Welcome to the SECOND_________ SEATTLE_________ INTERNATIONAL FILM______________ I FESTIVAL
Last year's International Festival proved a huge success — both in terms of audience participation and in respect to film quality. With this, The Second International Film Festival in Seattle, we feel we have matched and even surpassed last year's level. A ll but two of the film s (Lancelot du Lac, Saragossa Manuscript) are Pacific Northwest Prem ieres; for some, it is the first or second showing in North Am erica. Without exception, every film has been acclaimed at major international festivals. This year w e have included special programs in the form of an "Am erican Film Theatre" retrospect, Saturday and Sunday m atinees, and a look at what makes a film rated X series on Fridays and Saturdays at midnight. We would like to draw your attention to the Sneak Previews this year. Last year it seemed nobody took a seat, or took a chance. The ones that did w ere delighted. This year w e're giving you better odds. One of the Sneaks is ANDY WARHOL'S BAD. And the others are just as exciting. So this ye ar be brave, you won't be dissapointed. The Moore Egyptian is dedicated to bringing Seattle the best in film and stage entertainment, and to this end w e offer you a 17 day orgy of the most exciting new film s from all over the world. The Second Seattle International Film Festival is respectfully dedicated to all of the Hollywood Blacklist Victims of the McCarthy era, many of whom had a profound influence on the course of world film m aking.
DAN IRELAND DARRYL MACDONALD Festival Directors JIM DUNCAN Festival Co-ordinator
CALENDAR OF PROGRAMS SUN D AY
MONDAY
T U ESD A Y
W ED N ES D A Y
!CALENDAR OF PROGRAMS TH U R SD A Y
FR ID A Y
SATURD AY
27 M AY
28 M AY
7:00 The Best Way
2:00 Rhinoceros
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7:00 People of the Wind
29 M AY
30 MAY
31 MAY
1 JUNE
2 JUNE
2:00 A Delicate Balance 7:00 Incredible Sarah 9:30 Lancelot du Lac
7:00 Under Milkwood
7:00 The Old Gun
7:00 California Reich
7:00 A Bigger Splash
9:30 A Woman of Paris
9:30 Saragossa Manuscript
9:30 Story of Sin
9:30 Let Joy Reign Supreme
5 JUNE
6 JUNE
7 JUNE
8 JUNE
9 JUNE
2:00 The Iceman Cometh 7:00 A Woman of Paris 9:30 People of the Wind
7:00 The Old Gun
7:00 Let Joy Reign Supreme
7:00 F For Fake
7:00 Lancelot du Lac
9:30 Saragossa Manuscipt
9:30 Incredible Sarah
9:30 The Clockm aker
9:30 Circus in a Circus
12 JUNE
13 JUNE
14 JUNE
2:00
7:00 Mother Kuster's Trip to Heaven 9:30 California Reich
7:00 Sneak Preview
The Maids
7:00 Under Mi Ik wood 9:30 Aguirre, the Wrath of God
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9:30 Allegro non troppo
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9:30 Raise Ravens (Cria Cuervos)
9:30 Mother Kusters' Trip to Heaven
3 JUNE
4 JUNE
7:00 Circus in a Circus 9:30 Special Preview
2:00 The Homecoming
12:15 Exhibition
12:15 Thundercrack
7:00 The Clockm aker 9:30 A guirre, the Wrath of God 12:15 Multiple Maniacs
10 JUNE
11 JUNE
7:00 The Story of Sin
2:00 Butley
9:30 Tracks 12:15 Eraserhead
8:00 M ax Havelaar 12:15 To Be Announced
EVENING PROGRAMS Y* WH
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wmmmrn THE BEST WAY France - 1975.
RAISE RAVENS ("Crla Cuervos") Spain - 1975.
PEOPLE OF THE WIND Iran - 1976.
Director: Claude Miller; Principal cast: Patrick Dewaero, Patrick Bouchitey, Christine Pascal; Producer: Hubert Niogret; Screenplay: Luc Beraud, Claude Miller; Cinematography (Eastmancolor): Bruno Nuytten; Editor: Jean-Bernard Bonis. Cannes San Francisco, London, Chicago, Portland Festivals.
