. Thanks to an autumnal Castro Theatre screening, Elaine May's thus-far penultimate directing effort is a well-worthy addition. A drawn-from-family-biography Philadelphia story of betrayal showcasing two of the era's most indelible actors (Peter Falk and John Cassavetes), and featuring one of the highest shooting ratios and one of the most devastasting endings of all time, Mikey and Nicky makes me see the merit in the viewpoints of those who especially cherish 1970s cinema.

In A Year of Thirteen Moons (Rainer Werner Fassbinder, 1978) 

According to Fassbinder, every seven years is an emotion-churning "lunar year", and lunar years with 13 new moons are particularly catastrophic. 1978 indeed was, at least for Fassbinder, whose lover and frequently-cast actor Armin Meier killed himself on or around Fassbinder's 33rd birthday, perhaps to avoid an impending dumping by the volatile writer-director.  Fassbinder threw himself into making and releasing this extremely personal, nakedly emotional, and truly visionary film as if he knew he couldn't move forward as an artist without getting it out of his system (Berlin Alexanderplatz had been scheduled to begin filming during the time he was busy writing and preparing for shooting this, but would ultimately be held for another year). The result is a film with some of the strongest, strangest scenes ever shown in a cinema. I spent much of last year's latter months attending Frisco Bay's tri-venue Fassbinder series, and this final screening of an imported 35mm print, held at the Yerba Buena Center For the Arts in late December, was the culmination of a highly rewarding series. I don't know if it's a coincidence that 2013 was also, according to Fassbinder's numerology, a "lunar year", but it seems to me that even seven years is too long to wait for another sizable RWF retro (in fact the last one before 2013 was in 2003). Come to think of it, 2014 will have thirteen new moons...

Two Eyes: Michael Guillén

In the San Francisco Bay Area, moviegoing is not just for the newest releases. In 2013 there were more theatrical opportunities to see films spanning the history of cinema than any one person could take advantage of. Therefore, I've asked a sampling of local moviegoers to select a few favorites seen in cinemas last year. An index of participants is found here.  

The following list comes from Michael Guillén, who blogs at The Evening Class.

Absence makes the cinephilic heart grow fonder.  Relocating to Boise, Idaho from San Francisco has all but meant letting go of repertory programming.  Although Boise's movie "palace" The Egyptian offers some older fare, they project from DVD onto a large screen and resolution suffers accordingly.  Hardly the ideal in-cinema experience.  Thus, I rely on my sojourns back to San Francisco and film festivals here and there to satisfy my hunger for restorations and revivals.  Here's what I've enjoyed in San Francisco and the Bay Area in 2013.

Gun Crazy (Castro / Noir City / 01/25/13)—The term "value added" has come to qualify the spectatorial experience.  Although the Film Noir Foundation's annual Noir City prides itself on screening titles generally unavailable on digital formats, they know how to up the ante when a film is available on DVD, Blu-Ray or online streaming.  Case in point would be the opening night for the 11th edition of Noir City where Peggy Cummins—"the deadliest female in all of film noir"—was fêted in an onstage conversation with "Czar of Noir" Eddie Muller.

Curse of the Demon (Castro / Noir City / 01/26/13)—Featuring Peggy Cummins once again, and one of my favorite Jacque Tourneur vehicles because of its supernatural audacity, catching Curse of the Demon (1957) at an afternoon matinee screening made me feel all of 12.  Never discount how the movies can provide the sense of recapturing one's youth; surely one of the presiding aesthetics that inform repertory viewings.

Try and Get Me! (Castro / Noir City / 01/26/13)—There are absolutely no 35mm screenings in Boise, Idaho.  None.  Thus—as Paolo Cherchi Usai has recently argued—the screening of a 35mm restoration has all the earmarks of a "special event."  Attending the world premiere of a brand new 35mm restoration by the Film Noir Foundation and the UCLA Film and Television Archive is about as special as filmgoing gets.  Stir in local interest—the film's narrative borrows from events in 1934 San Jose—and it makes for a tasty Saturday night experience.

The Other Woman (Castro / Noir City / 01/31/13)—Along with the aforementioned aspect of recapturing one's youth through revival screenings, sometimes films like Hugo Hass's The Other Woman (1954) featuring the voluptuous Cleo Moore harbor fascination for not being the literal films of one's youth but more films that informed the culture one is born into, especially with regard to sexual attitudes of the time.  As a young gay boy growing up in the hinterlands of Idaho I wanted desperately to be a bad girl.  My self-image virilified over time but I've never let go of thoroughly enjoying a Bad Girls Night at the Castro Theater.  It's an indulgence I look forward to once a year.

