Monday Night Movies: Cinema Migrations

35mm film series at the Waterville Opera HousePublication1
October 2014—April 2015

Tickets: $9 / $5 for students
PLEASE NOTE: the April 20 screening of White has been moved to Railroad Square Cinema! All other screenings will be held at the Waterville Opera House as planned.

Once upon a time, films were called “moving pictures,” a term that’s almost gone out of existence the way that “talkies” has.  But that IS what movies were, at least ‘til the digital age. (Perhaps now they’re “moving dots”…) In critic David Bordwell’s equation, “motion equals emotion,” referring to the tracking 35mm camera and its effects on our deepest feelings. But perhaps motion also equals emotion in stories about moving, stories about migration, whether of people, birds, immigrants, cultures. This series of glorious, rarely-screened original 35mm films fulfills that notion in seven amazing—and yes, moving!—cinematic stories.

Bound for GloryBOUND FOR GLORY (1976)
October 20, 2014, 6:30 p.m.   BUY TICKETS
Adapted from Woody Guthrie’s autobiography, Hal Ashby (who’s now largely and unfairly forgotten despite making such tremendous films as COMING HOME. SHAMPOO, THE LAST DETAIL, HAROLD AND MAUDE and BEING THERE) directs a gorgeous, moving biography of a real hero—an extraordinary, ordinary “man of the people.” BOUND FOR GLORY centers on a few pivotal years in the life of the celebrated folk singer and social activist in the Depression 1930s. Midwesterner Guthrie (brilliantly incarnated by a wryly smiling David Carradine) plays music locally but cannot make enough as a sign painter to support his wife (Melinda Dillon) and children. With only his paintbrushes, Woody joins the migration westward from the Dust Bowl to supposedly greener California pastures via boxcar and hitchhiking, accompanied by his guitar… A beyond deserved Oscar winner for Haskell Wexler’s mesmerizing, groundbreaking cinematography and Leonard Rosenman’s Musical Adaptation of Guthrie’s songs, BOUND FOR GLORY was also a Best Picture Oscar nominee—but has gone sadly unseen and unremembered, like most of the great films, a movie ahead of its time. Catch up now! PG. 147 Min.
Sponsored by Mainely Brews Restaurant & Brewhouse

Sunrise-A-Song-of-Two-HumansSUNRISE (1927)*
November 17, 2014, 7:00 p.m.   BUY TICKETS
F.W. Murnau’s (NOSFERATU) American masterpiece is deep in the heart, and follows the country’s and history’s path from rural to urban. One of the last films of the Silent Era, it makes you wish that era had never ended. It’s also often recognized as one of the great films in the history of cinema, though one not often seen. “Subtitled ‘A Song of Two Humans,’ it tells the simple tale of a country farmer who, under the spell of a sophisticated city vamp, plots the murder of his wife. Moving from grim tragedy to delirious farce, SUNRISE presents a fable of love and lust, light and dark, town and city that remains thematically contemporary. SUNRISE is the final and fullest expression of classic silent cinema, combining diverse stylistic elements of the twenties into an integrated whole. Its camera movements are masterfully, breathtakingly choreographed.”– Sundance Institute. Unrated. 94 Min.
Sponsored by Colby College Cinema Studies

Winged MigrationWINGED MIGRATION (2001)
December 15, 2014, 7:00 p.m.    BUY TICKETS
“For eighty million years, birds have ruled the skies, seas and earth. Each spring, they fly vast distances. Each fall, they fly the same route back. This film is the result of four years following their amazing odysseys, in the northern hemisphere and then the south, species by species, flying over seas and continents.”—Jacques Perrin. Five teams of people (more than 450 people, including 17 pilots and 14 cinematographers) were necessary to follow a variety of bird migrations through 40 countries and each of the seven continents. The film covers landscapes that range from the Eiffel Tower and Monument Valley to the remote reaches of the Arctic and the Amazon. All manner of man-made machines were employed, including planes, gliders, helicopters, and balloons, and numerous innovative techniques and ingeniously designed cameras were utilized to allow the filmmakers to fly alongside, above, below and in front of their subjects. The result is a film of staggering beauty that opens one’s eyes to the ineffable wonders of the natural world. G. 89 Min.
Sponsored by L.C. Bates Museum

January 19, 2015, 6:30 p.m.    BUY TICKETS
In many ways, this is not only Francis Ford Coppola’s masterpiece, but also the high water mark of the wonder years of American cinema, the ‘70s. Has there ever been a film as beautiful, ambitious, uncompromising — and commercially successful! — as Coppola’s legendary, Oscar-sweeping (Best Picture, Best Director, Best Supporting Actor for Robert De Niro) expansion of his original smash hit? And has there ever been a greater film about the American Immigration experience? The “sequel/prequel” to THE GODFATHER “parallels the young Vito Corleone’s rise with his son Michael’s spiritual fall, deepening The GODFATHER’s depiction of the dark side of the American dream.”—Lucia Bozzola, Rovi. R. In English, and in Italian, Sicilian, Spanish and Latin with English subtitles. 200 Min.
Sponsored by KFS, Kennebec Federal Savings