D irector/Screenw riter: Carlos Saura; Principal Cast: Geraldine Chaplin, Ana Torrent; Producer: Elias Q uerejuta; Dinematography: Teodoro Escamilla; Editor: Pablo G. Del Amo. London, Los Angeles Film Festivals, Cannes Film Festival 1976. Special Jury Prize.
Director: Anthony Howarth; Narration: James Mason; Producer: Anthony Howarth, David Koff; W riter: David Koff; Cinematography: Michael Dodds; Editor: Carolyn Hicks; Music: Shusha, G.T. Moore. Academy Award Nominee, Golden Globe Award Nominee Best Documentary Feature, Film Advisory Board Award
This beguiling comic drama is the first feature by Claud«. M iller and the surprise hit of this year's San Francisco Film Festival. M iller, protege of Francois Truffaut and form er assistant to Godard, Bresson, and Demy, proves himself worthy of the company he has kept. In a boys' summer camp the activities are divided according to interest - the macho, the artistic, the intellectual - and the disciplines confront each other as they do in society at large. When the athletic director d isc o v e rs the a rts d ire c to r dressed as a woman, he tells no one, but wields his knowledge to co n tro l h im , and the psychological tension builds under the very funny veneer of the summer retreat environment.
"Raise ravens, and they'll peck out your eyes," says the Spanish proverb, and the ravens here are c le a rly u p p e rcla ss Spanish society. Director Saura brilliantly casts Ana Torrent, child star of Victor Enrice's "Spirit of the Beehive," in the haunting role of a little girl dream ily observing the events, in the d e sp e ra te ly unhappy miniature world she inhabits. Her performance is nothing short of fabulous. G eraldine Chaplin p la ys the grow n-up A n a , n a rra tin g the sp e llb in d in g childhood memories of her life, long ago in Madrid.
An in c re d ib le near epic documentary of the Bakhari tribe of nomads in southern Iran. Following the tribe on their annual migration over the Zagros mountains - as high as the Alps and as broad as Switzerland - the Film m akers have recorded the most hazardous test of human endurance still undertaken year after ye ar by an entire people. Academ y A w ard Nominee: Best Documentary, 1976. The film m akes good use of its stereo sound with a hauntingly beautiful souid track, and the visuals inspire a sense of awe for the film m akers who must have faced next to insurmountable odds in recording this journey.
May 27 7:00
May 27 9:30
May 28 7:00, June 5 9:30
THE INCREDIBLE SARAH G reat Britain - 1976.
LANCELOT du LAC France - 1974.
Director: Rainer Werner Fassbinder; Prin cipal cast: Brigette Mira, Ingrid Caven, Armin Meier, Karl Heinz Bohm; Screenwriter: R.W. Fassbinder; Cinem atography: Michael Ballhaus; Editor: Thea Eymesz Gabi Eichel; Art Director: Kurt Rabb. San Francisco Film Festival.
Director: Richard Fleisher; Principal cast: Glenda Jackson, Daniel Massey; Producer: Helen M. Strauss; Screenplay: Ruth Wolff; Photography: Christopher Challis; Editor: John Jympson. Academy Award nominee - Best Art Direction, Costume Design.
Director: Robert Bresson; Principal cast: Luc Simon, Laura Duke Condominas; Screen writer: Robert Bresson; Producers: JeanPierre Rassam, Jeanne Yanne; Photography: P. de Santos; Editor: Germaine Lamy; Score: Phillipe Sarde. Cannes, New York Film Festivals.
