Tag Archives: Bing Theater

KEN JACOBS

“[Ken Jacobs], cinema’s master inter- and reinventionist, [has] found yet another way to make the medium new, employing a logarithim to rework a thirty-second fragment of a 1897 Lumière actualité into a seventy-three minute 3D movie wherein space regularly inverts itself. Kinda has to be seen to be believed.” — J. Hoberman on THE GUESTS, Artforum

Experimental filmmaker Ken Jacobs is out and about this week for public conversations, screenings, and Q & As.

In conjunction with the exhibition 3D—DOUBLE VISION:

KEN JACOBS IN CONVERSATION

A SWIM THROUGH OPEN SPACE

Sunday, October 7, at 1 pm.

Bing Theater, LACMA, 5905 Wilshire Boulevard, Los Angeles.

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Nervous Magic Lantern performance with live sound by Aki Onda:

Redcat, 631 West 2nd Street, downtown Los Angeles.
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Los Angeles premiere:
THE GUESTS , directed by Ken Jacobs
Tuesday, October 9, at 8 pm.
Downtown Independent, 251 South Main Street, downtown Los Angeles.

CHAPLIN’S DICTATOR

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Hollywood started the switch to sound in 1929, but Charlie Chaplin continued to make silent films—City Lights, Modern Times—throughout the thirties, and it wasn’t until 1940 with THE GREAT DICTATOR that audiences heard his voice.

LACMA will end their Chaplin month with a 35mm print screening of this political satire.

 

THE GREAT DICTATOR, Tuesday, June 26, at 1 pm.

BING THEATRE, LACMA, 5905 Wilshire Boulevard, Los Angeles.

lacma.org/great-dictator

See: vulture.com/charlie-chaplin-great-dictator

Charlie Chaplin in The Great Dictator.

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FAHRENHEIT 451

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“You’re still high on kerosene, aren’t you? I can smell it from here.” – Beatty to Guy Montag, in FAHRENHEIT 451

In a world where Frederick Douglass remains alive, well, and discredited (at least among a disingenuous White House cadre), the news that Benjamin Franklin – founder of the first American fire department – gave license to burn is less than surprising.

Intelligence is suspect, facts confuse and divide us, and memories can only bring on depression. The solutions are mandatory medication and the eternal flame of vigilance as a Praetorian guard of fireman – led by Beatty (Michael Shannon) and his protégé Guy Montag (Michael B. Jordan) – fans out over the city on a search-and-destroy mission to destroy unauthorized hard drives.

On a good night, the uniformed flamethrowers hit the holy grail: rooms full of actual books. The look, the feel, the sensuality of printed paper bound between covers prove too alluring for young Montag. Out of a particularly vivid bonfire he surreptitiously rescues a copy of Dostoyevsky’s Notes from the Underground and smuggles it back home. And a light turns on in his head.

Writer/director Ramin Bahrani’s new version of Ray Bradbury’s classic 1953 novel FAHRENHEIT 451 – Bradbury’s confrontation with the specters of McCarthyism and television – screens on HBO this weekend. When François Truffaut filmed the book in 1966, the Vietnam War was escalating, but Watergate was still in the future. In our dark, new age of fake-fake news and institutional kleptocracy, Bradbury’s extraordinary prescience rings truer than ever.

During a Film Independent at LACMA screening earlier this month, Bahrani talked with program curator Elvis Mitchell about his latest work.

“I wanted to risk a lot with this film, and more daunting than [the version by] Truffaut was Bradbury himself and the book..

“Like people first read FAHRENHEIT 451 in high school, I wanted to make a film that would impact high-school students today. This is not a movie about the future. It’s a movie about an alternate tomorrow.”

 

FAHRENHEIT 451, Saturday, May 19, at 8 pm, on HBO.

hbo.com/fahrenheit-451

filmindependent.org

See: thedailybeast.com/michael-shannon-on-fahrenheit-451

Above: Michael Shannon (left) and Michael B. Jordan in Fahrenheit 451. Image credit: HBO.

Below: Ramin Bahrani (left) and Elvis Mitchell, Film Independent at LACMA Fahrenheit 451 post-screening Q & A, Bing Theater, LACMA, May 3, 2018.

Ramin Bahrani, Elvis Mitchell, MS, Stage

CHRISTOPHER STRONG

Katharine Hepburn’s second film CHRISTOPHER STRONG—directed by Dorothy Arzner—is a high-style oddity, the story of an “aviatrix” and her fatal affair with an older married man.

The RKO cult classic is part of month-long LACMA tribute to Arzner, the only female director working in Hollywood in the 1930s.

 

CHRISTOPHER STRONG (1933), Tuesday, January 9, at 1 pm.

BING THEATER, LACMA, 5905 Wilshire Boulevard, Los Angeles.

lacma.org/event/christopher-strong

See Kenneth Turan on Arzner, Los Angeles Times, July 29, 2015:

latimes.com/entertainment/movies/la-et-mn-dorothy-arzner

 

DIETRICH AND VON STERNBERG

Marlene Dietrich actually was rather modest in a very appealing way. [She] was fortunate, as was the man who found her [Josef Von Sternberg]. This is one of the great collaborations—for five years Dietrich was willing to subject herself to one man’s guidance, at the risk of destroying the very success he offered her with their first films [The Blue Angel and Morocco].

“People wanted to see more of her, [and] the clever thing would have been to have made her work with other people and develop her personality. Instead, she stuck with Von Sternberg… She was everything he needed. Over fifty years have gone by, and of course there’s no replacement for her.” — John Kobal*

Three Dietrich–Von Sternberg collaborations will screen at LACMA through the end of April, 2017.

SHANGHAI EXPRESS 

Tuesday, April 11 at 1 pm.

THE SCARLET EMPRESS 

Tuesday, April 18 at 1 pm.

THE DEVIL IS A WOMAN

Tuesday, April 25 at 1 pm.

Bing Theater, LACMA, 5905 Wilshire Boulevard, Los Angeles

* John Kobal, interview by Vicky Wilson, Interview, April 1992, 112–114.

Top: Marlene Dietrich in The Devil is a Woman (1935).

Above: Dietrich in The Scarlett Empress (1934).

Below: Clive Brook and Dietrich in Shanghai Express.