latchodrom-1993-01-gLATCHO DROM (1993)
February 16, 2015, 7:00 p.m.    BUY TICKETS
“This majestic, French-made film wishes viewers a ‘latcho drom’ — a safe journey — as it follows the roots of the Rom, traveling people better known as Gypsies. Stunning and evocative, it transcends language and culture, bringing together the best elements of National Geographic-style documentary and music video in a kind of anthropological MTV. Using only music and image, without any steady characters or plot, award-winning director Tony Gatlif (himself of Rom descent) tells a compelling story of Rom migrations from Northern India to Europe and the rest of the world. Beginning with a gathering of lavishly dressed nomads singing across the harsh deserts of Rajasthan, viewers are transported through the lush oases of Egypt into the ghettoes of Turkey, from the muddy lanes of Eastern Europe through lush French fields to the windswept coastal cities of Spain. Every step of the way, there are hypnotic reminders of the harshness and beauty of the Rom lifestyle: the rhythms of labor pounding into vibrant dance, the songs of Turkish flower sellers merging with the plaintive political satires of a gray-haired Romanian violinist. Music is everywhere—children barely able to walk dance alongside great-grandmothers—and covers all styles and subjects—from the wintry strains of an Auschwitz lament to a flamenco devotional in a Spanish shrine to a festive Dixieland number that borrows as much from New Orleans as from northern India.”—Grant Balfour. Unrated. In Romany, Spanish, French, Arabic, Turkish, Slovak, Hungarian and Rajasthani with English subtitles. 103 Min.
Sponsored by the Colby College Museum of Art

walkaboutWALKABOUT (1971)
March 16, 2015, 7:00 p.m.    BUY TICKETS
With pre-screening talk by David J. Strohl, Assistant Professor of Anthropology at Colby College
“A car stops in the middle of the parched Australian outback. What looks like the beginning of a small family picnic takes a quite different course as a 14-year-old girl and her 6-year-old brother, in an attempt to get back to civilization, set off on a trek through the captivating orange landscape. Their passage becomes some sort of initiation ritual, a journey towards adulthood on which they are accompanied by a young Aborigine whom they come across one day. WALKABOUT isn’t a story about a struggle for survival in the scorching desert, although, in some of the shots, the oppressive heat is almost tangible — one can feel the dryness in one’s throat. Nor is it simply a story about the clash of two cultures. The way in which director Nicholas Roeg (THE MAN WHO FELL TO EARTH, DON’T LOOK NOW) who was also cameraman on the film, captures the desert, John Barry’s music, the fragments of poetry, the truly bizarre events the children experience on their pilgrimage, and, above all, the unusual structure of the film with interlaid editing, transform WALKABOUT into a kind of strange feverish dream. Rather than a place of physical suffering, the outback is presented more as a mystical landscape, where the children go through an inductive and unfamiliar process of experiencing ‘primitive’ life. Their journey through the desolate timeless terrain, full of wild animals, vegetation and colors, resembles an excursion into a God-forsaken, feral and sensuous primordial world, governed by instinct, pure emotion and freedom. Roeg believes in the lost Paradise, where people weren’t confined by rational behavior, moral rules and concrete walls. Unlike others, however, he seems to suggest that it won’t be found in some pre-industrial world, but slumbers forgotten somewhere deep in the human mind.”—Karlovy Vary Science on ScreenFilm Festival. R. In English and in Aboriginal, Czech and French with English subtitles. 100 Min.
Sponsored by SBS/Carbon Copy
WALKABOUT is a Science on Screen event, funded in part by the Coolidge Corner Theatre Foundation and the Alfred P. Sloan Foundation

three-colors-white-julie-delpyTHREE COLORS: WHITE (TROIS COULEURS: BLANC) (1994)
April 20, 2015, 7:00 p.m.
This screening will be held at Railroad Square Cinema!
The second feature in the great filmmaker Krzysztof Kieslowski’s “Three Colors” trilogy (his BLIND CHANCE knocked out audiences at this summer’s MIFF), “the black comedy WHITE features Zbigniew Zamachowski as Karol Karol, an expatriate Polish hairdresser whose French wife (the breathtaking Julie Delpy) divorces him after just six months of marriage because of his impotency. Penniless and devoid of his passport, Karol must journey back to Poland by hiding in a trunk. Upon his return, he slowly begins amassing a considerable fortune, ultimately hatch-ing a perverse plot for revenge. Often unjustly dismissed as the weak link in the trilogy, WHITE grows in strength upon repeated viewings. An allegory about equality, the film is mordantly witty, a cynical look at power, marriage, and capitalism.”—New York Film Society. In fact, it’s a sly, brilliant masterpiece about immigration of the heart and the soul, from one of the great filmmakers of all time. R. In Polish, French and Russian with English subtitles. 91 Min. (The other two films in the Trois Couleurs trilogy will be screened in 35mm at Railroad Square Cinema as follows: Bleu (Blue) on Tuesday, April 14 at 7:00 p.m. and Rouge (Red) on Tuesday, April 28 at 7:00 p.m.)
Sponsored by Colby College Cinema Studies