In his 27th film , D ire cto r Fassbinder (Fox and His Friends; f ir s t S e a ttle In te rn a tio n a l Festival) seeks to capture the reality of West Germ any today in a bitterly funny tale about a sw eetly gullible little old lady whose mild-mannered husband, Herbert, goes beserk at the factory, kills the boss' son and th ro w s h im se lf into the machinery. Bewildered, Mother Kuster sets out to clear her husband's name or at least find out why he did it. She never does find out, but in her quest she learns a lot about the vultures in the world around her and finally finds "Heaven and Earth." Fass b in d e r, c y n ica l as a lw a y s , provides us with such amusingly stereotyped characters as a money grabbing daughter who fa n c ie s h e rs e lf as M a rle n e Deitrich
Glenda Jackson provides one of the finest performances of her career in a witty and outrageous portrayal of the legendary Sarah Bernhardt. Supported by an e n v ia b le B ritish ca st in a productio n w o rth y of tw o Academ y A w ard nominations, Miss Jackson perfectly captures the spirit of Madam Sarah - both as a woman and an actress. Interspersed throughout the movie are vignettes from Ber nhardt's greatest stage suc cesses, offering Jackson ample opportunity to display her wide range of talent. Stunningly photographed by Christopher Challis, THE INCREDIBLE SARAH marks yet another tour de force performance for the incredible G lenda.
An austere, compelling, hypnotic and extrem ely stylized film dealing with the King Arthur legend. LANCELOT du LAC is about the last days of the round table when, after the bloody fruitless quest for the Holy G ra il, the knights return to a fading Camelot and fall out among one another. The story revolves around the star-crossed love of Lancelot and Queen G uinevere. Robert Bresson's most ambitious and most intensely private film to date, it's sheer beauty and w o rk manship m arks it as a film sure to em erge a classic. Bresson has c re a te d a stu n n in g v is u a l sp e c ta c le q u ite u n lik e any c o n v e n tio n a l fim l sp e c ta c le you've ever seen.
May 28 9:30, June 13 7:00
May 29 7:00, June 7 9:30
May 29 9:30, June 9 7:00
MOTHER HEAVEN I , * I ij
KUSTER'S TRIP TO Germ any - 1976.
Dylan Thomas'UNDER MILKWOOD G rea t Britain - 1974
A WOMAN OF PARIS U .S.A , - 1923
THE OLD GUN France - 1975
Director: Andrew Sinclair Cast: Peter O'Toole, Richard Elizabeth Taylor. 105 min., Color.
Producer/Director/Screenwriter: Charles Chaplin; Black and White - 90 min. - 1:33 format; Cast: Edna Purviance, Adolphy Menjou, Carl Miller; Cinematographers: Rollie Totheroh, Jack Wilson. New York, Los Angeles Film Festivals.
Director: Robert Enrico; Cast: Philippe Noiret, Romy Schneider; Producer: T.l.T. Films; Screenplay: Robert Enrico; Cinematographer: Ettienne Becker; Score: Francois de Roubais.
C h a rlie C h a p lin 's fir s t in dependent feature as a director (only acting in a tiny w alk on role). A brilliantly sophisticated treatment of a love triangle story, it exem plifies Chaplin's e x traordinary ability to visualize psychological action and had a profound effect on other film m akers, especially in Europe. Kept under wraps for over 40 years by Chaplin himself, this is a newly restored version with a brand new musical score by Chaplin. Note SUNNY SIDE, a 1923 short by Chaplin w ill be shown with A WOMAN OF PARIS.
The w inner of three Awards in the French equivalent of the Academ y A w ards (including Best Picture and Best Actor). THE OLD GUN is a sharp and skillful study of a grim France in the concluding days of the nightmarish German occupation of WW II. It focuses on the plight of a provincial doctor who undertakes his own 11th hour vengeance on occupying troops that have murdered his w ife and daughter. The events le a d in g up to the doctor's decision to murder the soldiers are depicted in a series of striking flashbacks which initially create a moving love story and turn it into a gripping story of one man's justice. Noiret adds to his reputation as one of the finest actors in the w orld. A shattering film that is not recommended to view ers with a sensitive nature.
May 30 9:30, June 5 7:00
May 31 7:00, June 6 7:00
Burton,
Dylan Thomas' lyrical, sensual childhood memories have been magically transformed to the screen, with the help of O'Toole, who re-enacts over ten of Thomas' characters. Richard Burton's narration throughout the film gives it the haunting, melancholy and seductive feeling that Thomas so beautifully did in his novel. The story is of a small seaside town in W ales and its inhabitants during the late 19th Century. For some unfathomable reason this film has had terrible distribution, and this marks one of the few times it has been shown in the U.S. It is excellent • see it w hile you have the chance.
CALIFORNIA REICH U S . A . 1976.