In effect, I could easily replicate the programming of Noir City 2013 to satisfy the 10-film requirement of this year-end wrap-up; but, that wouldn't be fair to the rest of the fine programming executed in the Bay Area during the rest of the year.  Before leaving Noir City, however, I have to give honorable mentions to the world premiere of a 3-D 4K digital resoration of Man In the Dark (1953), its Technicolor counterpart Inferno (1953)—also in a brand new 4K digital restoration—a traumatized Lee Remick in Blake Edwards' Experiment in Terror (1962), Edward Dmytryk's tense and engaging The Sniper (1952), Clarence Brown's 1949 adaptation of William Faulkner's Intruder in the Dust, the over-the-top close-ups of Billy Wilder's Sunset Boulevard (1950) where Gloria Swanson's iconic and unhinged Norma Desmond stares out at all those faces in the dark, and the pre-Code proto-noir A House Divided (1931), notable for an early version of Walter Huston's infamous Treasure of Sierra Madre jig.

The Thief of Bagdad (Castro / Silent Winter / 02/16/13)—As I reduce the number of film festivals I'm attending, some cannot be forsaken for being so unique and stellar; namely the San Francisco Silent Film Festival's bi-annual events.  At Silent Winter 2013 I was thrilled to the marrow by Raoul Walsh's The Thief of Bagdad (1924) wherein Douglas Fairbanks embodied the role of Ahmed with athletic virtuosity to the welcome accompaniment of the Mont Alto Motion Picture Orchestra.  Honorable mentions at Silent Winter 2013 would have to include J. Searle Dawley's Snow White (1916), which contextualized both Disney's animated version of the tale, as well as more contemporary efforts such as the Spanish Blancanieves and Hollywood's Snow White & The Huntsman.  Also, Buster Keaton's shorts, Sam Taylor's My Best Girl (1927) featuring sweetheart Mary Pickford, and F.W. Murnau's atmospheric adaptation of Goethe's Faust rounded out a satisfying edition.

Blood Money (Roxie / Pre-Code / 03/01/13)—Rowland Brown's Blood Money (1933) was one of the highlights of Elliot Lavine's "Hollywood Before the Code: Deeper, Darker, Nastier!!"  With its endearing portrayals of transvestism and sadomasochism, Blood Money titillated, entertained, and/or offended its Roxie audience as much as it did 70+ years ago.  Add Judith Anderson's film debut, Frances Dee at her kinkiest, Katherine Williams' sapphic "Nightclub Woman Wearing Monocle" and Blossom Seely's bluesy musical numbers, and it was blood money well-spent.

Invasion of the Body Snatchers (Castro / SF International / 05/05/13)—Philip Kaufman was the recipient of the San Francisco Film Society's 2013 Founder's Directing Award.  The catalog related a lovely anecdote of how Kaufman met Anaïs Nin at the University of Chicago in 1962.  They spent the day together, shared ideas, and she encouraged him to become a film director.  Among the remarkable roster of films to follow, his 1978 adaptation of Jack Finney's classic novel updated Finney's 1950 Cold War paranoia to post-Nixon era San Francisco.  One could extend that narrative to the present day to wonder if all these Google buses aren't actually transporting pod people?  Just as the HBO series Looking weaves its San Francisco locations into its narrative design, Invasion of the Body Snatchers likewise provides a tangible sense of '70s San Francisco, such that to this day I can't walk through Civic Center without fearing that I'll encounter something half human, half dog.

Wild Girl (PFA / Kehr / 08/01/13)—Back to the notion of a "special event", Berkeley's Pacific Film Archive brought New York Times film critic/historian Dave Kehr to the Bay Area to introduce and contextualize three Raoul Walsh westerns: Wild Girl (1932), a new print of The Lawless Breed (1953), and the "noir western" Pursued (1947).  Having the opportunity to dine with one of my favorite film writers, hearing him in conversation with local critic Michael Fox, and sharing the experience with Idaho filmmaker Zach Voss who was visiting the Bay Area made for a special event indeed.  Further, on the occasion of these screenings, Film International granted permission for me to republish my seen-by-few interview with Dave Kehr upon the publication of his book When Movies Mattered: Reviews From A Transformative Decade.

Sorcerer (PFA / 09/19/13)—With my habit for recording nearly every public film appearance in the Bay Area, it seems almost unbelievable that I didn't bother to record or have recorded my on-stage conversation with William Friedkin when the newly restored digitally remastered Sorcerer (1977) screened mid-September at the Pacific Film Archive during their Friedkin retrospective.  Memory will have to serve with this one; but, oh, what a memory!!

The Gospel According to Matthew (PFA / 09/22/13)—I gave up on Pier Paolo Pasolini after being introduced to him via Salò: 120 Days of Sodom, which I was way too young and inexperienced to absorb.  But wooed back to his oeuvre by Fandor who invited me to interview Ninetto Davoli, one of Pasolini's key actors, during a Bay Area multi-venue retrospective of Pasolini's films, I was stunned to—first of all—discover that I could now appreciate Salò on its own merits (perhaps because of years of watching torture porn in the horror genre, which makes Salò seem nearly quaint by comparison), but just how beautiful some of his earlier films were, particularly the incandescent Gospel According to Matthew, which aligned neatly with my interest in the Historical Christ and the Gnostic Gospels.  Not only did this film reawaken my interest in Pasolini, but it literally reawakened my passion for arthouse cinema.