THE STORY OF SIN Poland - 1975.
Director: Wojciech J. Has; Principal cast: Zbigniew Cybulski, Iga Cembrzynska, Joanna Jedryka; Producer: Kamera Film Unit; Screenplay: Tad Kwiatkowski; Photography: Mieczyslaw Jahoda.
Directors/Producers/Screenwriters/Photographers/Editors: Keith F. Critchlow, Walter F. Parkes. Music: Craig Safan. Academy Award Nominee - Best Documentary. Los Angeles, London, New York Film Festivals, 1976.
Director/Screenwriter: Walerian Borowczyk; Principal Cast: Grazyna Dlugolecka, Olgierd Lucaszewica, Jerzy Aelmik; Producer: Film Polski; Screenplay: Borowczyk (novel by Stefan Zermski); Photography: Zygmunt Samosiuk; Music: Mendelssohn, Johann Pachelbel. Cannes, Berlin, New York, Los Angeles Film Festivals.
The Saragossa Manuscript is a fantasy romance story - a strange fairy-tale full of ghosts and duels and spiced with a strong Spanish flavor; a fairy tale with a strong edge of irony in which stories of fantastic adventures are mingled with discussions on the magic arts, science, and mathematics. Famed Polish historian Jan Potocki has created a fabulous w o rld peopled by e xo tic Spaniards, Gypsies, and Egyptian beauties; a world imbued with the wealth of the exotic East and Moorish culture. The Saragossa Manuscript has been unavailable for many years. This year's festival committee has located a print and now offers us a new look at this modern classic.
Yes, Virginia, there are real live Nazis in this country. It took 3 months to get inside the front door of a Nazi household in California and another eight months before cam eras w ere permitted. Eventually the film m akers gained entry to the Am erican Nazi Party's inner circle. The result is an intimate and chilling portrayal of the contemporary Nazi movement in A m e ric a . In turn a m u sin g , p a th e tic , and g rip p in g , a documentary of rare force and insight. Truth is invariably more bizarre than fiction and this film seems designed to underline the fact — the film m akers are to be congratulated for scaring us so thoroughly.
A classic illustration of the triumph of evil over good, THE STORY OF SIN follows a young girl from her puritanical upbring ing to an impassioned love a ffa ir that brings out in her the best, the w orst, and the unexpected. The film is a celebration of amour fou - when it comes to love, anything goes. W riter-director W alerian Borowczyk (Immoral Tales) has given the old story of fallen-virgin-as-victim-of-an-evil-world a vibrant reality and a venomous beauty that sweeps us through a hallucinatory series of misad ventures from W arsaw to Rome; from Monte Carlo to G ene va. It is an astonishing and unforgattable film ; e ro tic , se n su a l and m assively detailed. To quote Jack Kroll in N ew sw eek, "STORY OF SIN is one of the most visually beautiful film s I've ever seen, an almost miraculous achievement
May 319:30, June 6 7:00
June 1 7:00, June 13 9:30
June 1 9:30, June 10 7:00
THE SARAGOSSA MANUSCIPT j Poland - 1967
A BIGGER SPLASH G reat Britain
LET JOY REIGN SUPREME France - 1976. 120 min. Color.
CIRCUS IN THE CIRCUS Czechoslovakia/Russia
Director: Jack Hazan. Principal cast: David Hockney, Peter Schlesinger, Celia Birtwell, Ossie Clark. New York Film Festival; Cannes Festival 1974, Critics' Week Selection; Chicago Film Festival, Golden Plaque; Locarno Film Festival, 1974, Grand Prix and Prix Cinegram.
Director: Bertrand Tavernier; Cast: Phillipe Noiret, Jean Rochefort; Producers: Michelle de Broca, Yves Robert; Screenplay: Bertrand Tavernier, Jean Aurenche; Photography: Pierre W. Glenn; Editor: Armand Psenny; Music: Philippe d'Orleans.
Director: Oldrich Lipsky; Principal cast: A.S. Lenkov, N.V. V arlei, L.V. Kuravlev; Producer: Barrandov Studios-Mosfilm; Screenplay and Story: Y. Kostyukovski, Oldrich Lipsky, Milos Macourek, Morits Slobodskoi; Photography: Jaroslav Kucera.
Anyone fam iliar with David Hockney's art w ill be stunned by the visual connection between this film and his w ork. Hockney, arguably the most brilliant and successful British painter of his time, w as here filmed over a three ye ar segment of his life, during which major changes are obviously taking place. BIGGER SPLASH has at its core the story of Hockney's love affair with David, the subject of many of his paintings, and their subsequent break up. The film is unique, in that it perfectly captures the essence of Hockney's life and w ork and translates this essence into the film style. Watching the resulting film is like touring a Hockney exhibit and knowing the human background behind each painting.
The second, new, and highly successful creation of Bertrand Tavernier. A lavishly detailed cinematic accounting of the decline and fall of the decadent Regency in France in the early part of the 18th century. A veritable Satyricon of a film, centering on the corrupt and dissolute figure of the Duke of O rleans (brilliantly acted by Phillipe Noiret), uncle to and regent for the powerless boy k in g , Louis X V . The fil m culminates in the climactic scene of 'The Disaster Ball' - stalked by the allegorical and prophetic figures of M isery, Desperation and Crim e - an orgy of un p rece d e n te d s e n s u a lity and depravity, equalled only in the terrible 'Last Supper' of Bunuel's VIRIDIANA or the concluding scenes of LA DOLCE VITA.
CIRCUS IN THE CIRCUS is a combination of a romantic, farcical comedy in the best sense of the w ord and the epic panorama of the famed Moscow Circus that enjoys the same status as R u ssia 's Bolshoi B a lle t. Through Lipsky's (LEMONADE JOE) fine eye for the drama in the circus, we see the breath-taking feats of acts in a new closeness that affords a visual feast as well as a deeper understanding and appreciation of the circus world. Combining 17 acts and over 250 performers from Russia's three top circuses, this Czech/Russian co-production w as two years in the making, and w ill be this year's entry from Czechoslovakia to qualify for an Academy Award Nomination as Best Foreign Film.
June 2 9:30
June 2 9:30, June 7 7:00
June 3 7:00, June 9 9:30
1974.
1976
Please note: Director Oldrich Lipsky will introduce CIRCUS IN A CIRCUS at this screening.
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THE CLOCKMAKER France - 1973
AGUIRE, WRATH OF GOD Germ any - 1972. Color.
TRACKS U .S .A . 1977
Director Bertrand Tavernier; Principal Cast: Phillipe Noiret, Jean Rochefort; Producer: Raymond Danon; Screenplay: Jean Aurenche, Pierre Bost Winner: Prix Louis Deluc (French Critics Selection); French Academy Awards: Best Picture, Actor; Silver Plaque, Chicago Film Festival.
Director: Werner Herzog; Principle Cast: Klaus Kinski, Helena Rojo; Producer/Screenwriter: Werner Herzog; Photography: Thomas Mauch; Editor: Werner Herzog; Music: Popul Vuh.
Director: Henry Jaglom; Principal cast: Dennis Hopper, Taryn Power; Dean Stockwell; Producers: Burt Schneider, Howard Zuker; Photography: Paul Glickman; Editor: George Folsey Jr.
Bertrand Tavernier's astonishing first film , THE CLOCKMAKER has been acclaimed everyw here as a masterpiece. W inner of several international aw ards, (including a French Academ y Aw ard for Best Picture and prizes at the Berlin and Chicago film festivals) THE CLOCKMAKER is a stunningly real essay on the politics of the personal. Phillipe Noiret portrays a quiet man told by police that his son is a fugitive subversive wanted for murder. Thus begins a hunt in which the clockm aker learns exactly what an affluent society does for its fat-cat beneficiaries, and against those who are at their mercy. Brilliantly acted, the script abounds with dry wit and intelligence - a crime novel converted into a film about understanding.
On Christmas Day 1560, a group of Spanish conquistadores in Peru set out to conquer the legendary city of g old, El D o rado . Descending from the Andes to the Am azon,rebellion breaks out and a mad d em ag og u e, A g irre a ssu m e s com m and. A g u irre ultimately leads the group on to destruction among enemies the Spaniards cannot see, any more than they see their own folly. He is a psychopath, and the directors primary concern is power and its abuses; but as in all Herzog's film s, the voyage is as important as the destination. He has created a dazzling, mystical film ; the opening and clo sin g sequences are as stunning as anything in the history of the cinema. It is, as Richard Schickel states in Time Magazine: "A singular and haunting film ."
TRACKS is an extraordinary m o v ie , a jig s a w p u zzle of p a ra n o ia , s e n s itiv ity and brutality. It is a film about a Vietnam veteran who returns to the U .S .A . to bury his best friend, killed in Vietnam . Travelling across country on a train which bears his buddy's coffin, Hopper descends further and further into a state of Scitzophrenia which culm inates in a homecoming of rare strength and terror. Made by the producer of Easy Rider, Hearts and Minds, and Five Easy Pieces, TRACKS is the first Am erican film to tackle the despair, agony, and paranoia of the Vietnam veteran; it should be seen by every Am erican.
June 4 7:00, June 8 9:30
June 4 9:30, June 12 9:30
June 10, 9:30
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Please note: Director Henry Jaglom will introduce Tracks onstage at this screening.
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F. FOR FAKE France/lran/W . Germ any 1973
MAX HAVELAAR Netherlands/lndonesia - 1977
ALLEGRO non troppo Italy - 1976.
Director: Orson Welles; Principal Cast: Orson Welles, Oja Kodar, Elmyr de Hory, Clifford Irving, Joseph Cotton, Laurence Harvey; Screenplay; Welles and Oja Palinkas; Photography: (Eastmancolor) Gary Graver > and Christian Odasso; Editor: Marie Sophie Dubbs.
Producer, Director: Fons Rademakers. Screenplay: Gerard Soeteman, based on the nevel by MULTATULI. Di/ector of Photography: Jan de Bont, Technicolor, 170 minutes. Cast: Peter Faber, Sacha Bulthuis, Rutger Hauer.
Director/Producer/Screenplay: Bruno Bozzetto; Music: Debussy, Dvorak, Ravel, Sibelius, Vivaldi, Stravinsky; Photography (animation): Luciano Marzetti, (live action) Mario Masini; Editor: Giancarlo Rossi. London, Ottowa, Chicago, Los Angeles, Portland Film Festivals.
| Directed by Orson W elles, with footage by Francois Reichenbach. Orson W elles, the magician and master of illusion, who created the notorious War of the Worlds j broadcast and the dazzling | CITIZEN KANE, explores his favorite subject. F. FOR FAKE is a wide-ranging essay on art, I trickery, and the illusionary j distinctions between reality and | perception. The film centers | around m aster art forger Elmyr I de Hory, and expands to include [ such figures as Clifford and Edith Irving, Howard Hughes, and W elles him self.
Has Dutch cinema arrived? You bet your life it has, and how! This 6 million dollar Dutch epic con cerns the colonialization of the Dutch East Indies, and its savage consequences upon the people and culture of Java. Described as an epic saga of corruption, MAX HAVELAAR has much btoader implications than the Dutch exploitation of Java. It is an indictment of the Western World for their treatment of the Third World. Exquisitely photographed by Jan de Bont MAX HAVELAAR comes directly to us from this year's Cannes Film Festival, making this the second showing in North Am erica (the first was at this y e a r's Los A n g e le s Film Exhibition). MAX HAVELAAR is destined to be one of the most important and exciting films to be shown in this country in 1977.
ALLEGRO non troppo - acclaimed on this year's festival circuit as the g re a te s t a n im atio n a c h ie v e m e n t in y e a rs is a magnificently drawn and in credibly inventive satire on D isn e y 's F A N T A S IA w hich matches the e arlier film in technique and surpasses it in h um o r. L ik e F A N T A S IA , it co m bines liv e actio n and animation with illustrations of classical music. Included are Debussy's "Prelude to Afternoon of a Faw n"; Dvorak's "Slavic Dance No. 7"; Ravel's "Bolero"; Sibelius's "V alse Triste"; Vivaldi's "Concerto in C-Minor"; and S tra v in s k i's "T h e F ire b ird .'' Bozzetto's film w as premiered at the O tto w a In te rn a tio n a l Animation Festival, where the local critic noted, the audience literally fell into the aisles with laughter.
June 11 8:00
June 14 9:30.
June 8 7:00
MIDNIGHT PROGRAMS RATED X j
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THUNDERCRACK U .S.A . - 1975. 120 min._____________
EXHIBITION France - 1975. 118 min. Color.
MULTIPLE MANIACS U .S .A . 1972. 93 min.________________
Director/Cinematographer/Editor: Curt McDowell; Producers: John and Charles Thomas; Screenwriter: George Kuchar; Music: Mark Elinger; Principal Cast: Marion Eaton, George Kuchar, Melinda McDowell, Mookie Blodgett, Moira Benson, Rick Johnson, Maggie Pyle, Ken Scudder. Los Angeles, Virgin Islands Film Festivals.
Producer/Screenw riter/Di rector: JeanFrancois. Cinematographer: Roger Fellous. Editor: Christel Micha. Principal Cast: Claudine Beccarie, Benoit Archenoul, Frederique Barrai, Beatrice Harnois.
Producer/Director/Cinematographer/Screenwriter/Editor: John Waters. Principal Cast: Divine, Mink Stole, Edith Massey, David Lochary.
THUNDERCRACKI is erotica at its most hilarious. The film starts out in typical horror story style with a dark and stormy night, an assorted group of strangers (four men, three women and a gorilla), stranded in a remote Victorian mansion, and a crazed hostess who has her husband pickled in a jar and her monstrous son locked in the spare room. From there on in it is a series of outrageous test situations which manage to get everyone together, sexually and socially with everyone else, before dawn brings everything to a rousing conclusion with the m arriage of the oddest man out to the gorilla of his choice. A scream ingly funny film , com bining very erotic sex scenes with a dialogue style somewhere between Tenessee W illiam s and Jezebel - it manages to parody everything from THE OLD DARK HOUSE to CAT ON A HOT TIN ROOF - and kept us rolling in the aisles for its entire two hours. The ideal film to kick off the Midnite X Rated Series.
Director John W aters' (Pink F la m in g o s, F e m a le T ro u b le ) outrageous tale of a gang of w ie rd o s and p e rv e rts w ho conduct a traveling circus of h o rro rs w h ich robs a ll its customers. Based loosely on the Charles Manson killings, the stars, Divine, Mink Stole (Connie M arble) and Aunt Edie manage to create some of their funniest m aterial ever — out of murder, jealousy, and rape by a 15-foot lobster during a religious seizure during which Divine discovers she's God.
Please note: Marion Eaton, star of THUNDERCRACK will appear onstage for a discussion after the film.
Claudine Baccarie, the subject of th is d o cu m e n ta ry by Je a n Francois Davy, is the leading sex film actress of France. A woman of many contradictions, Ms. Beccarie w as brought up in a strict religious fam ily in Paris. A still-devout Catholic, form er G irl Scout and Cadet of M ary, she w as forbidden to date boys. At fo u rte e n , h e r life changed dram atically - but for reasons which only become clear at the film 's conclusion. A t that point and after such pious beginnings, she w as sent to reform school for five years and then drifted into prostitution in southern France and Spain. She began acting for director Davy in soft-core films when the Pompidou regime ended the G aullist crackdown on porno products. Today, at thirty, proud of her bisexuality, her young boyfriend, Didier, and her status as France's prem iere porno star, she is "very, very happy." Although there are a half dozen hard-core sex scenes, the film w alks the fine line between an erotic movie and a documentary about an actress who makes erotic film s.
Saturday, May 28
Friday, June 3
Saturday, June 4
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jMATINEE PROGRAMS ERASERHEAD I U .S .A . - 1976. 100min. B &W.
TURKISH DELIGHT Netherlands - 1974
; Producer: David Lynch, with AFI; DirecI tor/Screenw riter/Editor: David Lynch; I Cinematographers: Fred Elmes, Herbert ? Cardwell; Music: Fats Waller; Principal Cast: I Jack Nance, Charlotte Stewart, Jeanne Bates, Allen Josephs; Production ComI pany/Print Source: David Lynch. I Los Angeles, London Film Festivals.
Director: Paul Verhoeven. Screenplay: Gerard Soetman. Photography: Jan de Bont.
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N. THE AMERICAN FILM THEATRE RETROSPECT
Our salute to the American Film Theatre is a retrospect of six of the finest films to come from that package. These films are unavailable for a regular commercial showing, so with this in mind we urge you to take advantage of these rare screenings. Sun. June 5th - 2:00 p.m. (5AA)
The Iceman Cometh | ERASERHEAD is a bad dream. I Everything about it is awkward I and repulsive — beautifully 1 repulsive. The Bosch-like images I are nightmare perfect. I O utwardly the film is the simple I story of an innocent young man I (Henry) who has a fetish for insects and dirt. Henry lives in a I modest one-room apartment with | his fetishes and infernal radiator 1 — a meager existence by any || standards. I But Henry's simple life takes a I turn when, after a most upsetting I fam ily dinner, he's forced into | m arriage by the parents of his 1 pregnant girlfriend. Henry, w ife I and Baby (one of the screen's 1 most unique new child stars) I move in together. However, Henry's w ife soon finds the domestic strains too much and leaves Henry and Baby. Henry, at first untrained in the duties of |j parenthood, soon develops a true 1 fath er/it relationship. But Junior I becomes increasingly upset with I his father.
In 1974 this brilliant Dutch film was nominated for an Academy Aw ard as Best Foreign Film, and w as then sold by its distributor as an exploitation sex film , because of its X rating. Such an injustice should never happen, and it's about time somebody set the record straight. TURKISH DELIGHT is one of the most unusual, yet beautiful and honest love stories to reach the screen. Set in modern day Amsterdam , the film focuses on the relationship between a struggling young artist and a beautiful but repressed young woman. Director Paul Verhoeven, cinematographer Jan de Bont and stars Monique van de Ven and Rutger Hauer, the famed team who made CATHY TIPPEL, have managed to create the most enigmatic love story of the decade. This w ill mark the first showing of this film in its original language (with subtitles) in this country. Don't miss it!
Stars: Robert Ryan, Lee Marvin, Frederick March, Jeff Bridges. Eugene O'Neil play in which Lee Marvin plays to a group of bar habitues who exist on pipe dreams. Sun. May 29 - 2:00 (29AA)
A Delicate Balance Stars: Katharine Hepburn, Paul Scofield, Lee Remick. Edward Albee's pulitzer prize winning play features a dream cast in a nightmare about visitors. Sat. June 4 - 2:00 (4AA)
The Homecoming Peter Hall's brilliant staging of a major Pinter play — Cyril Cusack and Michael Jayston star in this caustic ode to family love. Sat. Ma y 28 - 2:00 (28AA)
Rhinoceros Gene Wilder, Zero Mostel, Karen Black. Eugene Lonesco's most absurd comedy about conformity. Sat. June 11 - 2:00 (11 AA)
Butley Alan Bates shines in this literate, well acted and undeniably funny study of a private school professor coming apart at the seams. Sun. June 12-2:00(12AA)
The Maids Glenda Jackson, Susannah York, and Vivien Merchant breathe fire in this brilliant Jean Genet play about two servant sisters who play out dangerous fantasies.
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I Friday, June 10
Saturday, June 11
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Moore Egyptian Staff: Jim Duncan, Dan Ireland, Darryl Macdonald
Fifteenth Ann Arbor Film Festival June 16, 17, 18 Poncho Theatre 50th and Fremont (Woodland Park)
Billie H oliday
8:00 pm $2.00 each evening or $5.00 for series Tickets on sale at the door Information 324-5880 Or 624-8627
Jackson B row ne
Cosponsored by
Seattle Association of Media Artists, And/Or,
Keith Jarrett Joan B aez
Poncho Theatre
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V ID EO /FILM EV EN T S Program Information 324-5880
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Les Blank’s three blues films to date are: THE SUN’S GONNA SHINE, THE BLUES ACCORDIN’ TO LIGHTNIN’ HOPKINS, and A WELL-SPENT LIFE.
H O U R S DAILY 11 T O 6
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